Performed by: Sam Auinger, Ingrid Beirer, Peter Cusack, Ursula Rogg, Sven Sappelt, Georg Spehr, n.n, n.n. and katrinem.
Thanks to Udo Noll, Thomas Meier, Nika Radic.

In the framework of the exhibition Berlinlokalzeit at CLB Berlin we did a BesenBallett performance in the courtyard behind the gallery. 3 brooms were equipped with microphones and the recordings were broadcast via live-stream on Radio Aporee.
The performance followed my Score for Brooms and Sweeping (Kehrpartitur)

BesenBallett

Radio drama, first broadcast on Radio Phlapuemind on 18 October, 2014 (http://streamplus7.leonex.de:19670)

The practice of creating radio drama from collaged football footage was invented by German author Ror Wolf, who also achieved an unsurpassable mastery, or should we say championship, at it. When Wolf created his pieces in the 1970s, live radio coverage could still be considered the leading medium for football reports – with the tiny men, hard to tell apart on black-and-white TV screens, just a weak competition in the visual realm. Dealing with football and the media today, however, it is impossible not to consider the phenomenon of public viewing. But still, this ritual of community in front of large screens does not guarantee an exciting match, and depending on the weather, 90 minutes can sometimes be quite a drag.
This is why „FI FA Fo Fum“ attempts to condense the essential emotional ingredients of a public viewing into 90 seconds (!), or eventually 112 after overtime, regardless of who is playing. To make things even more universally applicable, the author, a German, used footage from a match involving the German national team, but viewed it in a country whose language he does not speak – the recording took place in Bucharest on 21 June, 2014. The composition of the piece was helped along by the fact, uncovered by James Joyce in “Finnegan’s Wake,” that with a healthy modicum of delirious imagination, pretty much any European language can be discovered in any other. Thus, the Romanian comment yielded some fragments of text that may sound rather German to German listeners (or may not, after all you do not always get every word the reporter says during live coverage). This is why the title “FI FA Fo Fum” can be read as a tongue-in-cheek kick in Silvio Blatter’s groin as well as a reference to “Finnegan’s (or FIebig’s) Fake”.

Cast:
Recording, editing, production and direction: Gerald Fiebig
Sounds: Oda Klonk
Additional sounds: freesound.org 

Production:
Field recordings: 21 June 2014, Bucharest/Romania 
Editing and production: July/August 2014, author’s studio, Augsburg/Germany

+++

Das Collage-Hörspiel aus Fußball-O-Tönen ist bekanntermaßen von Ror Wolf erfunden und zugleich zu einer uneinholbaren (Welt-) Meisterschaft geführt worden. Zu Wolfs Zeiten konnte die Fußball-Radioreportage – im Vergleich zum schwarzweißen Fernsehbild mit schwer unterscheidbaren Winzmännchen – durchaus noch als Leitmedium der Fußballübertragung gelten. Will man sich dagegen heute mit der medialen Eigenheit von Fußballmeisterschaften befassen, kommt man am Phänomen des Public Viewing gar nicht vorbei. Eine Garantie für ein spannendes Fußballerlebnis ist die Vergemeinschaftung vor der Großbildleinwand aber auch nicht, und je nach Wetter können sich 90 Minuten auch schon mal ganz schön hinziehen.
Deshalb unternimmt „FI FA Fo Fum“ den Versuch, die essenziellen emotionalen Bestandteile eines Public Viewings auf 90 Sekunden zu kondensieren (mit Verlängerung werden es dann 112), die unabhängig sind von der Frage, gegen wen jeweils gerade gespielt wird. Um die Allgemeingültigkeit zu unterstreichen, wurde der O-Ton vom Public Viewing eines Spiels der deutschen Nationalmannschaft verwendet, aber in einem Land, dessen Sprache der Autor nicht spricht, aufgenommen am 21. Juni 2014 in Bukarest. Bei der Strukturierung des Stücks half die von James Joyce in „Finnegans Wake“ aufgedeckte Tatsache, dass sich mit genügend deliranter Fantasie noch so ziemlich in jeder europäischen Sprache so ziemlich jede andere entdecken lässt, so auch im Rumänischen die deutschen Textfetzen, die man in „FI FA Fo Fum“ hören mag – oder auch nicht, bei einer Liveübertragung bekommt man schließlich auch nicht alles mit, was der Kommentator von sich gibt. Der Titel kann daher nicht nur als augenzwinkernder Tritt ans Schienbein Silvio Blatters gelesen werden, sondern auch programmatisch für „FInnegan’s (oder FIebig’s) FAke“.

Besetzung:
Aufnahme, Schnitt, Produktion und Regie: Gerald Fiebig
Geräusche: Oda Klonk
Weitere Geräusche: freesound.org (alle rechtefrei, daher nicht als Fremdmaterial aufgelistet)

Ort und Zeitpunkt der Produktion:
O-Ton-Aufnahme: 21. Juni 2014, Bukarest
Schnitt und Produktion: Juli/August 2014, Heimstudio des Autors, Augsburg


FI FA Fo Fum

Martyn Schmidt - The ball I threw while playing in the park has not yet reached the ground

the track Bricks Crumble by Dälek on a disturbed radio at the end of the age

Manifesto: Bricks Crumble Radio

Manifesto: 71 Fragmente einer Chronologie des Zufalls

Beatrice Ottmann, Voice and live-Electronics
Stefan Schulzki, Modular Synthesizers and Beats

Improvisation / 2017 May 28 / Munich, Club Milla / aDe-Lounge (aDevantgarde Festival 2017)

containing samples of the composition "322 aus Dunkle Raeume" by Stefan Schulzki for brass quintet and two percussionists, performed by oenm (Oesterreichisches Ensemble fur Neue Musik)
as well as "In Paradisum" from the Requiem by Gabriel Fauré, performed by Maedchenkantorei am Muenchner Dom, partly recomposed by Stefan Schulzki for the feature film "The Super"

Improvisation (In Paradisum 322)

Improvisation (In Paradisum 322) aDe-Lounge 2017 Ottmann/Schulzki

featuring guest vocal performance by Martin Lau(1:11 min- 1:28 min)

Martyn Schmidt: Gerald ist aus Kohlenstoff

Tom Waits (on Jim Wilson): "Wilson, he's always playing with time. I heard a recording recently of crickets slowed way down. It sounds like a choir, it sounds like angel music. Something sparkling, celestial with full harmony and bass parts - you wouldn't believe it. It's like a sweeping chorus of heaven, and it's just slowed down, they didn't manipulate the tape at all. So I think when Wilson slows people down, it gives you a chance to watch them moving through space. And there's something to be said for slowing down the world."

Source: "Woyzeck to run at Freud Playhouse". Daily Bruin (USA), by Andrew Lee. December 3, 2002

Find more on the recording on this link: http://www.democraticunderground.com/10023815586

Tom Waits on Tom waits talking about this recording - http://gloriousnoise.com/2008/tom_waits_interviews_tom_waits

More on the recording - http://hearingvoices.com/transcript.php?fID=142

You can buy original recording here - http://www.amazon.com/Gods-Chorus-Crickets-Jim-Wilson/dp/1932192077?tag=viglink124132-20

Original recording from the author - http://www.constancedemby.com/godscricketchorus_f.html

And more: http://scienceblogs.com/startswithabang/2013/10/13/weekend-diversion-is-this-an-amazing-chorus-of-slowed-down-crickets/

Jim Wilson | God's Chorus of Crickets | crickets audio recording slowed way down

Piano song 1

„Gasworks“ by sonic artist Gerald Fiebig collects his sound installations, radiophonic compositions, and live performances relating to the former gasworks in Augsburg-Oberhausen. They were created between 2010 and 2016, some in collaboration with colleagues EMERGE and Christian Z. Müller. Among the compositional materials of the album are processed recordings of the sounds of gas and industrial machinery, stories told by a former gasworks employee, and live improvisations in the echo chamber of the large gas tank.

Liner notes by Gerald Fiebig:

Cities phosphorescent
on the riverbank, industry’s
glowing piles waiting
beneath the smoke trails
W.G. Sebald, After Nature

The former gasworks in Augsburg-Oberhausen (not to be confused with the better-known Gasometer in the city of Oberhausen in the Ruhr area) have been a subject of my artistic practice for more than a decade. This album collects all the works related to the gasworks except a site-specific installation version of Echoes of Industry that did not lend itself to documentation as a recording.
Opened in 1915, the gasworks are a testimony to the spirit of what one could call the ‚heroic‘ age of industrialisation. The architecture of the ovens and machine halls features stylistic quotes from the façade of Augsburg’s renaissance city hall as well as from cathedrals. Technological progress is presented as both raison d’état and religion. This stands in stark contrast to the extremely hard, dangerous and – for a very long time – poorly paid working conditions described by long-time gasworks employee Johann Artner in Nach der Industrie / After Industry. From our contemporary viewpoint, informed by climate change and the impending end of fossil resources, the optimism expressed in the beautiful architecture of the gasworks also appears less than justified for ecological reasons: until 1968, the gasworks actually produced gas by burning coal in large ovens. They then continued to operate as a distributing station for fossil gas from transcontinental pipelines into the local network. Operations ceased in 2001.
After almost two decades of merely intermittent use for festivals and other events, 2019 saw the re-opening of the gasworks area as an arts centre featuring a theatre as well as artists‘ studios, rehearsal rooms, and office spaces for creative businesses. This seems to imply that it has now entered the ‚post-industrial‘ age where clean, almost immaterial computer screens have replaced the factory floors once so dirty and dangerous.
In fact, there is no such thing as a ‚post-industrial‘ age, just globalised capitalism increasingly outsourcing the dirty and dangerous work (manufacturing the microprocessors for the ‚post-industrial‘ devices, for example) to poorer countries. And of course industrial manufacturing still does form an important part of economies of the global North, even if the leading role in ideological narratives of growth and prosperity has been taken over by the ‚post-industrial‘ businesses.
Both post-industrial, which is partly based on processed sounds of a metal tool factory quite close to the gasworks, and Echoes of Industry can be heard as reminders of these ambivalences. Echoes of Industry brings the space of the gasworks into contact with the sounds of textile machines. This is a reference to the fact that the decline of the gasworks as an industrial site paralleled that of Augsburg’s once-thriving textile industry. It also alludes to the role of the textile industry as one of the most prominent examples for the exploitative use of cheap offshore labour.

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FI FA Fo Fum

Gerald Fiebig

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