About the participating artists:

Friday September 21st, 2012

Pangea (ES)

Juan Antonio Nieto (aka Pangea) is a sound artist from Spain, whose work has been released by different labels such as Trente Oiseaux, Mandorla, Experimedia, Electronic Musik, Impulsive Habitat, Idiosyncratics, Amp-recs, Test Tube. Pangea has collaborated with some of the most prestigious avant- garde artists of the world examples being Brazilian classical composer Leo Alves Vieira working with string quartets, the Japanese author Kenji Siratori who has voiced his compositions and Igor Jovanovic. His release with David Velez was considered the best album of 2007 by the journal Earlabs. His music has been included in art installations in the Circulo de Bellas Artes de Madrid, the Cultural Center of Spain in Buenos Aires, Festival Fuga lab, Cinetone and the Abstracta cinema festival of Rome.

Juan Antonio is also member of Freddy Moulard's Hypermodern group. A free improvisation project that includes artists like Frank Vigroux, Le Quan Ninh and Han Bennink among others. Pangea has performed in several european and american cities.



MAD (Michael Fischer, Alessandro Vicard, Didi Kern) (AT/IT)

Michael Fischer: tenor saxophone, voice Alessandro Vicard: double bass, processings Didi Kern: drums, devices

Michael Fischer works on the interfaces between Improvised Music / New Music / Noise on saxophone, violin, instant composition conductings and soundscape works. He also conducts research concerning the immanence of language and their syntactics and explores feedback cascades since 1999. International collaborations, concerts, radio work, festivals in Europe, Japan and many other countries with musicians such as John Edwards, Hilary Jeffery, Mark Sanders, William Parker, Irene Schweizer, Daisuke Terauchi, Ken Okami as well as with artists/collectives as Eileen Standley, Gerhard Ruhm, Marc Adrian, Petra Ganglbauer, Dmitri Prigov, Gerhard Jaschke, baby- dance Q Comp. Tokyo, The Meeting Point Amsterdam inter alia Foundation of the Vienna Improvisers Orchestra 2005; instant composition conductings for Orchestra / Chorus in Spain, Italy, Germany, Liechtenstein, Japan, Netherlands and Austria.


Alessandro Vicard studied double bass in Italy with Corrado Canonici and Wolfgang Guttler and graduated in 1997 at the Institute of Music G. Rossini in Pesaro. In addition to classical studies, Vicard is also interested in contemporary music, jazz, improvised music and composition. Collaborations with Giancarlo Schiaffini, M. Riessler, M. Rabbia, Barre Phillips, Gianni Gebbia, Elio Amato, Saskia Boddeke and Peter Greenaway (Expo Zaragoza 2008). Works for theater, orchestra, and film. With the Brigata Sinfonica he tours in Asia and Europe.


Didi Kern is a musician between rock, free music, techno. He played drums since his childhood; first in west-austrian marching bands, before he was known in the 90's mainly for his roles in bands like Bulbul, Pest and Fuckhead. He is a member of Wipeout, Broken Heart Collector and other bands. Guest performances and tours have taken him to England, Spain, Japan, Australia and the USA. Besides his work as a drummer, he also works in the field of electronic music and is also an internationally famous DJ.

Didi Bruckmayer + Bernhard Loibner (AT)

The starting point for the performance of Didi Bruckmayr and Bernhard Loibner is the human voice – respectively the way Didi Bruckmay uses it. In 2009 he attended a weeklong special training in Rome. He learned to enter a state of trance, free of fears and constraints, following his intuition, where he is able to subconsciously sing and act. He talks and sings in peculiar languages, crosses subconscious acoustic landscapes, without any sense for space and time.

Bernhard Loibner picks this raw material up and tries to re-contextualize it. Utilizing his custom computer instrument the voice gets processed, alienated, decelerated, accelerated, fragmented, destroyed, newly assembled and distributed to several speakers. The output of this sonic particle accelerator itself is the base for Bruckmayrʼs further vocal activity – a musical-cybernetic system with an uncertain end.

This tour along the verge of the musical spectrum is supported by the visual intervention. Sound and visuals together form an expression and effective instrument for a tour across the edges of the human mind. Thatʼs where uncertainty is waiting.

DIDI BRUCKMAYR - biography
PhD in economy. performance and multimedia artist, actor. Touring the international clubs and festivals solo or with his performance group Fuckhead since 1985 (Siggraph, Club Transmediale, Ars Electronica, Wien Modern, Meltdown etc.).


Composer, electronic musician and media artist from Vienna, Austria. His musical compositions are characterized by the use of live electronics and computers as unique instruments based on custom software. Releases on Vinyl, CD and DVD. Throughout the last 15 years numerous live concerts, performances and screenings all over the world.

Tattered Kaylor (AU)

The official european release presentation of MOOZAK #005 (Tattered Kaylor - Selected Realities) will be held at the second edition of MOOZAK FESTIVAL on September 21st, 2012. Tessa Elieff aka Tatterred Kaylor will present a special 5.1 surround sound concert which will definetly sharpen all listeners perception. MOOZAK #005 (also available as a bundle with the 2 day festival pass!) - and all other MOOZAK/KAZOOM releases so far - will be available at the festival's merchandise table.

Tessa Elieff's work stems from her fascination with our sonic environment. Her live performance explores relationships between sound, space, time and perception via processed field recordings and multi-speaker systems in custom surround sound formations. Methods utilized in her work draw on concepts of the Acousmonium, with favoured tools for sculpting sounds including architectural cavities (manmade and natural), sonic/spatial memory, concrete, steel, stone and controlled systems of diffusion.

As curator, Tessa has directed and organised a number of events dedicated to Sound and New Media Art. These events have included collaborative works between professional and emerging Australian Sound Artists, live acousmatic concerts, New Media Art showcases, master-class workshops and temporary inner city workspace sound studios.

In 2011 Tessa received the Inhabit International Residency from Punctum Arts and Arts Victoria, to work and research at the "Abbaye de Noirlac" (France) (http://www.abbayedenoirlac.com/). In 2010 she received the Seed Pod sponsorship and Live Arts Incubator from Punctum Arts, whilst also being invited to direct and curate for Australia's esteemed Sound Arts Festival, 'Liquid Architecture' (http://www.liquidarchitecture.org.au/).


The Oscillation (GB)

Veering between krautrock edginess and bittersweet pop melancholia, droning medicated tones and noise driven no wave fuzz, The Oscillation recalls the kosmische musik of Neu! and Tangerine Dream interpreted with an eye on Pilʼs dubbed out punk funk, Miles Davisʼ experimentalism and Spacemen 3′s strung out blues rock.

Beginning in 2008 as the solo project of Demian Castellanos, when DC Recordings released the debut "Out Of Phase", The Oscillation quickly expanded into a formidable live force. The enlarged ensemble has featured numerous different musicians plus the live visual manipulations of film maker Julian Hand.

After a long period of touring and journeying through sonic wildernesses the band released "Veils" in 2011 on the DIY All Time Low imprint. The period following this has seen them in the ascendancy, honing their live shows and sharing stages with the likes of Silver Apples, Trans Am, Wooden Shjips, The Legendary Pink Dots, Moon Duo, Zombie Zombie, Beak, Anika and many more, which more or less brings them to the present – a fiercely independent musical force who are gestating their third album and preparing further excursions into their own unique spectrum of sonic experience.

On June 20th, 2012 The Oscillation plaid their very first live show in Austria at the 57th edition of Klub Moozak at Vienna's Fluc. Now we are happy that they gonna return for another psychedelic live extravaganza for the second edition of moozak festival, which is held in an old viennese cattle hall (Rinderhalle Neu Marx)

"A vast shiny beast of hypnotic, gig-shaking rhythms and riffs" MOJO
"This really shouldn't work, but its fantastic..." The Guardian
"In a related story my cat just became a mother of five." Lowdown (Album Of The Issue)
"A shimmering, shoe gazing, underground classic" DJ Magazine
"Hello new addiction" Vice Magazine

https://www.facebook.com/pages/The-Oscillation/46018979976 http://www.discogs.com/artist/Oscillation,+The

A Nurse Called Mike (AT)

Michael Giebl aka A Nurse Called Mike contributes to the Future Echo clubnights, the Vienna Decay network and the skug magazine.


Saturday September 22nd, 2012

Lasse-Marc Riek (GER)

Soundscape Rhine - From the source to Karlsruhe

The Rhine and its surroundings were and are available as an integral composition. Over the past three years Siefert and Riek recorded the sound of the Rhine at different locations and seasons acoustically and visually. Each unique landscape produces a sound, whether over or under water. The Rhine sounds not only like water that is flowing and standing, the Rhine also sounds like animals and humans who live, work, move and rest near the river. In addition to the sound of the present, Riek and Siefert were also looking for the sound of the past: Hearing back in something which lasted, pre listening in what is about to come.

From this context, the debate of spatial sound and the sound of the Rhine itself arose. Lasse-Marc Rieks formal access to the soundscapes intends to put himself as an artist behind the recordings made, not before them. The focus of his artistic practice is the unedited audio recording of a particular situation.

Basically, the recorded raw material is at the same time the finished work of the artist. Therefore the focus of the work of Lasse-Marc Riek shifted to the secluded conceptual planning.
Questions arise of what is recorded how and how the recorded material is presented to the audience. Thus, auditory characteristics of different places that are usually ignored, are made present and possible to experience by contrasting the sound recordings. The advanced technical equipment makes it possible to record sound(scapes), which cannot be perceived by the human ear. With the help of ultrasonic sensors, underwater- and directional microphones, people a made aware of not only their auditory environment but also of their non-auditory environment. These tools allow Riek to make sounds to be heard, which were yet unheard by a broader public and to experience our acoustic environment from an unknown site. In this case, the nature of an approximately 1233 km long river in Germany.

LASSE-MARC RIEK - biography
Lasse-Marc Riek, born 1975 in Germany, uses different forms of expression in his producing. His works are interdisciplinary and can be conceived as groups of works of both visual art (action and conceptual art) and sound art. His art of sound can be described in terms such as ʻacoustic ecologyʼ, ʻbio-acousticsʼ and ʻpublic recordingʼ. Here, Riek uses acoustic field recordings, storing them with different recording media, editing, archiving and presenting them in different contexts.
Riek also founded the organisation "Gruenrekorder" with the aim of promoting experimental music and phonography. Beside more than 100 official releases, Gruenrekorder also organises events, lectures, publications and exhibitions as well as special artistic projects.


Wolfgang Fuchs (AT)

A pseudo-acousmatic shadowplay by Wolfgang Fuchs that re-animates the seemingly dead laptop-mono-culture with self irony and boredom, at first sight.
This very special performance is ment for contemporaries willing to sharpen their senses for some basic and nice acoustic adventures. It's a carneval for both the ear and the eye.

WOLFGANG FUCHS - biography
Fuchs started using recordplayers as live-instruments in the late 90s after some
intense years playing electric bass in the fields of crossover-rock. The birth of the improv-duo "das fax mattinger" - together with Alex Wallner on guitar - and moving from Linz to Vienna right after the millenium-turn pushed the active and passive experience with "new" music in all terms.
First onstage-confrontations with e.g. Arnold "noid" Haberl, dieb13, Noel Akchote, Michael Fischer, Hannes Raffaseder were established, gigs at several venues and festivals followed, including Kaleidophon/Ulrichsberg, Konfrontationen/Nickelsdorf, Turning Sounds/Warsaw, Transart/Bolzano, Komponistenforum/Mittersill, Phonotaktik/Vienna, Saptamana Muzicii Contemporane/Bucharest, etc.
The introduction to the world of contemporary composer bernhard lang opened the doors to concert halls, highlighted by the successful performance of the music-theater-pieces "I Hate Mozart" and "Montezuma".

(Co-)Releases include CD(-R)s, Cassettes and Vinyl on labels like Col Legno, Entr'acte, Longbox Recordings, Interstellar Records, Transacoustic Research, Klanggalerie, Einklang Records.
Currently living, loving and working in Linz.



Hatori Yumi (IT)

RawData (a\v performance, length: 28 minutes)
Every moment of our own life is immersed in noise. We can be disturbed if we are not paying attention, but at the same time an interest can arouse in us. In "RawData" noises and sounds are generated from images, text or any file that you can find inside a PC. The sounds are processed and combined together to create rhythm patterns and unusual sounds. The architecture of sound does not comply with formal written laws and tries to dissolve in a continuous abstract research.

HATORI YUMI - biography
Hatori Yumi was born in 1984 in Palermo where he lives and works. He studied Music History and has graduated with a thesis on the "Sound structure of Euripideʼs Bacchants". Furthermore he is completing his studies in musicology in Palermo. His master thesis investigates the possibilities of interaction between soundscape and new technologies.

Yumi evolved as a bassist and guitarist in different bands - from noise-rock to electro-punk outfits - before buying a midi-controller and moving on to electronic music.
Beside having organized several important events, including the international festival MainOFF, he is part of BrusioNetLabel (http://www.brusionetlabel.net/), a well known label for experimental music from Palermo.

Yumi took part in various national and international festivals for electronic and electro-acoustic music:
LPM 2011, Live! IXem2011, PuntoyRaya Festival, the Flussi Festival and InTouch Festival sharing the stage with artists like Kangding Ray, Stephan Mathieu, Marc Behrens, Oval and many more.


Electric Indigo (AT)

RRHONFEER-RRHEFNEOR – a piece on language and space
Based on her composition for hoergeREDE series in May 2012, Electric Indigo will deconstruct passages of Valerie Fritsch's text "Die Fernrohre der Träumer" and reassemble derivative sounds made entirely from the author's voice reading her own words. Beyond that, she will record the specific reverberation of the space where the piece will be performed and use these recordings to build chorale layers as an enhancement and reflection of the location's acoustical properties. The deliberate spatial placement of the musical elements using 5 channels is a constitutive criteria of this composition.

Electric Indigo, DJ, composer, musician, has performed in 35 countries across Europe, Asia, and the Americas. Her name stands for the intelligent and discrete interpretation of Techno and electronic music. Her distinguished DJ- sets are characterized by a wide variety with a clarity of vision, and a depth that only comes from a deep understanding of the music and the art of the DJ. As a composer and musician, she emphasizes the spatial-temporal placement of subtly textured sounds. She received the "outstanding artist award Musik 2012" in the field of electronic music and computer music from the Austrian Federal Ministry for Education, Arts and Culture.

Currently, Electric Indigo works on two new EPs with her fellow Irradiation for TEMP-Records and prepares two new works, one of them together with Burkhard Stangl, for Wien Modern in cooperation with e_may Festival in October 2012.

Electric Indigo started her DJ career in Vienna 1989 and lived in Berlin for three years [1993-1996] to work at the legendary Hard Wax record store. In those years, she also began to produce her own music, first releases came out in 1993. In 1998, Electric Indigo created female:pressure, an international database and network for female DJs, producers, and visual artists in the fields of electronic music that was awarded with an honorary mention at Prix Ars Electronica 2009. In 2002, she discovered her passion for experimental music and started to play live. Meanwhile, she gives concerts in the realms of avant-garde as well as club music. Institutions like the University of Music and Performing Arts Vienna, the University of Fine Arts Vienna, and the University of Applied Arts Vienna commonly invite Electric Indigo as a guest lecturer. She presents a monthly live DJ mix for http://rts.fm/.

Important works in recent years comprise compositions for the Austrian pavilion at the Expo 2010, for the theater play "Das kleine Zimmer am Ende der Treppe" 2011, her 4 channel piece "Structuring Contours" – premiere at Klangspuren Festival 2011, her first multi-channel sound installation "Vibrate Space" at Coded Cultures Festival 2011, and the 5-channel-composition "Die Fernrohre der Träumer", performed together with author Valerie Fritsch at hoergeREDE Graz, Austria, in May 2012.


Fiium Shaarrk (UK/AT)

Fiium Shaarrk is a brand new trio featuring the mesmeric drumming of Rudi Fischerlehner, the virtuosic talents of percussionist Maurizio Ravalico and the electronic wizardry of Sam Britton (aka Isambard Khroustaliov) of electronica legends Icarus.

Fiium Shaarrkʼs forthcoming debut album, No Fiction Now!, is a tour de force of intense, dynamic percussion, cerebral dance influenced rhythms and vivid, colourful electronica. No Fiction Now! is a fascinating and visionary collision between the fragile, visceral textures of Warp electronica legends such as Autechre and Aphex Twin, the groove led, percussively dynamic explorations of boundary pushing rock acts such as Battles and Health and the wayward, maverick intensity of 20th century composers such as Xenakis and Stockhausen. Fiium Shaarrk use rhythms from across the world, from dubstep to maracatu, jungle to house, FS fuse seemingly disparate influences into a rich tapestry of modern, drum led electronica.

Akin to the world beat, post jazz musings of fellow experimentalists Four Tet and Caribou, the music of Fiium Shaarrk is simultaneously hypnotic, engaging, beguiling and dance-able. No Fiction Now! is one of the most significant albums of its kind of the last decade.
No Fiction Now! was recorded almost immediately following a week of intense rehearsals in a spooky, half abandoned studio in Berlin. A collision of structured improvisation and wild, free form, groove led sound collages, NFN! is a musical whirlwind of spontaneous creativity that was only possible after years spent by the players perfecting their craft.

No Fiction Now! was recorded and produced using bespoke beat detection and triggering software built in MaxMSP which enables computers and human played percussion to interact in a complex, bi-directional manner, circumventing the need for click tracks or standard pulses. The machines move with the drummers.

No Fiction Now! will be released in autumn 2012 as Limited Edition CD & Digital Release (NOT024) by trailblazing London based experimental/ambient/electronic/nu jazz label du jour Not Applicable (http://www.not-applicable.org/).

FIIUM SHAARRK – biographies
Isambard Khroustaliov is the solo alias of Sam Britton from the electronic group Icarus. Sam trained as an architect at the Architectural Association in London, but took up music full time after securing a recording contract as an undergraduate. Since 1997 he has recorded and released music for a number of independent electronic music labels in the UK and the US (Output Recordings, Temporary Residence, Domino and The Leaf Label) and continues to perform as Icarus (with Ollie Bown) all over Europe. His interest in the relationship between electronic music and instrumental performance has led him to study at IRCAM, undertake a PhD withRichard Barrett and pursue research in residence at STEIM.

Maurizio Ravalico has been living and working in London since 1991. His list of collaborations is probably the best index of his eclecticism and versatility as a percussionist; among them: Jamiroquai, Paul McCartney, Jesus Alemani, Snowboy, Alex Wilson, Dennis Rollins, Greg Osby, Kaidi Tatham, Dego McFarland, Finn Peters, Dele Sosimi, John Edwards, Steve Beresford, Oren Marshall, Shabaka Huchkins, Andrea Parkins, and the choreographers Lea Anderson, Bill T.Jones, Maja Garcìa and Jane Turner. A long-term collaborator with Isambard Khroustaliov, with whom he has released two duo albums, he is also an intermittent presence in the improv and experimental music scene of Berlin, where he has spent a fair deal of time in the last few years. Most of his recent works were released on Not Applicable.

Rudi Fischerlehner works as a drummer and composer in the fields between rock, jazz, improvised and experimental music and performs regularly with his bands Blisk and Rupp/Müller/Fischerlehner. He is also involved with artists as diverse as Pinx, Erste Stufe Haifisch, Peter Van Huffel ́s Gorilla Mask, Andreas Willers, Dominique Pifarely, Tom Arthurs and Bonaparte. Projects in which he features are often invited to important festivals and clubs worldwide and featured on radio programmes such as Ö1, BBC Radio 3 and Deutschlandfunk. He has also produced soundtracks for films by Johanna Kirsch, Katrin Plavcak, Helmut and Johanna Kandl, which are regularly shown in galleries and museums all over Europe. He lives in Berlin and Vienna.



Exhibition Area (fridays & saturdays from 7pm)

Albert Gerlach (AT)

Many long nights on countless techno events in the early years of the 1990s and a group of friends who worked as djs and promoters led Albert Gerlach to the idea of visual spatial installation of clubs and parties with slides. Although the equipment was state-of-the-art, it was a time-consuming task. In Photoshop, there were no layers, it all happened in one layer working with copy and paste. Applying filters sometimes took minutes before you could see the desired result and with simple twists of an image section you could watch the computer working while the selection is built line by line. Finally the process of exposing the slides occupied the computer completely and took at least 30 minutes per slide. With a borrowed pseudonym of William Gibson "Yonderboy" Albert Gerlach found himself again on numerous flyers and related events. As resident "visualist" on the legendary "Ultimate Rave Experience" parties by DJ Gerana through various Afterhours to illustrious semi-legal events in multi-purpose halls and former stables in the province. Techno was a very colorful culture and so are Albert Gerlach’s slides that present an authentic image of the austrian visualist scene in the early 90s.

Ambient Art Lab (AT)

La Linear (2010)
La Linear is a simple drawing application that produces image “topographies” in real-time. Like wind that blows over an empty surface, an image is revealed step by step by hundreds of simultaneously moving lines. Depending on the given image contours, waveforms and swirls combine into an abstract picture. It is a graphical tool with a strong improvisational and explorative touch, that allows the user to playfully manipulate, transform and interweave images. La Linear works as a generative real-time application that processes different sources simultaneously and allows for a wide range of choices to select motives and create images.

Broken Land (2012)
Works by a Tibetan yogi inspired Philip Glass (US) to compose his “Songs of Milarepa”. For the work “Songs of Milarepa” we developed a sound visualisation called “Broken Land”, that creates a virtual, three-dimensional scenery, reacting to sound in real-time. Continuing and extending former projects, Broken Land aims at extending the pure, abstract play of forms and colors, constructing connections between abstract and figurative aesthetics. The work presents a landscape in constant flux, in a way an ‘other space’ which is full of motion but at the same time transmitting familiar, intimate spatial structures to the spectator.

The ambientartlab is a collective of artists and designers from media arts, architecture, and experimental sound and space research. Extending over several years the aal artists developed audio-visual installations and performances in a dialectical creation processes. The main theme of their works is to react and interact by visual and acoustic means with the visitiors and the given location to establish an intimate dialog between art piece, audience and space. Exhibition participations: Ars Electronica, Künstlerhaus Vienna, Design Cinema Istanbul, SIGGRAPH Computational Aesthetics Canada and Generative Art Conference Milano.


Andreas Trobollowitsch (AT)

spatial sound installation

"minigit" is a spatial sound installation for four acoustic guitars hanging on a wall. Four converted ventilators which use cello-bow hair instead of propellers set the strings into oscillation. Due to a different speed of each ventilator the patterns will change permanently. Soundscapes arise through the soft, smooth picking of the guitar strings by the circling cellobow hair, the permanently modifying overtone layers are reminiscent of an electronically generated sound aesthetic.

Andreas Trobollowitsch is a Vienna based electroacoustic musician, composer and sound artist. He studied musicology and temporarily jazz in Vienna and Paris. In his works he uses mainly tapes, no-inputmixer, objects, prepared musical instruments and field recordings. Recently he is focusing on soundinstallations and conceptual compositions.

Since 2007 he is working together with Johannes Tröndle as nörz. CD-releases on schraum (Berlin) and Monotype records (Warsaw).He toured and performed in Germany, Austria, Belgium, France, Spain, Portugal, Chile, Argentina and China.

Arne Langleite & Dorina Dobnig (NO/AT)

installation: Dorina Dobnig (AT)
in cooperation with:
picture: Arne Langleite (NO) soundscape: Gerald Krist (AT) dance: Kristian Alm (NO)

"7th day of my stay in prison Møllergate 19. Thursday, february 10th.
Two interrogations. Whiped. I have betrayed H. I am weak. I have a sheer terror of pain. But no fear of death.

February 1944.
Left to himself and his inner torments, the Norwegian resistance fighter Petter Moen attempted a search for meaning. With the limited resources available to him in solitary confinement in the notorious police prison Møllergaten 19, he begins to write to keep his tortured thoughts in check and understand what is happening to him.

Point by point letters, words and sentences arise, with unbelievable patience engraved with a nail in toilet paper, each sheet carefully numbered and hidden in the ventilation shaft. Petter Moen's diary, found by chance after the war during the demolition of the cell block and released as a testimony of one of countless individual stories, mercilessly reveals the secret thoughts of a man in utter despair.
What remains is flotsam and jetsam of the past.

Half installation, half dream landscape, "autogamy 1" covers the boundaries between infinite inner worlds and the limited finite space which keeps us. The single cell, which is free of the built structure, keeps the scene of Petter Moen's inner world of experience hidden in its gloom. The human being Petter Moen however, is only to be sensed shadowy as compacted and fragmented movement in the room and merges - caught forever - with the absolute space of the cell.

"The enemy wants the spirit to die in a single cell, but the spirit fertilizes itself and survives. The body, however, ... "


Bartholomäus Traubeck (AT)

Parallel Expedition.
The videoloop is a recording of a virtual and parallel expedition to both the geographic north and south pole undertaken via the computer on my office desk. Being online not only gives me the feeling I can go anywhere in the world in a blink of the eye but it also creates the illusion of ubiquity, enabling me to be everywhere at the same time. Yet there is no location on the whole planet I spend more time in than in front of my screen, while the earth's digital representation and the modes of interacting with it are far from perfect and focused on small, highly developed areas. When a Google Street View car for example drives by my house and digitizes the neigbourhood it draws heavily on pre-existing, localized infrastructural networks like roads, power grid, pipelines etc. which were all built by people spending big amounts of time on their construction. The internet itself in fact relies on these same infrastructures, a fact which resurfaces into common perception every time an intercontinental deep sea cable is being damaged cutting off the internet connection of whole countries. So this illusion of ubiquity and losing yourself on the internet actually relies on physical objects and people being in exactly one certain place at a time.

1987 Born in Munich
2007 - 2010 Bachelor of Arts in Multimediaart, University of Applied Sciences Salzburg
Since 2010 MA Student in Visual Communication at University of Arts in Linz Since 2012 MA Student in Networked Media at Piet Zwart Institute, Rotterdam

Grants, Prizes and Residencies:
Artist in Residence at Subnet, Salzburg, 2009 Artist in Residence in Paliano/Italy, 2011 (Salzburg Foreign Studio Grant)
Artist in Residence at Subnet, Salzburg, 2012 Salzburger Landespreis Medienkunst 2010 (Salzburg Media Art Award 2010)


Hui Ye (AT)

Hui Ye was born in 1981 in Canton / China, and began to study composition at the Xinghai Music School in 1997. In 2000, she moved to the Xinghai Conservatory in order to study electronic music and composition. Since 2003 she is living in Vienna. First, she started to study composition at the Vienna Conservatory under Prof. Wolfgang Liebhart. In fall 2004, she finally began to study composition at the University of Music and Dramatic Arts in Vienna. In 2006 she completed the first stage of study with honors and began her second period of study in the direction of composition and electroacoustic composition in the class Müller-Siemens, Dieter Kaufmann, Toro-Perez and Karlheinz Essl.

In 2007 she was awarded the Theodor Körner Foundation. She is currently working as a composer and electro-acoustic musician and has her main focus of life in Vienna.


Ivo Francx (DE)

Born 1986, 2007 studies at MultiMediaArt FH Salzburg, 2010 studies of Media Culture and Art Theory at Kunstuniversität Linz



Matthias Meinharter (AT)

Matthias Meinharter (born 1971 in Vienna, since 2003 freelance artist with an atelier in Vienna) works in different art-projects (e.g. "the vegetable orchestra" and "the institute of transacoustic research") since more then 10 years. He is also doing exhibitions and conceptual studies. The heterogenic background (industrial design, performance, anthropology and art) is influencing the results of his project-oriented art positively. Installations, mechanical objects, sound generating machines, photos and videos, paintings and drawings, acoustics and performances are fixed elements of his work.


Peter Moosgaard (AT)


Stefan Geissler/Walter Seidl/Elfriede Jelinek (AT)

"Untitled (Galotti)" is - after "FLUCtuate" and "beyond darkness" - the third work of the collaboration between stefan geissler and Walter Seidl. Based on a slide-show created by walter seidl on the occasion of a new staging of gotthold ephraim lessingʻs "emilia galotti" at schauspielhaus graz in 2004, the work has turned into a photo-sound-installtion with additional text and voice- over by Elfriede Jelinek and music by Stefan Geissler. The original b/w slide- show-installation is dealing with various forms of "staging reality." The idea, which developed in the course of the project, was to react on the production of the play and its staging by swiss director Gian Manuel Rau. Starting with photographs from the rehearsals and the specific adaptation of a historical play in the present, the slide installation features the parallel universe of a narration, which derived from the contents of Lessing ́s play and the contemporaneousness of a theatrical and personally lived reality. Apart from the actors in the play, the main protagonists in the photographs are friends, whose social environment has been transformed into a stage set, and their actions synchronized in accordance with the issues raised in Lessing's play. The director's decision to include a monologue on Emilia Galotti by Elfriede Jelinek also transcends into the artistic work and its reflection of the represented female characters. Parts of the soundtrack of "untitled (galotti)" can be found as a track of its own: "sequenz 03" on the various-artists's- compilation "klingt.org: 10 jahre bessere farben" released in 2010.

photos: walter seidl
voice-over: elfriede jelinek
music: stefan geissler
production: stefan geissler, walter seidl

Stefan Geissler, who lives in Vienna, is a musician, dj and collaborator of several visual artists. Walter Seidl is an artist working with photography, a curator and a dj. He lives in Vienna.


The Joseph Lai Orchestra (AT)

an audio-visual assemblage of objects, planned and played by the joseph lai orchestra

The Joseph Lai Orchestra was founded in 2006 on the japanese island rebun by Noboru Watanabe and Albert Allgaier. Since then they played various shows in alternating casts, eg. in a zen monastery in Vietnam or in a sweat lodge in Mexico. In 2011 their album ""Tage ohne Sonne (Meiyou ayank de rizi)", a homage to Godfrey Ho, was released.


Thomas Wagensommerer/Malin Schoenberg (AT/DE)

Produkt. Über. Juni Kommentar
Yes, it may be interesting, that this is like this. Some people speak of it, that all this happened on purpose. And that it is intentionally staged. And here it gets more interesting. How can a text have no content? It is asserted in this case. He may indeed have no content. The content would only distract. But now the text consists of a sequence of strings, grouped to words and phrases, and still follows a certain grammar. And also partly syntactic rules. He needs to be. Otherwise, he was losing the attribute "text" and there is only a graphic expression. The etymology of "text (textum)" as the tissue is already a dependency of the / r element (s) / s to, and anticipate the crowd. "This" element, however, can in the amount of "text" does not make that easy. Is it the point? Is it the syllable? Is it the word? It is the sentence? Yes, it is all of that. And it is also much, much more. It is an element of the quantity of "text" at a certain time of observation of the expression. An expression can be a letter, a word and a phrase, and a phrase or a paragraph. Even abstract symbols outside of the alphabet can be an expression. Punctuation marks can change in their expression. It is important that the expression – one could use "meaning" now - is not transformed by the punctuation. But the punctuation is an initiator of the car transformation of the element itself. This is due to the sequential reading, which is fundamental to all alphabetic writings. Obviously it is also possible to understand that expression through a verbalized form. This illustrates very well the trickily differente quality of language and writing, which is being trivialized by its often synonymous use and collapses in a consensus-like consistency. And exactly this quality is treated in this project. This happens through an analysis of the expression and significance of a blind/dummy text - apparently meaningless and simply interpreted in terms of its formal composite - dummy text.

To introduce a new - very important and often badly treated - parameter of text interpretation, the dummy text in its verbalised form gets frequency- analysed, especially concerning the composition of formats.This analysis can not only be considered as an approach to the interpretation (if it were not an original!), but also draw a conclusion to the text itself.

The translation creates self-related words (groups) constellations, which are usually following grammatical and syntactical structures. In contrast, the semantic composition, especially in its translation is an absurd majority. To enhance this cryptic absurdity and install a higher level of artificiality, the text is transferred through an automated (therefore self-thinking and interpreting!) translation application. The verbalizing happens also by synthesizing the language. From these two artificially generated materials, an entanglement of language and writing flows into a real-time operating, generative projection. This leads – with the help of a content-sensitive design of writing on one hand and control parameters obtained from the synthesized speech - to a transfer into another time-based media.

Thomas Wagensommerer lives and works in Vienna. Studies of digital media technology at the Institute for Media Production, in philosophy at the University of Vienna and the transdisciplinary art (Trans Arts) at the University of Applied Arts. Working as medi artist and musicians to positions of man / machine / time / space / form relationships in installations, as well as performative space. Exhibitions / performances / participations at ZKM Karlsruhe, Ars Electronica Festival Linz, Donaufestival Krems, MAK Vienna, Darmstadt summer courses, Ö1 Kunstradio, Schikaneder Vienna, Medienkunstlabor Graz, Diagonale Graz, Sophiensäle Berlin, Künstlerhaus Vienna, Vienna Independent Shorts, etc. Tutor for Experimental Media at the Institute Creative \ Media / Technologies.


Malin Schoenberg lives and works in Vienna. Study of graphic design, sculpture and multimedia at the University of Applied Arts Vienna, and for the master class at the College for Illustration Arts Leipzig. She works as a sculptor and comic book writer. Exhibitions: Linz 09, fotok Vienna, MAK Vienna, Schikaneder Vienna, Vienna Kunstbuero Gallery, Free Museum Berlin, Vienna 21er Haus, etc. Publications: The Cell 2008 Vienna, Vienna Salon 15 Soybot Vienna, etc.


Uli Kühn (AT)

Uli Kuehn aka gedi aka analogsat is finding his musical roots somewhere between the Vienna Vegetable Orchestra and repetetive techno-patterns. Beside various audio- and video-projects with the label and club-hosts "moozak.org", with "sixpackfilm", laptopkombos and group works with "Gommoral", Thomas Wagensommerer or turbotrixi, his solo-projects are all about unconventional instrumentations and circuit-bending. In these performances, shows or installations MIDI-controllable power-strips, altered children-instruments, drilling machines or Carrera highways are brought to their sonorical boarders and beyond.

Exhibitions/Live-Concerts/Performances e.g.
sound:frame Festival 2008/09, Fluc, Kunstverein Ettlingen, brut / sauna08, Klangpark Ars Electronica 2008, Ars Electronica 2009, WUK, maknite, röda, klub moozak, Art ́s Birthday 2009 on Max Brand Synthesizer, Parque del Sol Festival St.Pölten 2009-2011, Faktum Flakturm, Mobile Museen Berlin, Tonspur1 Museumsqurtier, Urban Art Forms Festival, kunsthalle project space, Lentos, Ö1 Kunstradio...


Veronika Mayer (AT)

Sand. sound installation (2011)

Time is a basic construct that is essential for developing, forming and perceiving sound and noise. Without the factor of time, sounds and noises cannot be experienced as a unity or in the entity of their being and their characteristically morphological elements.
The sandglass as an instrument for the measuring of time, has a fixed and predetermined time duration. The process of the elapsing time becomes visible by the movement and shifting of material. The changing of position of shifted material generates a sound that corresponds in its duration exactly to the specific time value of the calibrated sandglass.
By means of amplification, this sound installation turns sandglasses into sounding objects. The sandglasses have various time durations, trickling different materials and therefore have different inherent sounding results. By the simultaneous and consecutive turning around of the sandglasses a multi- layered trickling sound experience builds up, mixes and disappears again in a temporal as well as acoustic standstill.

Veronika Mayer is a composer, sound artist, musician, born 1977 in Vienna. Instrumental and electroacoustic works, sound installations, improvisation and live-electronics. Mostly working with the inherent, natural sounds of various objects, hardly perceptible sounds and the possibilities of making them audible. Commissions by Wien Modern, Jeunesse Wien, Platypus and other festivals for contemporary music.

Exhibitions and concerts: Sound Barrier Festival, impuls Minutenkonzerte, Klangmanifeste, Jennyfair, Reheat Festival, Vienna Roomservice Festival, Jeunesse fast:forward. 20:21, Wien Modern, Festival shut up & listen, Das kleine Symposion, V ́elak Gala, acoustic fields festival, etc.
Studies at the University of Music and Performing Arts Vienna: piano, composition, electroacoustic composition, Elak.
Awards: Theodor Körner Förderungspreis 2007, Startstipendium BMUKK 2011.