chronopoems - martin moolhuijsen

a chronopoem is a form of conceptual and sound poetry that employs an auditory illusion known as verbal transformation effect

the word chronopoem comes from the greek words chrono (time) and pŏēsis (the process of making)

in its dichotic presentation, the illusion manifests itself through headphones, as a consequence chronopoems need to be experienced with headphones

a chronopoem does not correspond with the audio file that contains the poem, nevertheless it is dependent upon it

a chronopoem is a chronopoem only when it is experienced 

the duration of a chronopoem therefore coincides with its experience

a chronopoem transcends the fact that it is fixed-media, not in the sense usually attributed to poetry, as claims of the experience of universal themes such as the relationship between human and nature, absolute love, death or the finiteness of life, but in its impossibility to be perceived as static

verbal transformation effect may vary with different volume levels, the poem is therefore volume-dependent, a listener may or may not have control over this parameter

every interpretation of a chronopoem is equally valid, in other words, the author has very little authority

in a chronopoem interpretation and experience coincide

a chronopoem in one language can be interpreted in another one

titles are just suggestions 

the person that has uttered the word used in a chronopoem is always stated before the title

a chronopoem perpetually oscillates between being meaningful, here intended as ‘having meaning’, and being meaningless, none of these moments is more important than the other, although meaningful moments might be funnier

if the verbal transformation effect is an auditory illusion that allows listeners to hear imaginary words, chronopoems are a form of imaginary poetry: whatever that might mean concerning the illusion of words mediated by recorded speech
to imagine: from Latin imaginare ‘form an image of, represent’

Arrigo Lora Totino - radio / io vago e parlo

Google Text-To-Speech - delay / lenti lembi

Vannessa Place - ethics / an(a)esthetic

Google Text-To-Speech - corpo a poco a poco porco

Paul Sharits - D,E,S,T,R,O,Y

Benito Mussolini - destino / respiro d'istinto meschino

John Cage - begins / speak in the chance

Jorge Luis Borges - honest stories

"Ear Hear Ear Do" is music to listen to before listening to music. This piece utilizes high frequency tones that may cause hearing damage and or loss at high volumes. Please listen carefully  The piece takes listeners through a basic anatomy of the ear via text, resonant tones and otophonic polyphony. The introduction of the piece begins with the outer ear and slowly travels towards the center of the brain, allowing for the cranial physiology of the listener to become both a space and tool for sonic composition.

Project Superpsyched Ears - Ear Hear Ear Do - Ben Glas

Please listen to this work with a pair of speakers(stereo) in order to experience structural, and auditory spatiality by means of the properties of the phase. If you start to feel sick while listening, please stop playing it immediately.
Where does the sound come from?  
This work “Trinity” is composed of elements of that bizarre, and elusive spatiality that emerges through phase inversion. Some of the passages which recorded using a modular synthesizer,  are cut into smaller units and, with those phase inversions, create not only musical but also intricate spatial rhythms. As it can be perceived the same sound source appears as a completely different type of three-dimensional sound image through inversion, phase has the potential to create a material or sculptural sound image that is different from the usual stereo image. This  effect cannot be achieved with earphones or headphones, so listen with a pair of speakers.

Project Superpsyched Ears - Trinity - Haku Sungho

Un abrazo y estamos hablando (A Hug and We’ll be Speaking) is a stereophonic audio track that derives from a conversation via voice notes through WhatsApp between two people. A new conversation is created between these people by means of editing and merging the original recordings.

The original conversation was transcribed as text and its content then classified into five categories, each determined by a tone and character of voice different to the rest: hackneyed phrases, demands, regards, farewells and value judgements.

A new conversation is presented, built with a series of sections, each containing material that belongs exclusively to a single category. This explores the act of playing a recording repeatedly and listening out for understanding its content in different ways.

Un Abrazo Y Estamos Hablando (A Hug And We'll Keep In Touch) - Juan Sebastián Aguilar

"Cistem” is a performative sound piece that reflects on the violence of the cis-tem of gender determination of identities, a normative system of compulsory correspondence between gender and sex into the female/male binary. Both concepts, sex and gender, have been criticized by feminism and queer theory widely as the milestone of a system of oppression. The violence of the oedipal binary, female/male, is the basis of the patriarchal normative. The cistem oppresses the multiplicity of indetermination and the possibility of self-determination. Moreover, the cistem had erased, historically, identities beyond binary through the colonization of gender, through imposition and repetition of behaviors and control over the bodies. Cistematic violence. In this way, the cistem works as a black box that restates our binary wound, a black box that restricts our impulse of transformation and limits the diverse ways to inhabit the world.

From a non-binary perspective, in a series of sound procedures and performative gestures, I attempt to subvert and destroy the word cistem through my extended voice. I used my voice to repeat and subvert the meaning of the word cistem in Spanish (my mother-tongue) and English. I allowed myself to drive into other words or phrases too. On the other hand, I extended and manipulated my voice through granular synthesis, hardcore filtering, reverse and pitching in order to sub-verse the normative of hearing: beyond something pleasurable, something clean, something organized. Repetition in order to create strangeness of meanings and attention to the sound as a something else: multiple foldings, tiny floating bodies, repressive meanings, genderized trauma exploding in our ears.

If we think from sensibility, the search for indetermination of the non-binary gender, its impossibility of definition, is the same indetermination that sound carries: an unintelligible sensitivity, unsound. Before we born, before the determination of our identities through a speculative mirror, we existed inside an aural womb. This womb resides in our memory as undetermined, unknown, abjection. A first configuration of the world filtered by skin and water: a low passed relation with undetermined virtuality. Under the legibility of binary recognition – visual recognition, repetition and meaning- lays an aural queer non-binary embodiment.

For the right to indetermination and self-determination. Non-binary resistance. Aural resistance. One day they/them.

Project Superpsyched Ears - Cistem - Genesis Victoria

The international Master’s program Sound Studies and Sonic Arts (M.A.) at the Berlin University of the Arts is a three-year, low-residency, part-time postgraduate program is aimed at professionals working in the field of sound wanting to pursue a second degree with a focus on audio related theory and practice. The program serves to deepen theoretical and practical skills audio related theory and practice, particularly in cultural studies, musicology, aesthetics, sound art, performance, architecture, design and media production. The all English program offers lectures from our core faculty, such as the sound artist Prof. Hans Peter Kuhn and scholars Prof. Dr. Sabine Sanio and Prof. Volker Straebel as well as other internationally renown artists and researchers such as David Behrman, Peter Cusack, Bill Fontana, Brandon LaBelle, Christina Kubisch, Jonathan Sterne, Barry Truax, and Salomé Voegelin. Cooperations with well-known Festivals and Institutions offer our students a wide rage of possibilities for artistic and academic exchange.

Sound Studies and Sonic Arts

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