New release on p3c7.bandcamp.com
In my project “Sounds Of The Inner Tree” I use sensors to investigate what the tree actually hears. I try to listen into him.
The data from the sensors is one sound source, the other is the environmental sounds around the tree that I record with microphones.
The result is an auditory image that considers not only the sounds of the environment, but also the sound that goes through the tree, the wood, and affects it in one way or another.
How does this reflect the factor of airborne sound, ambient noise, how much “penetrates” the tree, structure-borne sound, and how far?
Are there any changes in the structure of the wood as a result? Effects on growth or similar?
More information here
Revisited: 20 years and not a bit quieter – The history of medienwerk.nrw #audio
The fourth episode Revisited takes a closer look at the history of Netzwerkmedienwerk.nrw in its research. More than twenty years ago – at a time when digital media were changing rapidly – the network was initially founded as a loose association to give media art in the state a voice. In the meantime, the network consists of more than 25 institutions that have been able to learn a lot from each other over the course of time, initiate joint projects and help shape cultural policy (and still can). For their new, four-part audio feature, artists Freya Hattenberger and Peter Simon traveled through North Rhine-Westphalia and all the way to Berlin-Charlottenburg to talk to former and current companions and trace the development of this special network. The people they met on their journey tell the story of medienwerk.nrw from a personal perspective and from their memories. This creates an oral history of the media art scene in the region and the development of digital culture over the past 20 years. Milestones such as the organization of ISEA2010 RUHR – an international festival for electronic art that took place in Dortmund, Essen and Duisburg as part of the European Capital of Culture RUHR.2010 – play just as important a role as groundbreaking exhibitions and cultural policy decisions. How the network has also positioned itself in the polycentric state of NRW is brought to life and made tangible through numerous statements and comments.
With
Marie-Luise Angerer, Inke Arns, Söke Dinkla, Stefan Hilterhaus, Fabian Saavedra-Lara, Susanne Ackers, Maija Julius, Anneka Metzger, Ingrid Stoppa-Sehlbach, Heike Ander, Andreas Brockmann, Echo Ho, Darija Simunovic, Klaas Werner
More information and the audio contributions here
Wed 10 May 2023
7 pm
ChezON at the ON Cologne office
Old fire station (fire department)
After our originally planned ChezON with Peter Simon in December unfortunately had to be cancelled due to illness, we are happy to announce that Peter will be our ChezON guest in May!
f.l. Richard Schmalöer, Alexander Estis, Freya Hattenberger, Peter Simon, Markus Lehrmann
FUNCT sessions
Studio guests: Freya Hattenberger & Peter Simon
02.04.2023 10-12 h
@ www.studioneau.be
Portrait of the duo Freya Hattenberger & Peter Simon a conversation with Dirk Specht. We talk about sound works, impulses, their experience of sound, architecture, natural spaces and cultural landscapes, much is based on research and sound research. Part of the show is a live studio concert.
ex/ peri/ mental
Performative audio-visual installation at Museum Ostwall,
6th floor of the Dortmunder U on 15.02.2023, more information: Museum Ostwall>>>
Duration of the installation: 15.02.2023
Opening hours: 19:00 – 21:00
What happens inside an art museum while one exhibition is being taken down and the next is being set up? What artistic potential does this “in-between” hold?
It is precisely on this question that Freya Hattenberger and Peter Simon are developing the site-specific installation and performance “ex/ peri/ mental”, which as a one-day event allows an exclusive look behind the scenes of the exhibition construction and illuminates the perception of the museum as a “rough cube” instead of a white cube.
Hattenberger and Simon directly and intensively weave the acoustic and spatial peculiarities of the construction site into their artistic intervention, which can be walked through in a circular course. Performative interventions by the two artists at interconnected stations change the parameters of the audio-visual installation and allow a repeated “round walk” through the raw spaces with constantly recomposing elements of contemporary live art, kinetic media set-ups, and electronic music.
Revisited: Generators and Generations – Audio Feature by Peter Simon & Freya Hattenberger
Revisited: Generators and Generations. Experiments – Music – Electronics in NRW #audio is now the third edition of this research, in which listeners can this time immerse themselves in the sonic side of the media arts. Starting with the founding of the WDR’s electronic music studio in Cologne, authors Freya Hattenberger and Peter Simon trace paths that musicians and artists in the field of experimental music have followed in the region, and let many of the players from then and now have their say. When the Cologne recording studio was founded in 1951, it was the first of its kind in the world and was thus able to attract renowned musicians such as Györgi Ligeti, Henry Pousseuer, Gottfried Michael Koenig and others to the Rhineland, who artistically explored the technical possibilities on site and created important avant-garde compositions. A lot has changed since then. Instead of an almost baroque-looking studio with closet-sized technology, today a laptop and handy instruments are often all that is needed to produce flexibly at home and publish online.
With
Gertrud Glosemeyer, Wiebke Spieker, Markus Hassler, Dirk Reith, Dirk Franken, Denise Ritter, Miki Yui, Joker Nies, hans w koch, Stefan Schneider, Waltraud Blischke, Mari van Dus, Till Kniola, Achim Zepezauer, Frank Dommert
More information and the audio contributions here
MARL INDUSTREAL – 01_state of the art lift system
Written and produced by Peter Simon
Camera: Tom Briele
Recorded Live in the empty Skulpturenmuseum Glaskasten Marl in 2022
Mastering by Clos et Omono 2022 on REVOX A77, SM 468 from Recording The Masters
Thanks to: Georg Elben, Stephan Wolters, HPP Architekten GmbH, Sebastian Helm, Detlef von Homeyer, Onur Karaca and Tom Briele for the great video work
This experimental arrangement consists of the sound that is brought into the room. It is electronically modeled sounds that are produced in the room. There is an initial idea of which instruments will be used. How and why is decided on the spot in the improvisation with them. Like a sculpture of sound that is positioned in the space. The rooms in the museum are empty. No works of art are exhibited. The electronic sound that is sent into the room takes over the role of the work of art, the sculpture. It becomes a sculpture of sound. But it is also a changeable, kinetic sculpture that temporarily moves through the rooms.
Everything is improvised. It emerges directly in the moment, it grows, moves through the space and disappears again, fizzles out, until a new sound comes and spreads.
Brutalism as an architectural style is a worldwide phenomenon. It is the architecture in which we grew up. A love-hate relationship connects us with these buildings, whose fascination is fed by the monolithic.
School buildings, museums, city halls, libraries… at the moment we are experiencing a paradigm shift and see these buildings threatened with demolition. More and more of these complexes are disappearing from the cityscape. Structural substance is crumbling, the preservation of historical monuments is dealing with them. Brutalism once again becomes a generational issue.
Brutalism is a system outside political ideologies. Whether in Texas, Brussels or Bratislava; Brutalist buildings were built both in the communist Eastern Bloc and in the capitalist West.
MARL INDUSTREAL – short documentation of the working process
In this second experimental setup I worked with the room. Here I took the sounds that were already present in the room (from the outside as well as from the inside) and amplified them and played them back into the room. This resulted in feedbacks that I continued to work with. I played with the individual, specific frequencies, the standing waves that resulted from the material, and thus made the whole room vibrate.
Depending on the location and material, different frequency ranges stood out and were more present than others.
