Ohrenschmaus –

FFAA is an interventionist soundfestival focussing on the connection between material, situation and imme- diate auditive and conceptional exploration of space. With its interventionist character it intertwines public space and the phenomena and materials of acoustics and the human.

We seek works that reflect, reinforce, question, state auditive means as a critical jet intimate medium that seeps out into public and thus thematizes and reflects listening and response as interaction and dialogue.

The city as a stage: During the festival weekend, the artists, together with passerby, weekend walkers and other enthusiasts, will discover and perform places that have become part of our daily lives in an uncomplaining and casual way: Kiosks, kebab stands, snack bars and restaurants; in combination with formats that are essentially unfamiliar to them, but tailored to the location by the workshops, the themes are made accessible to those curious and intrigued. The familiar is transformed into the uncommon: Concerts in a restaurant, a palm frond as an instrument and the magazine shelf of a kiosk as an exhibition format.



pierre Laurent Cassiere „tuning sympathy“
Garten am Rande der Stadt

This sympathetic and collective two days workshop aims to focus on the reso- nance phenomenon, its applications, risks and aesthetics. Considering resonance as a physical interaction between elements, what conceptual interpretations of this phenomenon could we imagine ? How could it be related to ideas such as information, transmission, ubiquity, communication or memory? And finally, as our main point: How this principle could take part in a creative process?
The collective work will start by a presentation of the resonance principle, its physical explanation and different examples illustrating its occurrences, utili- ties, power and dangers in various domains such as every day life, architecture, aeronautic, acoustic, music, art, sociology etc. Then, discussions about ideas and projects will take place to begin (or continue) different realisations among the emerging proposals. Creative imagination will be activated by the manipulation of very simple physical objects such as bottles, springs, strings, or pendulum, considered as powerful and very effective mind tools dealing with the phenom- enon at his most basic level before reflecting on more elaborated technological levels.

Room acoustics, audio recording, computer based sound emission, low frequen- cies transducers and subwoofer, video capture of vibrating phenomena or physi- cal constructions, represent as many ways to explore the resonance principle in a creative approach; before imaging new ones…


„tonic train“ sarah Washington knut aufermann sommilier
rudolf trossen

Tonic Train Sarah Washington (UK) & Knut Aufermann (De)
www.vibrofiles.com, http://mobile-radio.net/

Tonic Train is the name of the duo Sarah Washington and Knut Aufermann, who have been musically oscillating between the abstract worlds of circuit bending and feedback for seven years. Inspired by experimental radio, they have integrated more and more recording devices equipped with antennas into their live music set-up. Sarah Washington is an artist who works with sound and radio. A former director of the London Musicians’ Collec- tive, she helped create the radio station Resonance 104.4 FM. For performances she creates electronic instruments with circuit bending toys, ultrasonic devices and radio technology. Sarah makes innovative radio work, writes articles about radio and sound art and leads workshops for European cultural institutions. She helped initiate the international network of independent radio stations called Radia. Since 2005, she has been on the road with the European radio and sound art project Mobile Radio. Knut Aufermann studied chemistry, sound engineering and sonic arts and was strongly influenced by his time as manager of the London art radio station Resonance 104.4 FM. After two years of nomadic activity, he currently lives in Cologne as a freelance musician and radio artist.

George Bagdasarov Yann Leguay „ performance, softWare & situation“
pure data as performative support



Pierre-Laurent Cassiere (fr)

As a sound artist, Pierre-Laurent Cassière considers sound, acoustic fields and vibrations, as a medium relating bodies and space through dynamic relationships. Out of a musical approach, his sound installations, perfor- mances or devices deal with perception limits and aim to offer very specific ways of listening. In his creative game, theoretically and practically related to history of the media, analogue or digital audio-visual technologies become a matter to understand, reorganise and reinterpret. Along with his sound research, Cassière develops expanded cinema installations in which the deconstruction of cinematic systems and their placement in-situ offer abstract and poetical experiences based on noise and light motion.


George Bagdasarov (cZ

“I was born an Armenian in 1978 to the sounds of rockets taking off into space from Kazakhstan. I never boarded any of those rockets, and spent all my life living in various locations throughout Eurasia. Now I live in Prague.

I began my studies at the technical university in Kaluga, then studied at the musical academy in Moscow, and later at the St. Petersburg film school. Today, I am a doctoral candidate at FAMU in Prague.

I have made various films as well as musical and visual works. I have even worked as a taxi driver. Some things have earned me awards, others haven’t. But I have enjoyed them all.”


Yann Leguan (FR)
www.phonotopy.org, artkillart.tk

Yann Leguay , born in 1981 France, lives and works in Brussels. His approach to sound design for installation, performance and film centers on the materiality of sound. Both a visual artist and sound maker, and reverse, he has participated in numerous exhibitions including «Radiodays» at deApel Amsterdam, «Le Nouveau Festival» at Centre Pompidou in Paris and «French May» in Hong Kong. He also composes sound tracks for short films, as Planet A of Momoko Seto (2008).

In different projects, Cutter-Off / Wireless / Never-Record / RadioFreeRobots, he regularly performs live improvisation in concert places and multimedia festivals.

He is directing a DRIFT serie on the ArtKillArt label and he edited his sound work on Phonotopy.

Ulrich Troyer (at)

born in Innsbruck (A) in 1973
raised in Tyrol, Vorarlberg (A) and Southtyrol (I).
living in Vienna (A) since 1992
working as freelance musician & artist
member of the vienna vegetable orchestra since 2005 favorite comic strip & film: PERSEPOLIS by Marjane Satrapi passport & stomach: Italian
favorite drink: coffee


Volker Hennes (De)

1976 in Bonn geboren, studierte Medienkunst an der Kunsthochschule für Medien Köln von 2000-2005. Diplom mit Auszeichnung bei Prof. Anthony Moore, Prof. Klaus Schöning und Prof. Peter Zimmermann. Theoretische Diplomarbeit zum Thema “Heterophone Aspekte auditiver Aufmerksamkeit”.

Lebt in Köln, tätig als Klang-, Medienkünstler und Musiker. Arbeitsschwer- punkte sind Elektronische und Elektroakustische Musik, Live-Elektronik, Noise, Experimentelle Musik, Mehrkanal Projektion / Raumklang, Installation, Schall- und Hörspiele.

Seine Kompositionen und Projekte wurden international aufgeführt und präsentiert, u.a.: Moers Jazz Festival 2009, Institut für Elektronische Musik und Akustik Graz 2009, Kunstmeile Süd Deutschlandfunk Köln 2009,

Electroacoustic Composition Competition Música Viva Portugal 2008 [» honorable mention] u.v.a.


Echo Ho, Therese Schuleit und Hannes Hölzl
Gemeinsam mit Markus Erbe, Musikwissenschaftliches Institut

Gefördert von ON Cologne


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