Not that it’s particularly rousing or really invites you to dance. But still… it’s precisely these quiet, unobtrusive sounds that sometimes make me want to just move.
Su. 12.10. 6 PM
Radio Tape Release
Mimikri
NB Spiders (they/them) is a sound & electronics artist whos practice transgresses binary gender constructs and is informed by crip aesthetics. They work in the fields of performance art and composition as well as building electronic instruments and microelectronics programming.
They have realised, performed and presented productions at the Theater Dortmund, IndieCade Festival in Paris, the Hammer Museum in Los Angeles, the China Academy of Art in Hangzhou, and are a residency-alumni with the Alliance of International Production Houses (Bündnis internationaler Produktionshäuser) via HAU Hebbel am Ufer.
The idea of robot has long been intertwined with human’s imagination of mimicking life, automating labor, and the spirit of machines. Its roots can be traced back to pre-digital era, and even further to the myths and mechanical dreams of ancient times. Beam Bot is a series of small robots developed by Mark Tilden in the 1990s, inspired by Rodney Brooks’s behavior-based robotics. The name BEAM stands for Biology, Electronics, Aesthetics, and Mechanics. These small, bug-like creatures are driven by simple analog primitive “neurons”, that consume so little energy that they can often run on solar power. Even though they contain no micro-controllers and cannot be programmed, they are still move and respond to their surroundings in surprisingly complex and stable ways. While Tesla and Boston’s Robots capture the attention of the entire internet, these tiny electronic bugs shine quietly within old diagrams, in forgotten digital corners of unmaintained forums and blogs. At the festival, I’ll circuit-bending several classic Beam Bot and Synthesizers to create Chimera crickets, which will be presented as installtions. In the 30min radio piece, I will share a short history and story of these robots to discuss how bots evoke feelings similar to those we have toward living beings, and how they speak to our contemporary anxieties as well as our progressive view of technology and aesthetics.
Sa. 11.10. 2 – 8 PM Su. 12.10. 2 – 6 PM
Exhibition Waschraum
Su. 12.10. 3.15 PM
Lecture Performance
Mimikri
Artist Talk
Su. 12.10. 4.30 PM
Waschraum
Muyang’s kinetic and interactive sound objects often focus on the poetic misuse of low-cost, low-tech, and low-maintenance analog circuits, many of which she discovered by chance on the internet. She still believes in the value and potential of outdated analog circuits in the age of AI and coding, especially in their non-standardized and unpredictable qualities. The design of many classic circuits relies on continuous modification and refinement by countless individuals—not only professionals but also amateurs—through which new applications are discovered. She regards DIY as a media-archaeological method: a way to embody critical reflection on technology through micro-political, everyday actions.
Noise dance battle as different form of a jam / get together. Maybe on Sunday as a closure. Always one sound person and one dancer gets a short time slot and performs spontaneously. The audience can vote for the best ones from each discipline and they do the last duet. They’ll get a flower or whatever funny or just simply our honour.
In 2021, Franzi completed her studies in Fine Arts at the Kunsthochschule Kassel with a focus on New Media/Installation/Performance. She experiments with the embodiment of poetry in dance and voice performance. Ecosomatic rituals, alchemical work with text and textiles, and exploring movement with touch in partner and group constellations form the basis of her practices. She also completed her training as a contemporary stage dancer at Sozo Visions in Motion Kassel.
Shape Lessons In this workshop, I introduce Casey Canglosi’s “Shape Lessons” system. Originally a practice concept for percussionists, I used the content to create live music. Participants play on different instruments according to geometric patterns. This playfully creates polymetric structures that form meditative soundscapes when played together. The musical forms are visualized and then brought to life. “Shape Lessons” train coordination and inspire musicians to explore new rhythmic and metric forms. The workshop will take place in two parts. Beginner Level: Previous musical experience is helpful but not necessary. The workshop is open to everyone. 90 minutes / German spoken / English possible Advanced Level: Workshop content for experienced musicians. 90 minutes / German spoken / English possible
FrAnZ received his Bachelor of Music degree from the Kassel Music Academy in 2024. Since then, contemporary and globally inspired musicians have been strumming and tapping away.
Introduction to acoustic ecology, bioacoustics, and field recording practice. Theory session followed by outdoor recording excursion in the Schillerviertel neighborhood.
Clemens is an acoustician and field recordist from Dresden. In his work, he explores soundscapes through field recordings and shares these experiences in workshops and lectures. With the Land.Schafft.Sound project, he and Axel Matz launched a platform for the exchange and acoustic exploration of soundscapes in 2021. His main interest now lies in the fields of bioacoustics and ecoacoustics.
Eeva is an interdisciplinary audiovisual artist. Her focus is on moving images, animation, and sound, exploring technological mediation and the interplay of presence and absence in everyday life in her works.
Ojanperä has curated and organized exhibitions such as “SHOWROOM” at the ZfKW and has participated in numerous group projects, including “PoolIt!” (UK14 Kassel, 2024) and ‘Horizonte’ (Germanisches Nationalmuseum Nürnberg, 2023). She is also a founding member of the Kassel sound festival “RANGE.”
Her work is characterized by the combination of sound design and tactile elements, and she works as a sound engineer, sound designer, and Foley artist.
“eigenklang” is an interactive audiovisual experience that defies simple description. Born from ever-changing settings, diverse participants, and the research-driven spirit of Kollektiv eigenklang behind it, every encounter becomes a unique journey.
It transforms into whatever the moment demands: a sonic playground, musical team building, intimate sound therapy, or collective audio trip. The technical foundation remains constant while the experience evolves organically.
All participants connect through wireless headphones to a binaural microphone system at the installation’s center – a human discoball that hears everything that happens around it. Using loops, effects, samples, and synthesizers, we collaboratively craft fascinating soundscapes that invite deep immersion. Participants can contribute through their own voice, breath, movement, or any sound they create, empowering everyone to lean back and absorb, or dive in and participate as musicians, visual artists, dancers, or any form of creative expression that emerges.
Kollektiv eigenklang emerged in late 2017 with the invention of their eponymous installation and the goal of creating interactive happenings where visitors don’t merely consume art and culture, but actively participate in its creation. Their roots trace back to Kassel’s vibrant subculture scene, where during documenta fourteen (2017) the collective first came together to explore the possibilities of organic live looping and participative music. This foundational experience in one of the world’s most significant art events profoundly influenced their vision of how experimental sound practices can unite diverse communities through shared creative exploration. The collective works across multiple disciplines including visual installations, inclusive art and media education, and professional 360° audio and video productions. They specialize in creating inclusive community arts projects and work extensively with people with disabilities, ensuring their multimedia productions are accessible to all participants. Interaction and improvisation form the essential elements of their artistic practice. Founded with a vision to dissolve traditional boundaries between performer and audience, Kollektiv eigenklang has spent eight years developing innovative approaches to community arts and community music. Their semi-nomadic lifestyle reflects a deep commitment to authentic community engagement, living and producing in rural settings while serving as guests at diverse projects and communities.
Eight Years of Sonic Exploration Over the past eight years, Kollektiv eigenklang has facilitated more than 300 happenings with thousands of participants across diverse contexts and countries. Each event has contributed to the continuous evolution of both the technical installation and interactive performance methodology. The installation has proven remarkably adaptable, manifesting in locations as varied as underground clubs and major music festivals, from galleries and residential projects to street crossings, river boats, and rainforest clearings. This mobility reflects the project’s core philosophy: authentic artistic experience can emerge anywhere when the right conditions for collective creativity are established. Living Between Art and Community
Dive into the world of binaural sound recording. Work in small groups to create 90-second audio pieces using artificial head microphones, voices, objects, and environmental sounds. No prior experience necessary.
Tobias Böhm is a film sound engineer, mixing engineer, sound effects artist, sound designer, and voice actor for film and multimedia art. In workshops, I also teach all areas of sound recording and post-production: original sound, field recording, voice recording, audio editing, and mixing in stereo and surround formats.
He is a long-standing member of the German Film Sound Association (bvft), which campaigns for greater recognition of film sound as a creative medium and works to improve working conditions for film sound professionals.
Since its founding in 2009, he has been co-chair of the “Netzwerk Hammerschmiede e.V.,” one of the largest associations of the independent art and music scene in Kassel. There, he is committed to preserving affordable studios and rehearsal rooms and helps organize the cultural and concert program.
In addition to his enthusiasm for the topic of “hearing,” he supports numerous projects for environmental and climate protection, sustainable action, humanism, inclusion, and social justice, as well as improved education and research.
