The Acousmatic Lectures have roots in discursive practices and propose a listening experience based on the Pythagorean acousmatic model: a mode of presentation in which the speaker is hidden from the public. Acousmatic Lectures encourage both orator and listener to focus exclusively on the acoustic space that provides a frame for the spoken word, its temperament and tone, without the addition of visual information or the speaker’s body language. For this series of lectures, all visual clues generated by the speaker’s facial and bodily expressions (which normally influence how information is received) remain hidden. Nevertheless, the speaker’s voice and its dissemination in the surrounding environment still convey the speaker’s physical presence. This approach underscores the dialectical conflict between abstract and sensorial information, confronting us with an array of decisions specific to the act of listening itself.
The term references a Pythagorean tradition according to which only Pythagoras’s most devoted students were allowed to see and visually perceive him during his lectures. By contrast, newcomers were made to sit before a curtain concealing the master’s physiognomy. Students were therefore left without any visual information and had to try to follow the lectures solely by attentive listening.
The lectures are academic in nature—a deliberate choice of the artist. The speakers are academics and scholars who talk about their specific areas of expertise. The intention is to observe what impacts the acousmatic settings have on participants, and specifically without the influence of any artistic or aesthetic sensory effects. In the Acousmatic Lectures held thus far, a performative character has been observed that condenses the classic academic lecture scenario into an acoustic experience that functions both informatively—on a linguistic level—as well as in an acoustically qualitative way—on the level of the voice as instrument—and is capable of transforming situations, content, and space. These aspects are made legible through the ways in which the acoustic characteristics of the voice interact with the surrounding space. As such, they might be experienced as a means for determining the interaction between and transfer of linguistic and affective sensory information.
Lecturers: Alex Arteaga, Sabeth Buchmann, Ernesto Estrella, Markus Gabriel, Marcus Gammel, Federico Geller, Hans-Jörg Rheinberger, Nihad Sirees, Birgit Schneider, Sven Spieker, u.a.
In line with the constitutions of the Republic of Ecuador and Bolivia that recognize Pachamama (Mother Earth) as a legal entity with its own rights and responsibilities relative to the state, Kemmuna Nation speculates with the idea of a global nation constituted by non-humans entities, which organize themselves creating their own economical and political system based on the structures of specific pre-existing interconnections between species.
In 2018 I was invited by FRAGMENTA Malta to present this project by taking over the island of Comino. Several buildings were put to use. The program included a declaration of independence speech, a lecture on Blockchain and Kemmuna Coin cryptocurrency, and a short tour of Comino’s lichen ecosystem. An interactive sound installation and a sound walk were presented in Comino’s abandoned bakery.
“October 28th will be the date: nature declares its own independency. Plants, animals and minerals will unite to build the most powerful nation in the world, leaving behind times of plunder and exploitation through men. This will be the day that the world order will take a new shape. Join us to be witness of the birth of Kemmuna Nation.” “In the age of the Anthropocene, the end is near. The ideal of a shared world no longer exists, political philosophy has lost its language, globalization is experiencing a negative reversal. Now, the earth starts fighting back.”
The foundation on which the system structures itself is played out on the mineral level contained in the soil, which is connected with different species of plants through an underground network of mycorrhizal fungi. This system generates nutrients for insects and animals, including humans. In this way and considering the amount of plants, which are being eaten by those, mycorrhizal fungi get an overview of the animal population (also by communicating with other fungi growing on animal corpses and feces).
Thus, the mycorrhizal network administrates life on the planet by exchanging nutrients and information through carbon dioxide. With the help of lichen, which has also a fugi component, Kemuna Nation can build biomonitors for air pollution. Many lichen species have large geographical ranges, allowing study of pollution gradients over long distances. This information torrent can be measured by sensors on the ground and interpreted by a central computer, which, through an algorithm, determines the value of a cryptocurrency. This new currency is called Kemmuna Coin, and will be used by humans to pay transactions with the earth. All raw material taken by humans from Kemmuna Nation need to be retributory paid with Kemmuna Coins. Violations of law will also be charged in Kemmuna Coins. In this way pollution and explotation of nature can be a factor that altered the value of that monetary exchage between mankind and nature. Constituting so a self-regulated system, that also regulates the human factor of the system.
EMPIRIEN is a series of interventions in public space (1998-2006) that work with the transposition of signs as an idea of reorganizing elements of our urban surroundings. These interventions are reduced to almost imperceptible events that through a redefinition, or reconstruction, of everyday space try to make visible different social mechanisms.
Without previous notice objects will be shifted and replaced in public and semi-public spaces. The users of those places take the initiative and reestablish the ‘normal’ everyday order of things and thereby go about dismantling the interventions.
X Ferry Bus Station, Hong Kong Central / Materials: twenty-five meters of thread /
In the Lorentz transformation, if the X´-axis opposite the X-axis is rotated around the zero point “0,” all points of the X´-axis (except 0‘) vanish from the observer’s experiential realm in reference system S into the fourth dimension. This seems to contradict all normative experience.
One must imagine, however, that one X‘ -axis passes through each point of the X-axis. This means: we must imagine a plane in Minkowski space that is densely filled with X‘ -axes. Each of these comes from another time and is present simultaneously—even when an observer in S discerns just one point of each axis, namely the one point located on his own X-axis.
Brownie Ranch Balzac Coffee, Berlin / Materials: 10800 cm3 of brownies /
After arriving in Berlin in 2000, I began working at a bakery where I specialized in making brownies. At that time, I developed a system of cutting brownie sections in the baking pan that represented the proportions of a primitive hut in 1:50 scale.
I assembled the prototype only once in the bakery, later offering the pieces for sale.
Europe Towers Bausch & Lomb storage, Walldorf / Materials: six pallets of ninety-one boxes each; Lot N* 800523/547 /
Over the course of two workdays, I restacked 546 boxes of optical medical products from DIN pallets onto Euro pallets. The boxes were stacked according to a system similar to the distribution of housing units in high-rise apartment buildings, which allowed the same quantity of boxes to be stacked on the smaller Euro pallets, while making them more stable at the same time.
Two days later the Europe Towers were dispatched to Holland together with the rest of the stock.
Jobcenter Arbeitsamt Südwest, Berlin / Materials: one piece of furniture /
In a job-center in Berlin, a temporary ramp had been installed to transport files between the first floor and the basement. While waiting for a work permit, I moved part of the ramp to a corridor in the basement.
Sleeping Policeman and a Hole US-military base, Heidelberg-Pfaffengrund / Materials: approx. 0.98 m3 earth /
Much has been written on the history of metaphors. Little is known about their materialization. There are objects in this world for which one prefers to use metaphors, since their true meaning extends beyond the functions or physical outline that they describe.
I dug a hole on the property of the US military airport in Heidelberg (Germany). The earth was placed on a bike path on German territory and served as a bump for reducing bicycle speed.
Fragile – handle with care / appropriation / Covent Garden, London / Materials: nine cardboard boxes /
On the evening of February 21, 2004, nine cardboard boxes intended as improvised accommodations were set up in front of the Covent Garden Theater Museum in London. The morning after, the camera recorded how the homeless had appropriated the intervention.
A street artist performed a comedy in front of it.
Mudança* Eixo Monumental Via N1 Oeste, Brasilia, Brazil / Materials: forty-eight meters of rope + one sign
* to move, relocation; change (Luis Inacio “Lula” da Silva in his first official speech as president of Brazil on January 1, 2003.)
Farmers belonging to the Movimento sem Terra (Movement of Landless People) of Brazil took over state land on April 22 in the satellite city of São Sebastião, near the capital city of Brasilia. By the time I arrived, people were already demarcating property lines and clearing the lots.
Take your Time Long Tsai Tsuen, Hung Shing Yeng, Lamma Island, Hong Kong / Materials: six dustbins
Lü Dong Bin, one of eight immortal Taoists, is believed to have lived during the Tang Dynasty (618-907). One time while traveling, as he waited for his porridge in an inn, he fell asleep and saw his future life before him. When Lü Dong Bin awoke, eighteen years had past and he decided to live as a hermit.
Fox fur / donation / Museum of Natural History, Berlin / Materials: one fox fur
On March 11, 2000, I bought a fox fur. I kept it and took care of it in my apartment. On July 1, 2001, I donated the fur to the Museum of Natural History, Berlin. The museum administration was not interested in keeping the specimen.
Hröns Tieckstrasse 5, Berlin / Materials: three plastic chests + three wooden chests /
According to Jorge Luis Borges (in his story Tlön, Uqbar, Orbis Tertius), certain objects exist in the utopian land of Tlön that are merely projections of human will. For example, if somebody has lost a jewel box and several people go searching for it, it is possible that each person will find the box, but in different places. This implies a multiplication of the object. Such multiplied objects are called hrönirs and are characterized by a peculiar, barely noticeable deformation that distinguishes them from the original. If a hrönir is lost, and its duplicate then found, one will notice an even stronger transformation due to the function of human memory. Such objects are called hröns.
One could hypothesize that the entire variety of objects that make up our cosmos come from ONE original object that has been modified and multiplied by the projection of human will throughout the centuries.
Neolithic Hagar Qim Temple, Malta / Materials: one rope + two racks /
On the island of Malta, a rope and two racks were placed in front of the archeological site of Hagar Qim. These framed two stones coincidentally situated in front of the temple entrance.
Mekka St. Clement Danes, Central Church of the Royal Air Force, London / Materials: one carpet /
In Whitechapel, London, I bought an oriental carpet in an Arabian bazaar. Lost in the labyrinth of the city, I embarked on a pilgrimage for hours in the opposite direction of Mecca, finally placing the carpet at the St. Clement Danes, Central Church of the Royal Air Force.
Bastón / donation / Hamburger Bahnhof, Berlin / Materials: one walking stick /
On January 21, 1999, I bought a walking stick and carried it around with me for some time. Years later, I donated the walking stick to the Hamburger Bahnhof – Museum of Contemporary Art, Berlin. The museum administration was not interested in keeping the exhibit.
Popular Volkshochschule Mitte, Berlin / Materials: ten tables /
Since Pyrrho claimed there is no truth to the reality of sensorial things, the legend circulated that he would not avoid things standing in his way or horses or wagons approaching him, or he would even walk into walls in the conviction there is nothing consistent about sensorial perceptions. Only his friends, it is said, prevented and saved him from all sorts of foolhardy collisions.