Project-oriented praxis is combined with current discourses in sound in the form of seminars, lectures, practical exercises or work presentations in the KHM’s Klanglabor.
Organised as an interdisciplinary and modular place, the Klanglabor offers both space for the development of sound-art projects as well as for workshops on instrument building, musical production techniques or media archaeology themes.
The spectrum of the seminars offered comprises
sound synthesis techniques in hardware and software (programming), the use of
sensors, interface and app development, radio art/Ars Acustica, field
recording/soundscape composition, text-sound composition/sound poetry, as well
as theoretical reflection on auditory culture and the history of music and technology.
The Klanglabor also offers, with its annual “Sound” foundation seminar, an introduction to a variety of themes for interested students who have little or no experience in handling sound. In addition, the Klanglabor curates and organises the “soundings” concert series—three events per semester in the KHM’s Aula—which presents outstanding and extraordinary artistic positions between music, sound art and lecture-performance.
L'école de la claque (Course Description)
In the past 30 years, the constitutive exclusions at the base of historical theories of publicness and the public sphere have been thoroughly deconstructed. Why then, in the face of the “psychogeographic profiling”-driven publicness of the US-American election and “Brexit” campaign, are we witnessing a broad intellectual tendency to return to those etiolated notions? The historical “claque” - the organized and often professional body of receivers (applauders, booers, hissers) in the theatre, opera and concert hall throughout the nineteenth and into the twentieth century - is a fissure in the history of the public sphere. The history of the claque insists that the public sphere was never a rational exchange between equals, but instead an always invested and always contested space of performance.