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Wir nehmen Abschied von Armin Medosch

Freifunk -

Armin Medosch – Lizenz: Mikegr CC BY-SA 2.0 und 3.0

Unser Bekannter und Freund, Armin Medosch ist am 23.02.2017 leider viel zu früh im Alter von 54 Jahren verstorben. Er litt an einer Krankheit, die ihn in wenigen Monaten hinweg gerafft hat.

Als Medienkünstler, Journalist und Mitgründer von Telepolis hat er Entwicklungen im Internet immer kritisch begleitet. 2003 beschrieb er im Buch “Freie Netze” unter anderem den Beginn der freie Netzwerke im deutschsprachigen Raum und die Entstehung des Pico Peering Agreements.

2013 begannen seine Recherchen für ein Nachfolgebuch. Armin interessierte die Geschichte der freien Netzwerke 10 Jahre später weiter zu erzählen. Sein Anliegen war es, nicht nur die technische, sondern auch die die soziale Entwicklung darzustellen. Er interviewte Gründer und Aktivisten über ihre Sicht vor allem zu Fragen des Gemeinschaftssinns und -eigentums mit Hinblick auf ein kapitalistisches Marktumfeld und zu den politischen Rahmenbedingungen.

Im November 2015 veröffentlichte Armin ein 4-teiliges Radiokolleg im ORF mit dem Titel “Gemeinschaftsgut Internet”.

Teil 1
https://freifunk.net/wp-content/uploads/2015/12/R2K-151123-Radiokolleg-Gemeinschaftsgut-Internet-Teil-1-Medosch.mp3

Teil 2
https://freifunk.net/wp-content/uploads/2015/12/R2K-151124-Radiokolleg-Gemeinschaftsgut-Internet-Teil-2-Medosch.mp3

Teil 3
https://freifunk.net/wp-content/uploads/2015/12/R2K-151125-Radiokolleg-Gemeinschaftsgut-Internet-Teil-3-Medosch.mp3

Teil 4
https://freifunk.net/wp-content/uploads/2015/12/R2K-151126-Radiokolleg-Gemeinschaftsgut-Internet-Teil-4-Medosch.mp3

Erste Drafts des Buches stellte er in seinem Blog “The Next Layer” online, leider ist seine Webseite nicht mehr erreichbar. Dank dem Internet Archive sind die Links noch zu finden.

Armin war ein Visionär, ein in seinem Bewusstsein freier Mensch, Kosmopolit, Humanist und Anarchist im besten Sinne. Er wollte durch seine Arbeit freien Kommunikationsstrukturen in der Hand der Allgemeinheit den Weg bereiten, »die möglichst frei von staatlichen und privatwirtschaftlichen Zwängen sind«, wie er in seinem Buch “Freie Netze” schrieb. Er wollte einer besseren, humaneren menschlichen Gesellschaft den Weg bereiten, die auf Gemeinsinn und gegenseitiger Hilfe aufbaut.

Wir alle sind sehr traurig und bestürzt.

Aaron von Funkfeuer schrieb: “Du wirst uns fehlen. Es braucht gerade jetzt, in der aktuellen Zeit, Leute, die an die Community und das Gemeinsame denken.
Leute, die von einer besseren Zukunft träumen und nicht aufhören, an ihr zu arbeiten.”

Tristan Perich – Noise Patterns

Neural -

Device – Physical Editions

Experiencing the sounds of 1-Bit Music is not a recent subject for Tristan Perich. Indeed, as early as 2004, the multi-media artist and composer implemented an electronic suite in five movements on a single microchip. As with the previous releases, in his latest work, there are no recordings in the traditional sense we are accustomed to. Instead the electronic circuits perform minimal tracks “live” when operated and powered by a battery. Even if the artist himself focuses more on other concepts such as randomness and order when talking about his research, emphasising the “machinic” nature of his work, a reflection on formats and reflexivity is an inevitable aspect of Perich’s Noise Patterns. In short, it’s the same electricity – the sonic medium, which happens “here and now”; there is no a musical selection; there is no post-production or mastering. It seems intentional that everything is enclosed in a CD jewel case where several other more elegant, futuristic or design-orientated solutions could be adopted. An on-off button opens the circuits and, using another stud, the listener can switch between the settings drawn up. Sounds come to us directly with a headphone connected by a mini-jack or with a mixer supported by a sound-system: from the same device you can also adjust the volume using a small wheel barely smaller than the lithium battery cell positioned a few centimetres away. The electrical oscillations are raw but very reactive and well-organized – absolutely pure digital noise – effective even if we imagine them in front of a crowd on a dance floor.

 

Tristan Perich – Noise Patterns
Noise Patterns by Tristan Perich

 

Wolfgang Ernst – Sonic Time Machines: Explicit Sound, Sirenic Voices, and Implicit Sonicity

Neural -

Amsterdam University Press, ISBN-13: 978-9089649492, English, 184 pages,2016, The Netherlands

Time and sound have an indissoluble relationship, one analysed in disciplines related to acoustics, music and media. Wolfgang Ernst has conceived a different approach to this relationship, with a few recurring elements. One is sonicity, whose definition includes “oscillatory events” or “sonic knowledge implicit within instruments of sound analysis” and at the same time “graphically or mathematically derived sound” or “their mathematically reverse equivalent”. Recursively, Ernst defines sonics as “not originating from physically resonant bodies, but from electro-technical and techno-mathematicalprocesses”. Ernst, who is also the author of Chronopoetics and Digital Memory and the Archive, is inspired by how Marshall McLuhan defines the ‘acoustic space’, reinforcing the essentiality of time in contemporary media. He looks at the technics of media archaeology, such as with thePhonovision, a technology that recorded images onto gramophone records in the 1920s. Throughout the whole book Ernst addresses the “temporal processuality” that sounds and media structurally share. Written in Ernst’s trademark eclectic style, the book is divided into three parts, respectively focusing on the concept and definition of sonicity, on the technological nature of sonic media, and finally on the technical temporal dimension in audio.

 

Magnetoceptia, Audio Rituals with Wearable Antennas

Neural -

Dewi de Vree and Patrizia Ruthensteiner present a series of Magnetoceptia performances and installations. These are named after “magnetoception”, defined as the sense, or ability that enables an organism to “detect a magnetic field to perceive direction, altitude or location”, making them audible through electronic sounds. The artists build wearable antenna receivers that pick up specific electromagnetic frequencies, making them audible. These are subsequently used during performances that are inspired by a local context or particular history. Some, for example, were inspired by the ancient Qing Dynast’s tremendous hairdos or guided by elements of the Estonian Native Calendar. These performances have the aesthetic structure of a ritual, as they use tools manifesting something that previously could not be seen through a series of prescribed gestures. The costumes and antenna’s materials, then, reinforce a modern way of collectively dealing with the invisible, and the unknown.

 

Magnetoceptia – Warp Weighted Skidder Maiden // Estonia

 

Magnetoceptia // Aerial Mast Sunset Performance, Tetterode Amsterdam 2016

 

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