{"id":9145,"date":"2021-10-22T15:34:16","date_gmt":"2021-10-22T13:34:16","guid":{"rendered":"https:\/\/icem-www.folkwang-uni.de\/icem-web\/?p=9145"},"modified":"2021-10-22T15:44:06","modified_gmt":"2021-10-22T13:44:06","slug":"symposium-50-years-of-electronic-music-and-audiovisuals-timetable","status":"publish","type":"post","link":"https:\/\/icem-www.folkwang-uni.de\/icem-web\/symposium-50-years-of-electronic-music-and-audiovisuals-timetable\/","title":{"rendered":"Symposium „50 Years of electronic music and audiovisuals“ – Timetable"},"content":{"rendered":"\n

Auf dieser Seite eine erste, kurze \u00dcbersicht. Details gibt es in unserem \/ Here is a first, short overview. Details can be found in our<\/em><\/p>\n\n\n\n

Booklet <\/a>Herunterladen<\/a><\/div>\n\n\n\n

Tagesablauf\/Daily Schedule<\/h2>\n\n\n\n

10:00-11:00, 11:00-12:00, 15:00-16:00.16:00-17:00: Kammermusiksaal: Discussions

14:00-15:00, 17:00-19:30 Foyer: Installation

13 :00-14:00, 19:30-21:00 Neue Aula: Concerts<\/p>\n\n\n\n

11.11.<\/h2>\n\n\n\n

10:00 Kammermusiksaal Discussion 1: Dirk Reith: What is the relationship of electronic music today to that of the 1950 \/60s avant-garde, and specifically, which predictions from that time came true, and which didn\u2019t?<\/em><\/p>\n\n\n\n

11:00 Kammermusiksaal Discussion 2: Hans Tutschku How should we teach elec – tronic music, or in particular how should we reflect the in – herent relationship between aesthetics and technology in our lessons and curricula?<\/em><\/p>\n\n\n\n

13:00 Neue Aula Concert 1: SYNLAB

Dirk Reith NESTED LOOPS V
Claudius Br\u00fcse KAPITEL 80
J\u00f6rg Lensing DES K\u00d6NIGS NEUES KLEID
Nicolas Jemming ANGELIQUE, MAIS SANS DIEU
Achim Bornh\u00f6ft ARTIFICIAL CLICH\u00c9S
Kees Tazelaar GEOGLYPHS
<\/p>\n\n\n\n

15:00 Kammermusiksaal Discussion 3: Florian Zwi\u00dfler The eternal work of art: how much future does electronic music need and should we worry about technology ob – solescence?<\/em><\/p>\n\n\n\n

16:00 Kammermusiksaal Discussion 4: Kees Tazelaar Does electronic music still exist or has it been sub – sumed into other genres?<\/em><\/p>\n\n\n\n

19:30 Neue Aula Concert 2: VIDEO|DE L’AUTRE COT\u00c9

Misagh Azimi PANIC DRIVEN DIARIES
Tristan Berger RECOGNIZER
Dietrich Hahne LA D\u00c9FENSE DE LA PEINE (UA)
Dirk Reith VARIATIONEN \u00dcBER DIE KESSELHAUSSUITE (UA)
Philipp Ludwig Stangl QUAD
Claudia Robles Angel DE L\u2019AUTRE C\u00d4T\u00c9 (UA) <\/p>\n\n\n\n

12.11.<\/h2>\n\n\n\n

10:00 Kammermusiksaal Discussion 5: Claudia Robles-Angel In either their visual or sonic aspect, are loudspeakers disturbing or otherwise distracting, simply a necessary part of the performance, or do they deliver a positive quality of their own in concert situations?<\/em><\/p>\n\n\n\n

11:00 Kammermusiksaal Discussion 6: Dietrich Hahne & Claudius Lazzeroni Does (electronic) music need a visual element?<\/em><\/p>\n\n\n\n

13:00 Neue Aula Concert 3: CINEMA FOR THE EARS

dis.playce (Max Marcoll & Hannes Seidl) R4
Kerim Karaoglu WIE ES WIRKLICH WAR
Claudia Robles Angel GLOCKENWELT
Christiane Strothmann RICK\u2019S POSAUNE
Florian Hartlieb IM VORDEREN ZIMMER DES HINTEREN RAUMES
Claudia Robles Angel WANDERING IN MORELIA
Thomas Neuhaus REVELATIONS AND A TERRACE TALK
Dirk Reith & Claudius Lazzeroni SCATTERED VOICES<\/p>\n\n\n\n

15:00 Kammermusiksaal Discussion 7: Maja S. K. Ratkje How is, why, and should sound art be distinguished from electronic music?<\/em><\/p>\n\n\n\n

16:00 Kammermusiksaal Discussion 8: Maja S. K. Ratkje How is, why, and should sound art be distinguished from electronic music?<\/em><\/p>\n\n\n\n

19:30 Neue Aula Concert 4: MIT\/\u00dcBER STIMME

Dirk Reith verSTIMMUNG
Stefan Kreitmayer TONGUES OF BIRE
Roman Pfeifer STUDIE ZU EINEM LAUTGEDICHT
Friedhelm Hartmann (Freed) PORTRAITS OF A WOMAN II \u2014 Sirenes
Hans Tutschku REMEMBERING JAPAN \u2014 part 1
Michael Edwards SE TU PORTI IL VINO, IO FACCIO IL PESTO
Kees Tazelaar SERENADE fixed media
Ludger Br\u00fcmmer FALLING<\/p>\n\n\n\n

13.11.<\/h2>\n\n\n\n

10:00 Kammermusiksaal Discussion 9: Roman Pfeifer Aside from the common formats, which areas of musical performance include electronics in such a way that different, perhaps un – expected modes of working and thinking both merge and emerge in an interdisciplinary context?<\/em><\/p>\n\n\n\n

11:00 Kammermusiksaal Discussion 10: Marta Gentilucci To what extent does tech – nology influence or even determine the aesthetics of the electronic composer, and vice-versa?<\/em><\/p>\n\n\n\n

13:00 Neue Aula Concert 5 ELECTRIC \/ NOISY \/ CLICKS \/ CUTS

Dirk Reith PROGRAMM II
Jan Baumgart WARP&WOOF
Lu\u00eds Antunes Pena SONOROUS LANDSCAPES 1 & 2
Florian Zwissler DOPPELBRUNN
Byung-Moo Lee SIGMA POINT
Hans Tutschku SPACES: HIGH PRESSURE (UA)<\/p>\n\n\n\n

15:00 Kammermusiksaal Discussion 11: Thomas Neuhaus What do computers do best and, analogous to this, what does analogue do better?<\/em><\/p>\n\n\n\n

16:00 Kammermusiksaal Discussion 12:00 Michael Edwards Perceptual or Conceptual? (in Electronic Music)<\/em><\/p>\n\n\n\n

19:30 Neue Aula Concert 6 MIT\/\u00dcBER INSTRUMENTE

Javier Garavaglia OVERTURE \u2014 in memoriam T.A.T.
Hans Tutschku KLAVIERSAMMLUNG
Dirk Reith NAHE ZU FERN
Marta Gentilucci EXERCICES DE STRATIGRAPHIE
Hannes Seidl RE:BOUNCE
Maja S. K. Ratkje SINUS SEDUCTION (moods two)
Sven Ingo Koch SAXL
Marta Gentilucci \u203aAS FAR AS THE EYE CAN SEE\u2039
Maja S. K. Ratkje \u00d8X
<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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