Dynamische Akustische Forschung
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.“
• DAF Algorave, BR Kulturbühne, 2020
• 5-7am, Installation, AdBK, 2019
• Symposium Architektur Hören, AdBK, Tiergarten, TH, 2019
• IIH3 Festival, 2019
• Algorave at IIH3, 2019
• Installation, Nextex, St. Gallen, 2019
• Performance, Neues Museum, 2018
• Experimentelle Akademie mit Performances, Installationen, Seminaren,
Struttura Artissima, Turin, 2018
• Performance Installation, Ultima, Oslo, 2018
• Symposium, Real existierende Utopien, 2018
• Performances, Installationen, People Festival, Berlin, 2018
• Performances, Installationen, Struktur Festival, AdBK, 2018
• FK:K II Festival, Bamberg, 2018
• steinreich, Nürnberg, 2018
• Ursuppe, ADKunstverein Nürnberg, 2018
• Mass X, Berlin, 2018
• Tape Loop Ensemble, AdBK, 2018
• Dissolve Music, 2018
• Mass 3, 2018
• b ton, Hamburger Bahnhof Berlin, 2017
• antenna, AdBK, 2017
Project based class taught by Jan St. Werner at the Academy of Fine Arts Nuremberg Germany. DAF explores sound as an unstable art form which merges with other disciplines and yet makes strong claims for disciplinary autonomy. A critical awareness is developed of how sound as a field for artistic exploration is performed, produced, and distributed.
The class explores contemporary and historical practices that emerge outside of purely musical environments and investigates specific compositional developments of post-war modernity and electro-acoustic music, as well as non-musical disciplines related to the psychophysics of hearing and listening. Sound is understood as a means of artistic exploration through practical exercises, performances, installations, writing, recordings, diffusions and instruments building.
In Dynamic Acoustic Research a sound that is perceived – or rather thought – in front of or behind the inner ear, is regarded as equivalent to audible sound. The tool for that is a focus shift of the acoustic range: to search and explore with un-, over- and transdisciplinary methods as a performative self-experiment and with a permanently self-modifying interest, that has no rigidly defined program. Composition is conceived as a finding with maximum attentiveness involving all affects of the perception process.
By means of the concept of the hearing in front of or behind the inner ear a »multi-perspectivity« is applied to the act of hearing – i.e. a sonic art that does not only take place in the ear, but that also makes use of intensive hearing and listening inwards and outwards. In order to achieve this »inter-est« is the matrix of reception in the future: As an artist I will have to ask myself to what extent I am able to invest my inter-est – understood as an intellectual effort – in a structural documentation of real and discursive sounds, for missed, unheard, and outrageous things. How far can we differentiate this inter-est?
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
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