Monday, 16 December 2013

Electromagnetic Microcosm at Heidelberger Kunstverein 23.11.13-02.02.14

It is only a state of mind Gruppenausstellung

Annie Goh, João Maria Gusmão & Pedro Paiva, Michal Heiman, Joachim Koester, Ofri Lapid, Susan MacWilliam, Matt Mullican, Lea Porsager, Patrick Rieve, Sarah Schönfeld, Rosemarie Trockel, Ute Waldhausen 

Die Ausstellung ist von Sonja Hempel, Michaela Richter und Susanne Weiß kuratiert. 

Wednesday, 6 November 2013


Mari Matsutoya and Annie Goh "Morpholexical Ping Pong"TOKYO EXPERIMENTAL FESTIVAL Vol.8 ― TEF Performance          *Open call Program

Admission:1,000 yen *Reservation required
Organize:Tokyo Metropolitan Foundation for History and Culture, Tokyo Wonder Site
Support:Goethe-Institut Tokyo, Polish Institute Tokyo
Venue:TWS Shibuya

An improvisational dialogue and audio collage of acoustic misunderstandings and semanto-phonetic morphologies for self-made sensor instruments, live voice, SuperCollider and Google translate. Acoustic accidents that are waiting to happen in daily communication are explored live, weaving through the aural and semantic modes of multiple languages. For two players.

Wednesday, 2 October 2013


The lossy UDP protocol is one of the oldest network protocols in existence, known for its connectionless, pure transmission, faster though more unreliable than its main alternative TCP. Recent data forensic research claims to have identified the cause of this, which is commonly referred to as "Data Gobbler", an evil force which feeds off dropped data packages and adds delays to communication.

One computer (red screen) sends a number via OSC to a broadcast address, and plays a sound as it does so. Another computer (blue screen) receives the number via OSC and plays a sound as it does so. However, if there is a delay in the communication or a packet is lost, the evil data gobbler is happy...

Made as part of: Art Hack Day Berlin #goingdark 26.09.-28.09.13 at LEAP Berlin

Thanks to Lauro Cress for the photos.

LOSS IS MWA(HAHAHA) from annie goh on Vimeo.

Tuesday, 20 August 2013

Antje Van Goh @ NK

Antje Van Goh- Part of the project “The Banality of Affect”, an audiovisual installation of algorithmic trance music controlled by incoming data from the Dutch stock exchange, Reuters news agency and Twitter feeds of five world-renowned trance DJs, Antje Van Goh uses generative algorithms to explore the possibility of programming emotion and euphoria as agents of sonic affect.

Saturday, 20 July 2013

DJ TranceGendy aka Antje Van Goh

Live recorded session following first performance at:

Nontrivial Rundgang Concert&Party
Fri 12. 7.13  Grunewaldstrasse 2, Galerie 16 / Garten 

21.00 - 21.30 Republic111
22.00 - 22.30  ichbinchi - No Wonder
21.30 - 22.00 Silicon Dream - "my soul. like cool .a funny think"
22.30 - 23.00 DJ TranceGendy (a.k.a. Antje van Goh) 
23.00 - 24.00 ToDoHanSa - STereoHD
24.00 - 01.00 Pinche Acá - tropicumbia mex-ups
01.00 - 02.00  smartronics a.k.a. Martin Backes 
02.00 - 03.00 Sascha Hanse

Thursday, 27 June 2013

speculum rotarius (electronic ghosts) @ Addicted To Random Festival, Halle

Die Installation speculum rotarius (electronic ghosts) verwendet eine Sprachsynthesemethode, ähnlich jener des Software-Designers Stefan Bion. Die Installation bietet einer spirituellen Entität, d.h. einem spirituellem Zentrum, „auditive Hilfe“ in Form von rohen, 10 bis 45ms langen Sprach-Schnipseln an. Die Schnipsel werden nach einem Pseudo-Zufallsprinzip abgespielt. Laut Theorie kann die Entität Einfluss auf das Zufallsprinzip ausüben und dadurch Worte formen, um mit lebenden Wesen zu kommunizieren. Die Kommunikationsmöglichkeiten der Entität werden durch Samples von Michael Jackson verstärkt. Eventuell können Besucher_innen der Ausstellung die Worte oder Botschaften der Entität wahrnehmen.

Link: Ausstellung

Monday, 10 June 2013

"How to win friends & influence people"

"How to win friends & influence people"
Mari Matsutoya and Annie Goh

Non-conceptual sound performance for laptops, analog instruments, voice, sensor controllers and Supercollider.

Performed for the first time as part of: 


Time:  Sat June 8, 19h

Space:   UdK Haus Salomon (a.k.a. "Medienhaus") 
Aula - room 110, second floor / erster Stock
Grunewaldstrasse 2-5 
U7 Kleistpark

Money:  0 -  € (i.e. donations welcome :-) 

Complex behaviors, whether in feedback systems, chaotic circuits, social systems and/or computer programs are fascinating objects of study. The Society for Nontrivial Pursuits (students, alumni and associates of the class Generative Art / Computational Art at UdK Berlin) explores the possibility spaces of such systems for experimental performance. They design, build and program their own audio/visual performance systems based on a variety of devices, sensors, analog electronics, and software synthesis, and use them in extremely diverse projects, often intended for performance contexts. 

Republic 111: Live coding network music since 2009. 
Performance may or may not include: gendytrouble, workingMan, kitties & doom, feedDriftCombX, callCenter, derLineal, plagiator, noergler, superSaw, urlaut, bubble, MUTE, and dropTape. 

Silicon Dream : Trillenium Xtreme miX

Chi-Hsia Lai:  WanderOnStage Untitled #1.2
The WanderOnStage project pursues a performance approach that brings together aspects of percussion performance and media technology. It is a series of structured sound improvisations called Untitled, in which each configuration is modified depending on the performance space. The setup consists of percussive objects, mallets, microphones, a custom software effect for spatialisation and delay, and a wearable device to control that effect. 

Mari Matsutoya and Annie Goh: How to win friends & influence people
Non-conceptual sound performance for laptops, analog instruments, voice, sensor controllers and Supercollider. 

Trio Brachiale:  Hybrid Improv #17 - the absence is always present
Ongoing series of improvised performances with minimalist pre-negotiation for maximalist surprise factor.  
Shut up, listen and play. 

Tobias Purfürst:  Fillmore Sketches 

Yair Elazar Glotman: Kohelet: Study in Maximalism no.3

Giuliano Obici:  laptop chorale / or / Lanhouse Concert

Liew Pichanan Niyomkarn: Hi Bhola No.2 

Sunday, 21 April 2013

Republic 111 @ live.code.festival Karlsruhe

Codelets that create sound patterns are being rewritten while running, sounds can be spatialised by distributing them across the unamplified laptops in the network, and all code gets equally shared between the players for further rewriting. Republic111 explores a highly democratic form collaborative live coding: Using and extending the SuperCollider library “Republic” developed by powerbooks unplugged, a continuously evolving code base mutates in performances that can morph or instantly switch between radically different aggregate states. Beginning from a workshop on network music with Julian Rohrhuber and Alberto de Campo, the group has been playing since 2009 with an expanding line-up; currently up to 15 players assemble for performances.

Thursday, 18 April 2013


Contrary to popular belief, programming sound in environments/languages such as Supercollider is not just for boys and recent evidence shows how it can deal with both advanced sound synthesis techniques such as dynamic stochastic synthesis (Gendy - Génération Dynamique Stochastique - as conceived by Xenakis in 'Formalized Music') as well as broader cultural issues in particular the studies of gender and gendered repesentation in one fell swoop. 

Monday, 11 March 2013

"electromagnetic microcosm" and "speculum rotarius (electronic ghosts)" at IT IS ONLY A STATE OF MIND, NGBK Berlin


2 March - 7 April 2013

Opening: 1 March, 19h

[23 November 2013, NGBK, - 26 January 2014 Heidelberger Kunstverein]

Annie Goh, João Maria Gusmão & Pedro Paiva, Michal Heiman, Joachim Koester, Ofri Lapid, Susan MacWilliam, Matt Mullican, Lea Porsager, Patrick Rieve, Sarah Schönfeld, Rosemarie Trockel, Ute Waldhausen

The exhibition looks at the experiment as a mode of exploring the inexplicable and the uncertain. The NGBK RealismusStudio and Kunstverein Heidelberg have joined forces to present a series of artistic positions which investigate the thresholds of science through experiments of their own.

At the heart of the exhibition is the question of how much our “state of mind”, and the patterns of perception and perspectives that arise from it, shape our assessment of what is real. Twelve international positions direct our focus to the subjective and subconscious:

American artist Matt Mullican, for example, has been conducting self-experiments under hypnosis since the 1970s. The installation Room (No.7) presents statements by Mullican's other ego, “that other person”, written onto long stretches of fabric. These are investigations into his own and yet unknown self with which Matt Mullican seeks to understand the world.
For her latest project How to Program and Use T – F (2013), Danish documenta artist Lea Porsager took part in a séance with a Lithuanian medium. She then translated the thought-forms that revealed themselves to her into bronze sculptures.
Northern Irish artist Susan MacWilliam is also interested in exploring the paranormal. Her videos, photographs and installations deal with researchers and eyewitnesses of supernatural phenomena. MacWilliam will be showing three pieces – the most extensive presentation of her work in Berlin to date.

Realised as experiments and propositions, the works in the exhibition ask questions about what makes us believe and what we are prepared to believe. They steer our attention towards mystical, spiritistic objects of investigation, or challenge areas of psychological research. The artistic experiment can operate far more freely than its strictly scientific counterpart; it is not obliged to follow a fixed form, deliver measurable results or be repeatable. This open approach holds the potential for moving away from prescribed paths and entering uncharted periphery realities and poetic realities – to create new truths.

Project group [RealismusStudio]: Christin Lahr - Jan Ketz - Michaela Richter - Frank Wagner - Susanne Weiß - Edda Wilde

An exhibition by the NGBK in cooperation with the Heidelberger Kunstverein.

Saturday, 19 January 2013

The Death of Rave @ CTM.13

My contribution to the CTM.13 discourse & music program for "The Golden Age" this year was based around the idea "The Death of Rave" (as originated by V/Vm and revived in its own way by the Boomkat sub-label of the same name).

Fri 1st Feb
Kunstquartier Studio 1 Mariannenplatz 2 10997 Berlin
13:30 The Death Of Rave: Pt. I UK

Lectures and panel with Mark Fisher, Lee Gamble, Alex Williams, Steve Goodman (Kode9)), Moderation: Lisa Blanning

“The rave legacy no longer lives on, the corpse of rave bears no resemblance to those heady days in the late eighties and early nineties.”

V/Vm – The Death of Rave

Since V/VM's nineteen hour “The Death of Rave” project marked a nails-in-the coffin moment to the foregone UK-rave scene, as well as Burial's symbolic post-rave comedown and, more recently, Lee Gamble's dissection of old jungle tapes, a collective subliminal interest in excavating the sonic architecture of this period seems particularly rife. From the ebullient dissent of the outdoor hardcore and acid house raves, through the period post-1994's Criminal Justice Act which harboured darker variants of jungle, darkside, and drum 'n'bass, the sonic potentialities which unfolded themselves then have undeniably flowed strongly in the bloodline of UK music ever since. Using the “then” and “now” as points of flight, a complex social and musical ecology emerges in which, over a period of more than twenty years, musical aesthetic as well as substantial socio-economic, materialistic, and structural changes have become apparent. Drawing on debates on the “hardcore continuum” and “hauntology” as detailed by Simon Reynolds and Mark Fisher among others, The Death Of Rave focuses on the sonic cycle of death and rebirth, reflecting on the present and future of music via the past.

The accelerated vectors activated by rave and philosophy in the mid-1990s can be no-better represented than in the work of the CCRU (Cybernetic Cultural Research Unit). Although official word maintained, "Ccru does not, has not and will never exist," the work of Nick Land, Sadie Plant, and their graduate students at University of Warwick, which covered the nexus of theory, fiction, cyberculture, technology, and rave, continues to resonate strongly today. The sonic “conceptual apparatus” of jungle, which informed their thought, and the extreme intellectual productivity of the CCRU, invites examination as more than mere coincidence.

15:30 The Death Of Rave: Pt. II Berlin

Lectures and panel with:
Tom Lamberty, Felix Denk, Johnnie Stieler, Alexandra Droener, Ulrich Gutmair, Moderation: Felix Denk

“Es gab einen Moment 1994, wo ich im Tresor stand, da hätte ich heulen können. Jonzon ging das auch so. Nichts mehr von dem, was den Laden ausgemacht hatte, war mehr da. Ich konnte mir das nicht mal mehr schönsaufen. Ich stand da und sah, dass sich die Seele des Ganzen verflüchtigt hatte.”

Rok, quoted in “Der Klang Der Familie”

The unique conditions following the dramatic fall of the Berlin wall created the exceptional socio-political situation in which Berlin's techno scene was born. The euphoria of Germany reunited fuelled its infamous raves Tekknozid, Mayday, Tresor, and Love Parade, and saw the small parties of the early 90s grow to the global techno hub they are today. The inner workings of these early scenes have received in-depth historic interest, recently with Felix Denk and Sven von Thülen's book “Der Klang Der Familie” and Ulrich Gutmair's upcoming “Der Sound der Wende”. In the more than twenty years which have passed, the debate between “underground” and “mainstream” continues within a diverse sonic ecology while the recently hotly disputed GEMA tariff reforms currently threaten the existence of many of Berlin's clubs; as the city transformed into the dynamic capitalist metropolis it is today, the early DIY-days of illegal parties in temporary spaces seem distant compared to the regulated, administered spaces of many of Berlin's most famous clubs today.

QRT (Markus Konradin Leiner) was active in the mid-90s in Berlin. His anarchic media-theoretical writings were published posthumously on Merve. Similarly antagonistic towards the academic establishment as the CCRU in the UK, QRT's writings have hitherto remained somewhat neglected. His writings, inspired by Berlin's early techno scene as the electrification of archaic rituals, the body within the media-war, and the virtualisation of the present, question the current state of techno and techno-culture as part of today's changed discourses.

17:30 Virtual Futures: The Future Of Music

Panel: Christoph Fringeli, Tony Marcus, Luke Robert Mason, Dan O'Hara

“We have gathered you here to bury the 20th century & begin work on the 21st. We are children of the 21st century & live already in the future unknown, uncovering every day vast new landscapes for exploration. We will not know the results of the tumultuous global changes we are undergoing and creating for a hundred years or more, if we can survive them, but we are less interested in knowledge than in experiencing these changes.”

Virtual Futures, 1995

The cybercultural narratives of the mid-90s provided a social, artistic, and philosophical framework to understand and challenge the rapid advances in the development of information communication technologies. Driven by a need to critique the framework underlying society’s newfound anticipation for the future, the Virtual Futures Conference held at the University of Warwick 1994–1996 brought together groups of renegade philosophers to lock horns with the future based on the provocations of evidence provided by the emergence of the Internet. At the time, the conference was affected by a turbulent dynamic between technological acceptance versus a largely paranoid technophobia. Fast-forward to 2013, and this has flat-lined to find the 21st century human docile to the widespread ubiquity of information processing technologies.

Meanwhile, human agency has been subsumed by an increasing automation by non-human agents, as control over identity, society, and economics is relinquished to biases of robotic processes. Techno-evangelism attempts to brand, market, and, most importantly, sell the wonderment afforded by a wilful obedience to the future. They resound with the same transcendentalist fantasies of cyberpunk fiction – indeed speculation and futuristic thinking has become an art, and like any popularist art forms, it has become an industry.

Revisiting 1995’s Future Music panel, Virtual Futures will explore the implications of a new ecology – where music is no longer made but grown, thus demonstrating a quality of artificial life. In 2013 music doesn’t go viral, it is viral. And all the while we are left to question who, or what, is listening?

19:30 Orphan Drift: You Its Eyes 94-13
Screening of video works by Orphan Drift

In this specially commissioned audiovisual work, 0rphan Drift remix their rave-inspired works from the mid to late1990s. This period was characterized by a distinctly analogue, lo-fi materiality. Accompanied by audio from 0D’s Ocosi, Surface and Sadist, and by sound made for the 0D/CCRU 'Syzygy' collaboration in 1999, remixed by CCRU’s Kode9, this screening is a hallucinogenic immersive experience, a meditation on rave, techno culture, and its posthuman potentialities.

Related events:
Rave Undead I
Tue 29th Jan HAU2
20:00 Mark Leckey "Fiorucci Made Me Hardcore" – video screening
20:30 Theo Burt / The Automatics Group "Remixes" – German premiere
21:15 Lorenzo Senni

Rave Undead II
Fri 1st Feb BERGHAIN
Conor Thomas, Samuel Kerridge, Shed, Powell, EVOL, Andy Stott, Mark Archer (Altern 8), Lower Order Ethics