dead silence of the night________________________ 1.) em-signal of lightbarrier of a yardgate at engelhöfe 52.507137, 13.427279 00:00 - 01:44 2.) 0920_21 luisenstadtkanal (dub) + e-scooter 52.506597, 13.426973 01:44 - 06:10 3.) em-puls of electro-car chargingstation 52.506220, 13.426209 06:10 - 08:28 4.) screetching gate at engelsbecken 52.505907, 13.419132 08:28 - 11:14 5.) "indischer brunnen" (erwin barth, rekonstruktion) at rosengarten engelsbecken 52.504754, 13.417501 11:14 - 15:44 6.) 0920_21 luisenstadtkanal 2 (oranienplatz - wassertorplatz) 52.498325, 13.413048 15:44 - 21:16 7.) gate and rail at urbanhafen + 0915 git 52.495790, 13.411724 21:16 - 28:08 I (archive + time) all the sounds are either recorded on the 21st september 2020 or from the archive made or recorded on the 21st september between 2007 and 2019. the arbitrary number of a date serves as an archival organisation and becomes here a structrural method that opposes and modifies the intuitive memory. II (recordings and ghosts, the dead silence) the sounds are recorded on a walk between bethaniendamm and urbanhafen alongside the former luisenstädtischer kanal. all the recordings of that walk are either a.) traces of em-signals or b.) resonating objects (hit or bowed) found along the way (so that the listener can follow the traces of the objects during the walk). the recording itself happened during a monday night around 3 am. in the dead silence of the night. walking around with an em-detector and hitting on things like hunting or summoning ghosts: the sounds stand out against small noises of sleeping swans, startled residents or coincidental droping seeds from trees. so listening in this regard becomes more than listening to the sound itself. the decay of each sound is looking into the nothingness of silence. the metaphor dead-silence refers to the non-availabilty (unverfügbarkeit) of the dead that slip away into nothingness. only memories hold a connection to the gone, to the past that otherwise would be nothing, silence. a decaying sound in the dead silence of the night thus becomes a sort of bridge, channel, vehicle to the dead (silence). while for husserl the melody is an example of the process of retention, where we are able to recollect a certain amount of signals even without activly memorizing them, the musical structure at play in this piece works with layering parallels of single events that in confrontation become a (more or less) organized structure (dub and overdubbing). III (luisenstädtischer kanal) the luisenstädtischer kanal (1852) connected the spree and the landwehrkanal. mainly used for the construction of the densly populated area luisenstadt, it was filled with earth from the construction of the u8 to be reebuild as a public park in 1926 (as reconstructed today). after the second worldwar it was filled further with trümmer (debris) of the bombings and became 1961 part of the mauer, the border between east and west-berlin, the so called todesstreifen (death-strip).
1.) em-signal of lightbarrier of a yardgate at engelhöfe 52.507137, 13.427279 00:00 - 01:44 2.) 0920_21 luisenstadtkanal (dub) + e-scooter 52.506597, 13.426973 01:44 - 06:10 3.) em-puls of electro-car chargingstation 52.506220, 13.426209 06:10 - 08:28 4.) screetching gate at engelsbecken 52.505907, 13.419132 08:28 - 11:14 5.) "indischer brunnen" (erwin barth, rekonstruktion) at rosengarten engelsbecken 52.504754, 13.417501 11:14 - 15:44 6.) 0920_21 luisenstadtkanal 2 (oranienplatz - wassertorplatz) 52.498325, 13.413048 15:44 - 21:16 7.) gate and rail at urbanhafen + 0915 git 52.495790, 13.411724 21:16 - 28:08
I (archive + time) all the sounds are either recorded on the 21st september 2020 or from the archive made or recorded on the 21st september between 2007 and 2019. the arbitrary number of a date serves as an archival organisation and becomes here a structrural method that opposes and modifies the intuitive memory.
II (recordings and ghosts, the dead silence) the sounds are recorded on a walk between bethaniendamm and urbanhafen alongside the former luisenstädtischer kanal. all the recordings of that walk are either a.) traces of em-signals or b.) resonating objects (hit or bowed) found along the way (so that the listener can follow the traces of the objects during the walk). the recording itself happened during a monday night around 3 am. in the dead silence of the night. walking around with an em-detector and hitting on things like hunting or summoning ghosts: the sounds stand out against small noises of sleeping swans, startled residents or coincidental droping seeds from trees. so listening in this regard becomes more than listening to the sound itself. the decay of each sound is looking into the nothingness of silence. the metaphor dead-silence refers to the non-availabilty (unverfügbarkeit) of the dead that slip away into nothingness. only memories hold a connection to the gone, to the past that otherwise would be nothing, silence. a decaying sound in the dead silence of the night thus becomes a sort of bridge, channel, vehicle to the dead (silence). while for husserl the melody is an example of the process of retention, where we are able to recollect a certain amount of signals even without activly memorizing them, the musical structure at play in this piece works with layering parallels of single events that in confrontation become a (more or less) organized structure (dub and overdubbing).
III (luisenstädtischer kanal) the luisenstädtischer kanal (1852) connected the spree and the landwehrkanal. mainly used for the construction of the densly populated area luisenstadt, it was filled with earth from the construction of the u8 to be reebuild as a public park in 1926 (as reconstructed today). after the second worldwar it was filled further with trümmer (debris) of the bombings and became 1961 part of the mauer, the border between east and west-berlin, the so called todesstreifen (death-strip).