<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div apple-content-edited="true"><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div><div><span class="Apple-style-span" style="font-size: 18px; font-family: Arial; font-weight: bold; "><span class="Apple-style-span" style="font-weight: normal; font-size: 12px; "><span class="Apple-style-span" style="font-size: 19px; ">oscillation series. sonic theories and practices</span> - </span><span class="Apple-style-span" style="font-size: 12px; ">NO. 2</span></span></div><div><font class="Apple-style-span" face="Arial"><p>
date: 5th of September 2010, Sun, 6pm.<br>
title: Sonic Archeology?<br>
with: <b>Shintaro Miyazaki and Martin Howse</b> (moderated by Jan Thoben)<br>
place: <a href="http://maps.google.com/maps?f=q&source=s_q&hl=de&geocode=&q=Sch%C3%B6nhauser+Allee+167,+10435+Berlin,+Deutschland&sll=37.0625,-95.677068&sspn=52.020054,124.716797&ie=UTF8&hq=&hnear=Sch%C3%B6nhauser+Allee+167,+Berlin+10435+Berlin,+Deutschland&z=16" target="_blank">General Public, Schönhauser Allee 167c, Berlin.</a></p><p><span class="Apple-style-span" style="font-family: Helvetica; "><b>Talks will be in english language</b></span></p><p>After the first session the 2nd session will dedicate itself to “Sonic Archeology”.</p><div><b>Abstract Shintaro Miyazaki: [Trans]-Sonic Archeology of Computational Assemblages</b><span id="more-197"></span></div><p>On 27th of Sept. 2007 a secret 1972 paper from the National Security
Agency’s in-house journal Cryptologic Spectrum with the title “TEMPEST:
A Signal Problem” was declassified. “To state the general problem in
brief: Any time a machine is used to process classified information
electrically, the various switches, contacts, relays, and other
components in that machine may emit radio frequency or acoustic energy.”
Trans-sonic archeology as a method of a sonic theory can be useful for
understanding our everyday informational devices, which store, transmit
and manipulate information. Two opposed methods are suggested by the
contributor. Firstly a hardware based and secondly a software based
method for investigating important affective, tactile, mental and
rhythmical effects of those technologies. Both methods will be explained
shortly after introducing to the audience the general concepts of such a
sonic archeology.</p><p><small>Profile of Shintaro Miyazaki: born 1980 in
Berlin. Grew up in Basle, Switzerland and studied Media Theory,
Musicology and Philosophy at University of Basle, Humboldt University
Berlin, Technical University Berlin and Free University of Berlin, M.A.
in Basle 2007. Since summer 2007 he is an independent PhD Researcher
at the Chair for Media Theory of Humboldt University Berlin (Wolfgang
Ernst).</small></p><p><b>Description of artistic project “Psychogeophysics: archaeology, geophysics and psychogeography” by Martin Howse:</b></p><p>“The pick was [then] used to hammer on the surface, and by this
means, the Angle Ditch was discovered. The sound produced by hammering
on an excavated part is much deeper than on an undisturbed surface, a
circumstance worth knowing when exploring a grass-grown downland,though
not applicable to cultivated ground.” [Augustus Pitt Rivers. Excavations
in Cranborne Chase. Volume IV. 1895]</p><p>The relation between such techniques of archaeological prospecting
and TEMPEST, the study of compromising emissions (including sound), can
easily be made with both interventions pointing towards a certain
revealing of that which is. In highly paranoiac manner, psychogeophysics
seeks to expand the terms of this simple equation to embrace
psychogeography and urbanism, proposing an exchange between imaginary
realms, the digital and the observed, which allows for speculative
notions such as data sedimentation or for the application of techniques
including those of version control to urban locales. Martin Howse will
present and demonstrate a short series of psychogeophysical
investigations and interventions with particular attention to the
epistemic aspects of sound.</p><p><small>Profile of Martin Howse<br>
is an artist/programmer and theorist, born 1969 in the UK, educated
Goldsmiths College of Fine Art London, 1989 and based in Berlin. Martin
has exhibited, performed and collaborated worldwide using custom, open
source software and hardware modules for data/code processing and
generation.<br>
</small></p>
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