schön dubby … dein neuer klangkörper gefällt mir! dazu vielleicht noch bißchen melodica (oder irgendwas anderes akustisches) mit viel delay?

soundpiece by patterns of paradyze
2021, Festspielhaus HELLERAU


#hellerau #fahimamir #vincianedespret

Stories Of VID&FAA

sounding fences

foto: kathrin dröppelmann

#hellerau

soundwork of margarete kiss+++

SONIC RESTRICTIONS
an approach in 3 attemps
intro
There is not only one starting point for reading sonic restrictions. There are different edges, ends where you can start, as different levels of their ontology. Temporality and immanence can be distinguished, basic restrictions and temporally limited, aural, with regard to different frequency ranges, the areas of the (in)audible and limits of perception. sonic restrictions can describe the perception of volume and intensity, as well as an agenda set by state authorities of what and who may be heard and not heard, what may be composed and not composed, what may be performed and not performed. sonic restrictions also describe notation and an orchestral score. At what point does the  ute start, where does the cello stop. When does the listening start and when is it over, likewise tonality. One track. Rhythm. 4/4 stroke. Sonic restricitons are about time and space. They can describe a process in the past or be current.
sonic restrictions can be of a physical nature, they can describe deafness and muteness, they can stand for a physical limit, a not- going-on, a not-being-able, as well as for learning. They are about language, about communication. sonic restrictions are besides constriction also the expansion, the detachment from physicality to digitality. sonic restrictions can be about limitations, like a rehearsal. Authorships, GEMA and creative common licenses describe the institutional presence of economical limitation, as well as its alternative, just as Ableton and Reaper the technical, monetary standard in music production and one of its possible counterpart.
sonic restrictions can be determined by how we are financially positioned, who we know, how lucky we are, how talented we are, where we were born, how we grew up. How our childhood went, how enthusiastic parents were to teach us an instrument, buying Walkmans and what records they played. sonic restrictions can be subjective, personal, full of constraint and destructive.

Sonic_restrictions

Set and music by SSIK within the listening session of Parallax Lab at floating university

with tracks by 

Pamela Z
Emeka Ogboh
Susan Philipsz

restrictive expansions at @parallaxLab/ @floatinguniversity

IJstijding (2006) is gemaakt i.o.v. Stichting Wolf t.b.v. de Gelderland Biennale 2006. Deze radiofonische compositie, het beste te beluisteren via koptelefoon, neemt je mee op een luistertocht voor het oor door een bijzonder stukje natuurgebied van het Gelderse elfbergenpad.

IJstijding

2022 March 31st, 7pm at the Medienkulturzentrum Dresden - hybrid concert performance and presentation of the "Funkstern plus" in the context of the finissage of the exhibition "ECHOES" by Steffen Koritsch (NOISIO).
A live radio improvisation by Laura Anh Thu Dang, Leon Goltermann, Lefteris Krysalis, Mohammad H. Javaheri, Markus Westphal, Konrad Behr.
Live broadcast at coloradio Dresden.

Live @ MKZ Kraftwerk Mitte Dresden (31.3.2022)

an old track of mine. rediscovered and remixed.

jours de pluie

Small sound performance by Bettina Kletzsch and Konrad Behr +1 as part of the series “Swim until our lanes cross”. “Improvisation Swimming Scarf No. 6”. Live audio improvisation using the pattern of the scarf as a score on the occasion of the 10th anniversary of the dance company Waileth & Bardon. Performance evening location: Bastionen/Malmö

Foto: NIKLAS STRÖM (https://www.snorkeldata.com)

Schalmuster Nr.6 Malmö/ Live audio improvisation

bad comfort - 160404 - 02 (excerpt)

Download at Lockertmatik 'True Territories 1.5' VA https://lockertmatik.bandcamp.com/album/true-territories-15

bad comfort - 160404 - 02 (excerpt)

Konrad Behr | knrd | bad comfort

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