// Friday September 11, 2009
// General Public
, Schönhauser Allee 167c, 10435 Berlin
// Public Transport: U2 U-BHF Senefelderplatz (see map here
// Entrance fee: 10.- €
// Buy tickets here
FEAR OF MUSIC
by David Stubbs (UK)
A lecture based on David Stubbs book, Fear Of Music: Why People Get Rothko But Don't Get Stockhausen. It asks why contemporary, non-figurative art, as represented at the Tate Modern UK, is relatively popular and commands huge sums at Sothebys, while its musical equivalent, avant garde/experimental/noise music, cannot find a similar audience - even though they emerged from the same roots in the first decade of the 20th century. Why is one so popular and accepted, the other reviled, ignored or run screaming from?
SOUND IN THE VISUAL ARTS – AN INSTITUTIONAL PERSPECTIVE
by Jesper N. Jørgensen (DK)
In the last years there was no important exhibition without presenting at least one work from the category sound art. How do the work methods of sound artists differ from those of visual artists? What are the problems of presentation and mediation?
18:30 Panel Discussion
WHY DO PEOPLE GET ROTHKO BUT DON’T GET STOCKHAUSEN
With David Stubbs (UK), Jesper N. Jørgensen (DK), Brandon LaBelle (US)
The panel takes position towards the question of the earlier lecture, the discussing the difficulties in relation of contemporary, experimental music productions in art context.
by Sandra Naumann (DE)
Since the upcoming of the technological media there have been manifold concepts for transferring musical strategies and characteristics to the moving image. This talk will discuss the varying strategies using examples from filmic art forms and relate them to inherent aspects of audiovisual perception.
The lecture is based on research started within the context of the project “See This Sound,” parts of which will be included in contributions to the project’s publications entitled Audiovisualogy.
21:30 Performative Lecture
FIXATION FIELD (sneak preview of behind-the-scenes of a work in progress)
by Lillevan (DE)
Largely inspired by many years of meditations on the history of light and attempts to understand the relationships between light, rhythm & psychology of the eye. A major focus of this undertaking is of course the study of light in time and visual forces. 'Movement' is the strongest visual appeal to attention, yet this evening's lecture will be dedicated to Kandinsky's words: "I have replaced the concept of 'movement' with the concept of 'tension'; tension is the force inherent in the element".