Ewa Justka is a polish electronic noise artist, hardware electronics teacher and instruments builder based in London.
Ewa has performed at Network Music Festival, Birmingham, UK; Supernormal Festival Oxfordshire, UK, Club Transmediale Festival, Berlin; Exploding Cinema, Goldsmiths College, London, UK; STEIM, Amsterdam, NL; Moving Forest, Chelsea College, London, UK; Colour out of Space, Brighton, UK; Beam Festival, Brunel University, London, UK; Cafe Oto, London, UK and more.

Ewa's Optoelectronic Noise Performance is an audio-visual live transmission of erupting current synchronized with fluorescent, throbbing light. The discordant signals generated by the obsolete electronics abruptly invade the body by surrounding it with dissonant frequencies and corrupted hard techno providing tangible, multi-sensory experience.

Duo with Lorah Pierre + Workshop

Colaboration of infamous Flensburg-performance-couple Kommissar Hjuler and his wife Mama Bär with Hamburg based experimental musician Peter Kastner.

Their act is a version of Throbbing Gristle's / COUM transmission's "something came over me" in German language as live-improvisation for distorted keyboard, electric guitar, contact microphones and installation of found objects, male and female voices.

Electro-acoustic composer / Sound artist
Junya Oikawa (b.1983 Sendai, Miyagi Japan) lives in Germany as a guest artist of ZKM.

Plastic Recollections 6

"Plastic Recollections series" is the sound project Junya Oikawa has started since 2004, to find various "sound world" produced from the noises of a single object, and structure them organically in the space. He has presented several compositions made with clattering sound of MD, noises of a piano, friction of a cement block, melting sound of polystyrene foams and so on.

This work was created for his solo-concert at the Fohhn IOSONO LAB with its 3D system, commissioned by Kunststiftung Baden-Württemberg in April 2015.

It is composed by the sound of a snare drum. Sound texture produced by the attack of this snare drum repeats both static and dynamic transformation instantaneously as if sound cells are split up in the space.

It is an attempt to redefine the relationship between the fragments of sound and development of the work as an organic structure to create spatial punctuation and paragraph in the form of sound, and arrange them in the stereophonic space of the Fohhn using IOSONO system.

This time he will perform the BLO using stereo mix sound.

Lorah operates as a mobile educator and technical demonstrator running workshops in hardware electronics.

Lorahs utilises experimentation within hardware electronics, centred on developing systems that expose technologies chemical and physical properties. feedback, manipulation and hacking results in the sonification and optical realisation of materials.

Lorah has installed and performed work nationally and internationally;[SPACE]/Permacultures, london, UK; Digital festival, brighton, UK; City of Women festival, ljubljana, slovenia; SUPERNORMAL: experimental arts and music festival, oxfordshire, UK; Colour Out of Space: international experimental sound festival, brighton, UK;Rhizome festival, bonn, germany; CTM festival, berlin, germany; Fort Process, newhaven, UK.  

Experimental Music Mash Up Mastermind, granular horror-rock-jazz- vocalist, founding member of the international noise-collective To Live And Shave In LA, Rope Cosmotology, Merkwürdig Riechen and lots of other projects (with Kevin Drumm, Aaron Dilloway etc.). Since he moved from Miami to Hannover Tom has released about 400 CDs by himself and others on his own label Karl-Schmidt-Verlag. Besides some books, tapes, CDs, "loop-diary" and a 72-CD-Box.

Began making music at nine - shortwave radio and turntable manipulation. (Just wicked child's play, but ideas quickly coalesced.) Joined an African-American funk ensemble at 13. Within minutes of his debut, received an ear-nuzzle and a beer. Hooked. Enrolled in an electronic music class at university in 1974; joined the staff of its radio station the same year. Initial electro-acoustic compositions recorded (often in collaboration with Don Fleming) in 1975. During off-hours at the station, emboldened both by the aesthetic promise of punk and Lee Perry's titanic Super Ape, subverted production facilities to create fractured dub versions of extant, "underdone" releases. Moved to NYC in 1977; kept eyes peeled. Migrated next to Athens, Georgia; formed Boat Of (1979-83). Moved to DC, resurfaced as Peach of Immortality (1983-91). Amidst turmoil, signed on with Pussy Galore (8/85 to 2/86). Initial TLASILA demos were recorded by TS in May 1990. Smith moved to Miami in 1991 and perfected the TLASILA template. Rat Bastard and Ben Wolcott were aboard by 93-94. Moved to Germany in 2008.

TROUM is a duo located in Bremen, Germany, established in early 1997. The two members "Glit(s)cH" and "Baraka[H]" were active before in the influential post industrial group MAEROR TRI (which existed from 1988 to 1996). TROUM is the old German word for "DREAM". The dream seen as a central manifestation of the UNconscious symbolizes the aim of TROUM to lead the listener into a hypnotizing dream-state of mind, a pre-verbal and primal consciousness sphere. TROUM uses music as the direct path to the Unconscious, pointing to the archaic "essence" of the humans inner psyche. TROUM tries to create music that works like a direct transformation of unconscious matter.

TROUMs compositions are influenced by post-industrial, dark ambient and minimal /drone-music.

Both members use guitar, bass, voice, accordion, balalaika, flutes, pipes, mouth-organ, melodica, gongs, field recordings, loops, pre-recorded-tapes and a diversity of sound-objects to build a kind of multi-layered and highly atmospheric dreaming-muzak. Their sound could be described as “dark atmospheric ambient industrial”, "transcendental drone" or just “Tiefenmusik”. TROUM doesn't work with synths, samplers or computer-soundsources, the sounds are created "by hand" to reach a broader sensibility. TROUM uses a spiral as their logo, expressing the trance-inducing potential of the music and the wish to reach inner, deeper spheres of the mind with it. Music seen as a door to unknown & alien dimensions with pre-verbal and pre-symbolic origins. Music as an expression of the mystery of existence itself: A tool for the eternal psychic renascence.

1982, 35/16 mm, color, 94 min., English/German dialogue

After Ulysses by James Joyce, The Odyssey of Homer, The Warp by Neil Oram. Team: Bernd Upnmoor, Birger Bustorff, Dore 0., Herbert Jeschke, Volker Bertzky, Gisela Schanzenbach. Astrid Nicklaus, Werner Nekes. Music: Anthony Moore, Helge Schneider, musicians from the Science Fiction Theatre of Liverpool. Cast: VA WölfI, Tabea Bloomenschein, Russel Denton.

"Nekes' films derive from and thrive on Art, set light, color, man and music in estranging motion and show disconcerting, stimulating possibilities for play. It is in experiments such as these that the language of film is developed." (Brigitte Jeremias, Frankfurter Allgemeine Zeitung, Oct. 14,1982)

"It is not easy to animate poetry visually since the fascinating Power of the imagination is all too easily numbed by pictures. Nevertheless, Uliisses is a masterpiece." (Doris J. Heinze, Oct. 1982)

Awards:

"Film of the year" (London Filmfestival 1982), "Goldener Filmdukaten" (Internationale Filmwoche Mannheim 1982), "Placa da Prata" (Festival Internacional de Cinema, Portugal 1983), Preis der Arbeitsgemeinschaft der Filmjournalisten e.V., 1983, Prädikat "Besonders wertvoll".

Der Film stellt den Einfluß und das Zusammenspiel von Natur und technologisiertem Neuzeit-Menschen dar, zum einen musikalisch durch die reinen Naturgeräusche, in die die elektro-akustische Musik eingebettet ist.
Es war für uns nicht so einfach, das vorgegebene Film-Material in den direkten Kontext zu bringen. Es zeigt ja Hans-Joachim hespos und Christoph Ogiermann in der Natur,, hier mal als "Park" angenommen.
Die Idee zum Gegenüberstellen von Natur und von Stadt kam mir, als ich im Wald gefällte und zum Abtransport bereit liegende Bäume sah.
Auf die Bäume waren Zeichen und Nummer gesprüht, das empfand ich als eine Art NACHRICHTEN DES WALDES, rein Subjektiv. Diese Zeichen (oder besser landwirschaftlichen Kennzeichnungen ) sind am Ende des Filmes auch immer wieder zu sehen.
Zum anderen sah ich die Verbindung zwischen abgelegenem Wald und der Stadt (als neuzeitlichem Wohnraum des Menschen) in den Bahnschienen, die ja u. a. direkt sonst durch eher unberührte Natur verlaufen, so wie sich ein Krebsgeschwür oder einen bestimmte Zelle tentakelarmig ausbreitet, so greifen diese Schienen in die Natur.
Aus diesen einzelnen Impressionen entstand dann der Film " t a n E K u b u s " , der gwissermaßen Natur und Technik einander gegenüber stellt, abgrenzt  aber auch wieder verbindet.