Dynamische Akustische Forschung
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DAF (Dynamic Acoustic Research) is a collective dedicated to performative and collaborative approaches to listening, exploring and creating sound. They search for contemporary and historical sound practices that exist beyond purely musical contexts. For DAF, sound is an unstable material that can be both sculptural and time-based.
On its surface, the DAF program is about making site-responsive, sometimes site-specific, sound art installations and performances. This characterization hides a more poignant fact that the focus on sound, while not necessarily misleading, is at once the center of inquiry and beside the point; the real point is the construction of spaces through various experiences of relation. Much sound art (most notably the German tradition of Klangkunst) is dedicated to sound as a sculptural material or medium, capable of contouring or commanding space much as do the three dimensional objects of sculpture. DAF emphasizes a different and altogether more exciting dimension: a constructivist methodology of space-making from social, material and energetic relations, and focusing directly on these relational forces. DAF’s founder and director Jan St. Werner describes the program’s aims as the “activation of space by a form of performance or mental investigation” toward “inter-relational futures.” The formal principle of any DAF project is based in the activity of building, rather than the achievement of a form; construction toward a relational future, a way of being-together or knowing-together or feeling-together that is continually affirmed with each attempt. Arts of this sort are described by Brian Massumi as “techniques of existence.” Any given work exists as a momentary holding open of a space of existence, with particular attention to what that space makes possible: how it might perform as both a platform for the present and an engine, a new technique, for further speculative situations. This omnivorous spatial experimentation draws in competing histories, theories and disciplines as hosts for the cultivation of a practice of perpetual becoming and ongoing participation.“
Andy Graydon
Lead by passions (affect, emotion, sensation) and the [calculating] deliberations (intention, reflection, purposefulness). In our researching experiments passions and deliberations should be brought into resonance – an inter-est in the in-between: between the others, the sounds and the devices. For all this Prof. Jan St. Werner favours an interest on the part of the students in a collective process of learning in order to explore something unknown – something undetermined.
Everyone should get involved in this collective process: to experience and to diffraction oneself through the reaction of others like a filtered, modulated and amplified feedback. In this process a space is generated with the sound material, in which new connections should be established in a playful manner by using modules. The goal of such collaborative space-time-situations is the deconstruction of all involved egos through different wire connections: openness and sensitivity for the others and the collective construction of reality. This is meant to be the production environment of Dynamic Acoustic Research
______________________________________________________________________________ find us online
DAF on facebook
DAF on instagram
DAF on vimeo
DAF on soundcloud
DAF on discogs
______________________________________________________________________________ contact
write us on instagram
________________
DAF (Dynamic Acoustic Research) is a collective dedicated to performative and collaborative approaches to listening, exploring and creating sound. They search for contemporary and historical sound practices that exist beyond purely musical contexts. For DAF, sound is an unstable material that can be both sculptural and time-based.
On its surface, the DAF program is about making site-responsive, sometimes site-specific, sound art installations and performances. This characterization hides a more poignant fact that the focus on sound, while not necessarily misleading, is at once the center of inquiry and beside the point; the real point is the construction of spaces through various experiences of relation. Much sound art (most notably the German tradition of Klangkunst) is dedicated to sound as a sculptural material or medium, capable of contouring or commanding space much as do the three dimensional objects of sculpture. DAF emphasizes a different and altogether more exciting dimension: a constructivist methodology of space-making from social, material and energetic relations, and focusing directly on these relational forces. DAF’s founder and director Jan St. Werner describes the program’s aims as the “activation of space by a form of performance or mental investigation” toward “inter-relational futures.” The formal principle of any DAF project is based in the activity of building, rather than the achievement of a form; construction toward a relational future, a way of being-together or knowing-together or feeling-together that is continually affirmed with each attempt. Arts of this sort are described by Brian Massumi as “techniques of existence.” Any given work exists as a momentary holding open of a space of existence, with particular attention to what that space makes possible: how it might perform as both a platform for the present and an engine, a new technique, for further speculative situations. This omnivorous spatial experimentation draws in competing histories, theories and disciplines as hosts for the cultivation of a practice of perpetual becoming and ongoing participation.“
Andy Graydon
Lead by passions (affect, emotion, sensation) and the [calculating] deliberations (intention, reflection, purposefulness). In our researching experiments passions and deliberations should be brought into resonance – an inter-est in the in-between: between the others, the sounds and the devices. For all this Prof. Jan St. Werner favours an interest on the part of the students in a collective process of learning in order to explore something unknown – something undetermined.
Everyone should get involved in this collective process: to experience and to diffraction oneself through the reaction of others like a filtered, modulated and amplified feedback. In this process a space is generated with the sound material, in which new connections should be established in a playful manner by using modules. The goal of such collaborative space-time-situations is the deconstruction of all involved egos through different wire connections: openness and sensitivity for the others and the collective construction of reality. This is meant to be the production environment of Dynamic Acoustic Research
______________________________________________________________________________ find us online
DAF on facebook
DAF on instagram
DAF on vimeo
DAF on soundcloud
DAF on discogs
______________________________________________________________________________ contact
write us on instagram