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SOUND – SYSTEM – THEORY:
Agostino di Scipio's Work between Composition and Sound Installation.


Proceedings of the international conference, 21 and 22 March 2011, Berlin (Universität der Künste Berlin, Sound Studies)


Redaktion:  Julia Schröder / Julia Schröder / Julia Schröder / Julia Schröder / Julia Schröder / Julia Schröder 

Ausgabedatum:  27.07.2011

Agostino Di Scipio is among the few composers and sound artists who combine artistic production and theoretical reflection on an equally high level. For example, includes his concept of “sound dust” a – in a wider sense – political questioning of sound and background noise. In his series Audible Ecosystemics (2002–2005) background noise and other room or site specific elements are transformed – in a real-time computer process – into a musical composition. Therefore, the Berlin conference opened with a section on “room as an instrument”, a phrase coined by Martin Supper to describe music and sound art which relies on the specific acoustics of the performance space. A second section focused on emergence and system theory. Furthermore, an aesthetic approach to Di Scipio’s works was undertaken by Makis Solomos and others.

The Berlin conference was a sequel to “Journée d’études autour des Ecosystèmes audibles d’Agostino” organised by Makis Solomos (Université Paris 8) at Université Paul-Valéry in Montpellier (France) in February 2010.

With these proceedings the section Auditory Perspectives at kunsttexte.de broadens its width of formats once more: Next to the written texts of papers held at the conference (e. g. Helga de la Motte), we publish transcriptions of free lectures (Agostino Di Scipio) and we publish audio-documentations to listen to – with the accompanying slides as a text-file (e. g. Makis Solomos).


Deckblatt zur Ausgabe:  hier