Call for Participation

When searching for the determinant factors of digital audio production, its forms and compositional strategies, mere technological criteria become less important in the light of the pervasion of information technology into audio media. "Computer als Klangmedien" (Computers as Sound Media), the topic of the 1993 Hyperkult III, have become omnipresent. Even the traditional domain of digital music, the "Computer Music" with its core elements, algorithmic composition and sound synthesis, can be found in a broad practice of digital production within mainstream pop music. Compositional as well as sound-aesthetical traditions of "Elektronische Musik" and "musique concrète" become base elements of a popular or less popular avantgarde that is positioned beyond historic dogmas.

At the same time, artistic as well as scientific discourses discover electronic sound as a central area of present-time culture. Apparently, the abstract soundworlds of electronica do not only represent the digital lifestyle but also come to be the projection space of techno-cultural change. Phenomena of hybridism, as they were described in the 90s caused by the disbandment of familiar boundaries between technology, nature and culture , between plugged and unplugged and also between Art and Pop Music, now gain new actuality with the reintegration of analog sound synthesis, tube amplifiers, and manually operated instruments into the digital environment. On one hand, hybrid technology corresponds with a hybrid culture of merging established oppositions, however does it also often aim at creating fotorealistic simulations of its predecessors.

Against this background, how are methods, contents, traditions and creative strategies changed? Which relations exist between digital audio media and auditive forms and processes? Do distribution and collaborative production in digital networks call for a new definition of the musically interested public? Which technological innovations will give direction to future practices? HyperKult 14 wants to debate these and other questions in an interdisciplinary dialogue and take the chance to reach an up-to-date positioning of digital audio media. Contributions from diverse scientific and artistic plateaus in the field of audio compression methods, sound synthesis, sampling, software-tools, Creative Commons, avantgarde-pop, sound art, sound culture, informatics, cultural and media sciences are welcome.

The HyperKult will have an extended exhibition area with the topic communications . The goal is to advance the practice-related exchange between projects, organisations, labels, and musicians (etc.). Interested parties are hereby called upon to participate with presentations. A registration is obligatory due to limited space.

Dates

Please send 1-2 page abstracts of your contribution to the workshop HyperKult 14 (scientific lectures, technical or artistic demontrations) as well as registrations for communications -presentations (no fees)

until March 31 2005 to:

Universität Lüneburg Rechenzentrum HyperKult 21332 Lüneburg Germany mailto:hyperkult@uni-lueneburg.de

Organizational committee

Rolf Großmann Martin Schreiber Martin Warnke

Program committee

Rolf Großmann (Universität Lüneburg) Michael Harenberg (Hochschule der Künste Bern) Robert Henke (aka Monolake, Ableton, Berlin, angefragt) Jochen Koubek (Humboldt-Universität zu Berlin) Claus Pias (Ruhr-Universität Bochum) Martin Schreiber (Universität Lüneburg) Georg Christoph Tholen (Universität Basel) Georg Trogemann (Kunsthochschule für Medien Köln Martin Warnke (Universität Lüneburg)

Section »Computer als Medium«

In line with the HyperKult 14, the annual general meeting of the section will take place on July 16 2005.

What is HyperKult?

»HyperKult - Computer as Medium« takes place as an annual (non-profit and no-budget) symposium since 1990. Hyper(media)Kult(ur) was an at this time an upcoming field of research across the borderline of technical and cultural disciplines. HyperKult has broadened over the years to examine more general questions of the relationship between cultural, especially aesthetic development and information technology. HyperKult is organized by the department "Kulturinformatik" of the University of Lueneburg in Kooperation with researchers from Humboldt University Berlin and the University of Basel (Switzerland).