BETWEEN MATTER AND VIBRATION
The festival Klangmanifeste – „sound manifestos“ – has been active in the field of sound art at the interface of media art, visual art and contemporary music since 2010.
The festival presents various works that deal with the materiality of sound in the border zone of visual and sculptural art, music, conceptual works and research.
It is located in areas where current music and visual arts overlap, complement, but also question each other.
The guideline of the festival´s program is to focus on the moment when oscillation gets into a physically perceptive event and approach this process in a visible, touchable, sensorable way.
Veronika Mayer | Turtle
Klangmanifeste is curated by Veronika Mayer
, Ulla Rauter
, Christine Schörkhuber
and Stefan Voglsinger
Verein Klangmanifeste | firstname.lastname@example.org
Klangmanifeste take place in cooperation with the e c h o r a u m
More than networks – Manifestations of nodes in sound art
KLANGMANIFESTE 2024 ~~~ OPEN CALL until October 31st 2023
Send your applications until October 31st, 2023 to email@example.com (max. 1 A4 page).
Convinced that art is never created in a vacuum, but is always a synergetic process of countless influences, moments of inspiration, connections to existing and non-own things, we are dedicating this year's Klangmanifeste – „sound manifestos“ – to the theme of nodes in sound art: the volatile and solid connections and their manifestations - between human and human, between human and material, between human and machine, and so on. On the one hand, we focus on interpersonal collaborations in sound art: the possibilities and enrichments, but also the challenges and the potential for conflict that come with different approaches and how this is creatively used and transformed by the artists. In parallel, we want to show works that emerge from the cooperation between humans and machines, with deep learning techniques amongst others. Neural networks are currently also becoming increasingly present in sound art - we openly and critically question their role in sound production, live performance and their staging as a form of algorithmic co-authorship.