May 2013 at WRO Media Art Biennale, Wrocław
January 2014 at emergeandsee Media Arts Festival, Berlin
In collaboration with Max Hoppenstedt
For this performative sound work, the STRFLD Simulation interrconnects noise emitted from different sonic origins with their layering, modulation, and feedbacking through sound processing devices. As a sonic source a wide variety of material comes into play: the dust and clicks of blank grooves, obscure test pressings and experimental electronic music from vinyl records; self—produced tracks and not—yet—deleted flea market tapes; and the buzzing and crackling of needles, wires and effect equipment themselves. All of these are taken as sonic occurrences which are essentially wired with an audio—processing apparatus. The apparatus contains delay, echo, phaser, filter, vocoder and mixing devices, and its structuring and circuitry is itself up for treatment of re—arrangement and re—wiring. Through its performance STRFLD Simulation evokes a concept of sonic materiality, which blurs the idea of a decided meaning in recorded sound. It questions the separation of source and editing, and of the content of a medium and its reception. Rather sonic material and audio processing are treated as an immanence. Composition is demonstrated as based on pre—given entities and thereby operates as the disclosure of not—yet—amplified frequencies.