“NIXE” helps - Musikprotokoll

“NIXE” helps
The musikprotokoll “NIXE” sound art exhibition in
steirscher herbst 2015 is named after the ship of the
Mediterranean explorer Archduke Ludwig Salvator.
Criss-crossing the Mediterranean, he sought for what
could be documented, protected and narrated.
The outbreak of World War I put a sudden end to his research.
NIXE
Mediterranean Measures –
Science, Research and the Arts
Sound Art Exhibition in 14 Parts
100 years later, thousands of refugees are crossing the Mediterranean to escape war.
The ORF musikprotokoll in steirscher herbst 2015 asks you to make
a donation to the ORF aid campaign “Helfen. WIE WIR”.
NIXE / Der Hafen (The Port)
http://musikprotokoll.orf.at/nixe-hilft
Thu 08.10.2015 – Sun 18.10.2015
10:00–19:00
Lesliehof im Joanneumsviertel
NIXE / Das Schiff (The Ship)
Thu 08.10.2015 – Sun 18.10.2015
10:00–19:00
Murinsel Graz
NIXE / Final Concert
Sun 18.10.2015
18:00
Murinsel Graz
musikprotokoll.ORF.at
infos/programm/biografien/archiv
musikprotokoll 2015
Das musikprotokoll 2015 wurde kuratiert von
Elke Tschaikner, Susanna Niedermayr, Christian Scheib und Fränk Zimmer.
Content
Organizers
Co-production
Co-operation: Nigredo
Co-operation: NIXE
NIXE – Mediterranean Measures – Science, Research and the Arts
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NIXE – “… when a scientific approach becomes the starting point for art …”
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Writing and drawing, documenting and stimulating
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Archduke Ludwig Salvator –
chronology of selected biographical details and book publications
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01 Valentina Vuksic, Hannes Rickli RemOs1. Start of data work in the Arctic Sea.
19
02 Josef Klammer Greetings Friedl!
23
03 Mateu Malondra Sound Block
24
04 Peter Brandlmayr Abyss
26
05 die audiotapete Autumn reveries
29
06 Marcus Maeder Bakar – Kraljevica (45.292898°, 14.572163°)
31
07 Jana Winderen Restless
33
08 Peter Ablinger White / Whitish 18
35
09 Mazen Kerbaj From Within
37
10 Stanislav Abrahám Driving Forces
39
11 Franz Xaver Chance is the basis of free will
41
12 Ludwig Salvator Song of the trees
43
13 Christine Schörkhuber Choir
45
14 Ö1 Diagonal On Archduke Ludwig Salvator. The King of the Mediterranean. 46
Final Concert with Omar Niang
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Co-operation: Pure Elektronik
Supporters
Mindestgröße Schriftzug:
12,2 x 3,5 mm
Grad Bakar
Media partners
www.skug.at
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NIXE
NIXE
Mediterranean Measures –
Science, Research and the Arts
Mediterranean Measures –
Science, Research and the Arts
Sound Art Exhibition in 14 Parts
Hommage à Ludwig Salvator in Wissenschaft, Forschung und Kunst
Researcher of the Mediterranean, Ludwig Salvator was a traveller all his life. A homage with
contributions from the domain of sound, art and science sets out to do justice to this free thinker.
NIXE / Der Hafen (The Port)
He has the makings of an icon of free science, beyond academia and yet full of passionate precision: researcher of the Mediterranean, Ludwig Salvator travelled all his life, going from island
to island, and finally from continent to continent. From aboard the “Nixe”, his steam-driven yacht,
he set his research radar on unexplored, as yet largely unknown Mediterranean islands and their
original, indeed – in terms of civilisation – primeval flora and fauna, habits, customs and living
circumstances. For decades, he published dozens of highly regarded specialist publications.
Thu 08.10.2015 – Sun 18.10.2015
10:00–19:00
Lesliehof im Joanneumsviertel
NIXE / Das Schiff (The Ship)
The Archduke from the Tuscan line of the Habsburg family, who died one hundred years ago in
October 1915, was as much an ardent practising conservationist as a bohemian and pacifist. An
homage featuring several artistic contributions from the fertile borderland of sound, art and
science is dedicated to this free thinker. Venues and, at the same time, instruments of this undertaking are ORF correspondent booths in the Lesliehof im Joanneumsviertel and the Murinsel as
the fictitiously resurrected research vessel Nixe – along with the appropriate background sound.
Thu 08.10.2015 – Sun 18.10.2015
10:00–19:00
Murinsel Graz
Project idea: Christian Scheib, Elke Tschaikner und Fränk Zimmer.
Participating artists: Peter Ablinger, Stanislav Abrahám, Peter Brandlmayr, die audiotapete, Josef
Klammer, Marcus Maeder, Mateu Malondra, Christine Schörkhuber, Valentina Vuksic & Hannes
Rickli, Jana Winderen, Mazen Kerbaj, Franz Hautzinger and Franz Xaver.
Concept, research, texts: Christian Scheib, Elke Tschaikner
Realisation concept: Fränk Zimmer
Software NIXE / Das Schiff: Thomas Musil
Loudspeakers: Lambda Labs
Audioplayer: Atelier Algorythmics
Project commissioned by the ORF musikprotokoll as part of steirischen herbst 2015. In cooperation with the Joanneum Universal Museum, Joanneumsviertel Natural Science Museum &
SHAPE – Sound, Heterogeneous Art and Performance in Europe. Stanislav Abraham is a SHAPE
artist. With the support of Pro Helvetia – Swiss Arts Council, Lambda Labs and the Ludwig
Salvator Society, Vienna. Our thanks also go to Helga Schwendinger (Ludwig Salvator biographer) and Wolfgang Löhnert (Ludwig Salvator Society, Vienna) for their support for this
project.
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NIXE
“… when a scientific approach
becomes the starting point for art …”
“On the road” is “on the sea”. In terms of mythology, there is probably no
one of whom this is more true than Odysseus. On the Mediterranean. Or
perhaps Aeneas. Carthage and Italy. But why wander off into mythology.
Exactly 100 years ago, after an extremely successful life, another sailor of
the Mediterranean died. But instead of searching heroically for his home, or
a new home, Ludwig Salvator, passionately, with amazing logistics and for
decades, sailed with an entire crew of scientists and companions through
the same Mediterranean. As a natural scientist and ethnographer, he
explored, visited, mapped and described places of the Mediterranean from
the 1870s up to his death in 1915. Not only the Mediterranean region,
although this was his preferred area and where he researched most thoroughly. And what he liked most was islands that at that time hardly anyone
knew. It was there that Archduke Ludwig Salvator was able to apply his
obsession with observation and passion for description to natural and social
systems that were comparatively still untouched by the industrialisation of
the 19th century.
Ludwig Salvator published dozens of books, all based on the results of his
research. But he gradually also discovered his talent as an author per se, not
at the service of science. Finally, shortly before his death, two books
appeared in which his poetic talent combined with his passion for positivistic
science. Zärtlichkeits-Ausdrücke und Koseworte in der friulanischen Sprache
(Expressions of tenderness and terms of endearment in the Friulani language) was published by Ludwig Salvator in 1915 in a trilingual edition, in
Friulani, Italian and German, after the start of the First World War had driven
him from Majorca to Bohemia. An amazingly poetic, tender and silent protest
by a confirmed pacifist against the madness of the world war that was just
beginning. And before this, in 1914, he wrote and published Lieder der
Bäume. Winterträumereien in meinem Garten in Ramleh (Songs of the trees.
Winter dreams in my garden in Ramleh). It is this book that has been used
as the stimulus for the musikprotokoll 2015 “NIXE” project, on exactly the
100th anniversary of the death of Archduke Ludwig Salvator. In a passionate
life “on the sea”, with his research steam yacht Nixe, sailing from one place
to the next, with his “observation antennae” always in position, Ludwig
Salvator took a sort of break from science on a small estate near Alexandria
in northern Egypt. But still with his “observation antennae” in position. And
for this reason the result was not a scientific book but rather a booklet of
poetry about the sounds of the trees that he heard, the sounds of the
different treetops, the sounds of the winds and the birds.
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The precise sensual perception was transferred to the sensual precision of
description. When a scientific approach becomes the starting point for art.
That is why the life and works of Archduke Ludwig Salvator have become the
progenitor, instigator and inspiration for a sound art exhibition at the ORF
musikprotokoll in the 2015 steirischer herbst.
But talking of Odysseus: As early as 1905, likewise born from this interface
between scientific observation and presentational accurateness, Ludwig
Salvator published an entirely pictorial volume about Odysseus’ “homeland”, the book “Sommertage auf Ithaka” (“Summer days on Ithaca”). Almost
100 woodcut plates after his own drawings document the bays and mountains, hills and caves. But the preface also sets down his acoustic observations: “The cicadas were chirping and, as we came close to the island, they
seemed to be singing from every tree, from every bush, from every rock, like
a mighty hymn singing the praises of the warmth, the summer. […] I explored
every corner of the island on water and land, sailing round its capes where
the breeze in the midday hours created cheerfully blustering waves, listening
to the roaring of their underwater caves …”
Thus he had everything that is needed to become an icon of free science and
its art, beyond the world of academia and at the same time full of passionate
precision: Archduke Ludwig Salvator, born in 1847, dedicated his life not to
diplomacy or military services at the Viennese Court, but rather to natural
science and ethnography. He painstakingly documented flora and fauna,
traditions and customs, and published dozens of highly appreciated scientific
works, as well as travel literature. For decades, he sailed across the waters
in his steam yacht Nixe. The focus of his research was on the at that time
almost unknown island groups of the Mediterranean such as the Aeolian and
the Balearic Islands. In 1816 he published “Tabulae Ludovicianae”, an extensive list of questions for the systematic recording of what had been explored.
He was a member of many scientific circles such as the “k.k. Geographischen
Gesellschaft Wien”, the “Kaiserlichen Akademie der Wissenschaften” and
the “American Museum of Natural History New York”. It was on Majorca, on
an estate he had bought in the Tramontana mountains, that he put into
practice his ideas of a way of life, nature protection and cultivation of species.
He pursued a demonstratively informal life and many of these projects were
undertaken incognito. On 12 October 1915, i.e. exactly 100 years before this
year’s musikprotokoll, Archduke Ludwig Salvator died. For this reason, we
want to dedicate an homage to this visionary and maverick in the form of a
number of artistic interventions.
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NIXE / Der Hafen (The Port)
As an arts festival of a broadcasting company whose essential functions
include the communication of what is interesting from around the world, we
have selected the classic correspondent’s booth as both instrument and
place of presentation. 14 correspondent’s booths will be “played” by artists
over 10 days, serving as the place for which the artistic intervention is produced and where it will be received.
NIXE / Das Schiff (The Ship)
At the place where the correspondent’s booths have been erected, therefore,
the listener can only perceive one “audio track” or acoustic intervention in
each cabin. All acoustic tracks, however, find their way to Graz’s Mur Island
that, as the only place surrounded by water in the centre of the city, and oddly
hesitating between island and ship, is reinterpreted as the “Nixe”, the
f avourite place and at the same time the necessary instrument for Ludwig
Salvator’s voyages of exploration.
And this ship, the “Nixe”, will be enveloped in sound for ten days, come wind
or storm, sun or rain, by the sound compositions of the “Nixe” artists. Randomly selected fragments of the 14 sound compositions will drift acoustically
past the Mur Island ship, one after the other, played through Lambda horn
loudspeakers, each sound art piece a fluctuating acoustic landscape that
follows the movements of the water.
The Joanneum courtyard – the Lesliehof – with its fourteen correspondent’s
booths is thus our “port”, the Mur Island our “ship”.
The ship and port of the “NIXE” musikprotokoll project will be opened by
Federal President Dr Heinz Fischer at 5 pm on 8 October 2015. After a short
concert by Mazen Kerbaj and Franz Hautzinger including a reading of some
of Ludwig Salvator’s Songs of the trees, the Mur Island will then be the setting for the genuine launch of the temporary “Nixe” by President Fischer,
after which the fourteen correspondent’s booths in the Joanneum courtyard
will open their access hatches.
Text: Christian Scheib
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Writing and drawing,
documenting and stimulating
Archduke Ludwig Salvator was blessed with a high degree of scientific understanding, which he translated into words and images in his works. One of
many examples is his book about the Bay of Bakar.
On all his voyages, he always carried his sketch book and note pad so that
he could put his observations on paper immediately. In the preface to one of
his first works (Tunis. Ein Bild aus dem nordafrikanischen Leben [Tunis. An
image from North African life]) he says: “These illustrations are photographs
of the author’s original sketches drawn on the spot in the heart of the crowd.
Not a single line has been changed later, and for this reason they correspond
all the better with the text, likewise left in its unornamented originality.”1
The Archduke felt that it made sense to maintain a close link between word
and image.2 As can be seen from prefaces to various works, the illustrations
were intended to explain and to improve the understanding of what was
written: “The accompanying sketches should aid the pallid words […]”3 There
is no need to add that Ludwig Salvator was a master of both types of representation, but there is no indication that he might have been proud of his
skills. With charming modesty he wrote in 1871: “May, however, these pages,
despite their incompleteness, firstly be for some a welcome memory of the
magical world of Bucchari, and at the same time be received favourably as a
small contribution to improving the knowledge of one of the smallest but not
most insignificant corners of the Austrian fatherland. I for my part will consider the purpose of these pages as having been achieved if they gain for the
bay (of Bucchari-Porto Ré, modern Bakar), so dear to my heart, the appreciation it deserves and if it should soon develop into a place of lively
commerce.”4
Within the Austro-Hungarian monarchy, there were regions that the Archduke
loved to travel, including the coast between Venice and Montenegro. He
spent two months of 1870 in the Bay of Bucchari – Porto Ré to the south of
Fiume, modern Rijeka. In the resulting book, Der Golf von Bucchari-Porto Ré.
Bilder und Skizzen (The Gulf of Bucchari-Porto Ré. Pictures and sketches),
he took us “into the fairy-tale world of Bucchari, in order to give us a small
contribution to improving the knowledge of one of the smallest but not most
insignificant corners of the fatherland.”5 In it, he expressed his regret that
this Bay in the Gulf of Fiume had sunken into oblivion, despite its beauty and
merits. “There are certain places in the world that, as a result of an incomprehensible mishap, have disappeared from mankind’s memory and have
been almost completely forgotten for centuries.
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Their beauty has remained unobserved, their merits underestimated. And
this has been the case until most recently with the Gulf of Fiume. We have
long since forgotten the huge importance that the Romans attached to this
important bay.”6 He also pointed out the necessity of encouraging the economic development of this part of the Croatian coastline, of creating convenient traffic links on land and water so that in the future others could be
convinced of the scenic beauties of the area, its wealth of geology and flora
as well as the attraction of the old town of Bucchari.
The Archduke also wanted his work to draw the attention of artists to this
coastal region, and for this reason he included numerous illustrations, plans
and maps: “If, in comparison to the small size of the area described, the
number of illustrations should appear too large, it should be recalled that
they have a double purpose, firstly to provide a pictorial illustration of what
is described in words, and secondly to provide evidence of the wealth of
scenic attractions in this region, thereby drawing attention to this coastal
area that extends with almost the same beauty for almost 200 nautical miles
southwards.”7
Text: Helga Schwendinger
[E.L.S.]: Tunis. Ein Bild aus dem nordafrikanischen Leben (Prague 1870),
without page number.
2
Cf. The Archduke’s work Die Balearen. Geschildert in Wort und Bild (Leipzig
1869–91).
3
[E.L.S.]: Levkosia, die Hauptstadt Cyperns (Prague 1873), without page
number.
4
[E.L.S.]: Der Golf von Buccari-Porto Ré. Bilder und Skizzen (Prague 1871),
without page number.
5
Leo Woerl: Erzherzog Ludwig Salvator aus dem österreichischen Kaiserhaus
als Forscher des Mittelmeeres (Leipzig 1899), p. 26.
6
[E.L.S.]: Der Golf von Buccari-Porto Ré, p. 1.
7
[E.L.S.]: ibid., without page number.
1
Extract from: Helga Schwendinger, Worüber die Biographen bisher nicht
geschrieben haben, in: Ich, der Erzherzog. Der Wunsch, weiter zu gehen,
(Jo, l’Archiduc), Palma 2015.
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Archduke Ludwig Salvator –
chronology of selected biographical
details and book publications
Text source: Ludwig Salvator Society – www.ludwig-salvator.com
1847
Archduke Ludwig Salvator is born in Florence on 4 August 1847, the
second-youngest son of Grand Duke Leopold II and his wife Maria Antonia
of Naples and Sicily.
1854
After leaving the “nursery”, he begins a humanistic education with a
strong scientific focus under the direction of the young scientist Eugenio
Count Sforza
1870–1891
Start of the publication of the book: Die Balearen. In Wort und Bild geschildert. (The Balearic Islands. Described in word and image)
Large edition in 7 volumes and 9 books.
This international prize-winning monumental work was and is still
regarded as having set the standard in the field of regional studies and
ethnography in terms of text and illustrations, the value and completeness
of the material presented and the beauty of the design. Only 100 copies
(consisting of seven folio volumes) were produced.
1871
Book publication: Der Golf von Buccari-Porto Ré
(The Gulf of Buccari-Porto Ré)
Description of the delightful landscape of the Bay of Buccari-Porto Ré
(today Bakar) near the Croatian coastal town of Rijeka.
1872
Launch of Ludwig Salvator’s steam sailing yacht Nixe, test voyage and
inauguration, 28.2.1873
1859
The Italian Risorgimento forces the Tuscan Habsburgs to leave their home
and go into exile in Bohemia (Schlackenwerth and Brandeis an der Elbe).
Ludwig Salvator spends three years in Venice from 1861
1865–1870
Studies in Prague under professors of the Legal and Philosophical (including scientific) Faculty of the k.k. Carl Ferdinand University and the Academy
of Fine Arts, including extensive annual study tours throughout Europe
1872
Ludwig Salvator acquires the remains of the Franciscan monastery
Monastir de Miramar founded by the famous philosopher and mystic
Ramon Llulli, as his first property on Majorca, where he sets up a modest
residence
1873
1867
Ludwig Salvator makes his first voyage with the “Nixe” along the coast of
North Africa between Alexandria and Tunis
Ludwig Salvator visits Majorca and the other Balearic Islands for the purpose of scientific studies for the first time
1875
1869
Ludwig Salvator elaborates the “Tabulae Ludovicianae”, a 100-page scientific questionnaire that will in future serve him as the basis for his
publications
Book publication: Beitrag zur Kenntnis der Coleopteren-Fauna der
Balearen (Contribution to knowledge of the Coleoptera fauna of the
Balearic Islands) (a description of the beetle fauna of the Balearic Islands)
1870
Book publication: Tunis. Ein Bild aus dem nordafrikanischen Leben
(Tunis. A picture from North African life)
14
Ludwig Salvator is made an honorary member of the “k.k. Geographischen
Gesellschaft in Wien”. Participation at the International Geographic Congress in Paris and award of the “Lettre de Distinction” (highest award) for
the first volumes of the work on the Balearic Islands. First of regular stays
on the Aeolian Islands
1876
Ludwig Salvator crosses North America for the first time. Acquisition of the
Villa Zindis in Muggia, Trieste, as a regular summer home
1878
Book publication: Eine Blume aus dem goldenen Lande oder Los Angeles
(A flower from the golden country or Los Angeles)
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1878
1905
Gold medal for the first two volumes of the publication on the Balearic
Islands at the Paris World Exposition
Book publication: Das was verschwindet. Trachten aus den Bergen und Inseln
der Adria (What is disappearing. Traditional costumes from the mountains and
islands of the Adriatic) and Wintertage auf Ithaka (Winter days on Ithaca)
1879
Book publication: Die Karawanenstrasse von Ägypten nach Syrien
(The caravan route from Egypt to Syria)
Thoughts about whether constructing a railway link between Egypt and
Syria made sense, and the description of the old caravan route across the
Wadi el Arish
1909
Ludwig Salvator is made a lifelong member of the American Museum of
Natural History in New York
1910
1881
Book publication: Die Felsenfesten Mallorcas. Geschichte und Sage
(The cliff-top fortresses of Majorca. History and legend)
Ludwig Salvator travels round the world, first visiting the World Exposition
in Melbourne, Australia, and then travelling around the Tasmanian Islands,
crossing the Pacific by mailboat and crossing the USA once again by train
1911
1886
Book publication: Einiges über Welt-Ausstellungen
(Comments on World Expositions), in which he proposes that in
future the exposition site should be suitable for wheelchairs
Book publication: Hobarttown oder Sommerfrische in den Antipoden
(Hobart Town or a summer resort in the Antipodes)
1912
1889
Ludwig Salvator is made an honorary member of the Imperial Academy of
Sciences in Vienna.
Book publication: Sommerträumereien am Meeresufer (Summer reveries on
the seashore). Poetic landscape and seascape considerations at the foot
of the “Sa Foradada” rocky headland
1914
1893–1896
Book publication: Die Liparischen Inseln (The Aeolian Islands)
(8 volumes), Ludwig Salvator’ second-largest monography, about the
islands of Vulcano, Lipari, Salina, Stromboli, Panarea, Alicudi and Filicudi,
north of Sicily.
Book publication: Lieder der Bäume. Winterträumereien in meinem Garten
in Ramleh (Songs of the trees. Winter reveries in my garden in Ramleh)
Ludwig Salvator describes in poetic terms the noises caused by the wind in
the trees and bushes of his garden in San Stefano at Ramleh
1915
1898
Start of an extensive tour of the Orient followed by many years of exploring
the Ionian Islands. Ludwig Salvator acquires estates on the “Eleusinian
Riviera” in Ramleh near Alexandria as a winter home
Book publication: Alboran
Description of the small rock island in the Straits of Gibraltar between
Spain and Morocco
1904
Book publication: Zante (General Part and Specific Part)
After the Balearic Islands and the Aeolian Islands, Ludwig Salvator’s
third-largest monography about the Ionian island of Zakynthos
Book publication: Zärtlichkeits-Ausdrücke und Koseworte in der
friulanischen Sprache (Expressions of tenderness and terms of endearment
in the Friulani language)
A remarkable linguistic compilation and at the same time a silent protest
against the horrors of the First World War
1914/15
At the Emperor’s order, Ludwig Salvator is forced to abandon his estates
at Trieste and, after a longer stay in Gorizia, moves with his entourage to
his castle at Brandeis an der Elbe in Bohemia on 13 May, 1915.
1915
Ludwig Salvator dies in his castle on 12 October 1915.
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NIXE
01
Mediterranean Measures –
Science, Research and the Arts
RemOs1. Beginn einer Datenarbeit
in der Arktischen See.
(RemOs1. Start of data work
in the Arctic Sea.)
Hannes Rickli, Valentina Vuksic
Sound Art Exhibition in 14 Parts
In the Kongsfjord on the west coast of Spitzbergen, the
underwater station RemOs1 has been measuring the
development of a fish habitat since 2012. Every 30 minutes, it makes a stereometric pair of images and transmits them to a server on Heligoland for scientific analysis. On the audio tracks, we can hear the activities of the
recording and transmission devices that culminate at the
moment when the photograph is taken (every ten minutes in a loop): the RemOs1 electricity consumption
(voltage fluctuations when the load changes) and the
electromagnetic fields of the cameras and the on-board
computer that packs the images and puts them on the
Internet. The sensors are played back as acoustic signals
without transformation, limited to the range of human
perception. These noises are accompanied by mechanical vibrations and impacts from buoyancy bodies on the
steel casing indicating the swell of the waves.
Commisioned by ORF musikprotokoll
im steirischen herbst 2015.
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Valentina Vuksic, born in Munich in
1974, studied media art and software
development. She is currently working on her long-term project Tripping
through runtime and conducting
research for Hannes Rickli’s project
“computer signals” at the Institute for
Contemporary Art Research at the
Zurich University of the Arts. Vuksic
captures the electromagnetic emission of running laptops with inductive
pick-ups and transforms the “runtime
environment” of software into acoustic signals – thus revealing its electromagnetic footprint which can be
heard as “computer music” inherent
in the system. The basic hardware
and software setup helps determine
whether we hear rhythms or erratic
structures, spheric sounds or harsh
noises. In this way, computer manufacturer, operating system, software
and user all contribute to creating the
composition.
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Hannes Rickli studied photography, media art and theory of design and
art in Zurich and Karlsruhe and is today an artist and professor at the
Institute for Contemporary Art Research at the Zurich University of the Arts.
In his work Rickli examines instrumental use of media and space and the
de- and recontextualisation of functional aesthetic phenomena. In addition
to artistic research projects like Surplus. Videograms of Experimentation
and Computer Signals. Art and Biology in the Age of Digital Experimentation,
Rickli has also presented his work in numerous solo exhibitions, e.g.
Listening to Fish. Beginning of Data Transmission from the Arctic Sea
(Schering Stiftung, 2013) or Videogramme, Helmhaus Zürich 2009.
Hannes Rickli, Valentina Vuksic: RemOs1, Ny Ålesund, Spitzbergen, 9.2.2013.
Main casing (middle) with two Canon cameras, on-board computer, electromagnetic audiosensors, power supply, dimensions 23 x 38 x 41 cm; flash light
casing (top right), LED light casing (top left); webcam casing (left), contact
microphone; buoyancy bodies; blue power supply and data cables. Cooperation: Philipp Fischer, Alfred Wegener Institute for Polar and Maritime
Research within the Helmholtz Community.
Photos: @Philip Fischer.
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02
Servus Friedl!
(Greetings Friedl!)
Comment by Ludwig Salvator
before the bust of Friedrich Mohs.
Josef Klammer
Gypsum scratches talcum, calcite scratches talcum, fluorite scratches talcum, apatite scratches talcum, orthoclase scratches talcum, quartz scratches talcum, topaz
scratches talcum, corundum scratches talcum, and diamond scratches talcum. Calcite scratches gypsum, fluorite scratches gypsum, apatite scratches gypsum, orthoclase scratches gypsum, quartz scratches gypsum, topaz
scratches gypsum, corundum scratches gypsum, and
diamond scratches gypsum. Fluorite scratches calcite,
apatite scratches calcite, orthoclase scratches calcite,
quartz scratches calcite, topaz scratches calcite, corundum scratches calcite, and diamond scratches calcite.
Apatite scratches Fluorite, orthoclase scratches fluorite,
quartz scratches fluorite, topaz scratches fluorite, corundum scratches fluorite, and diamond scratches fluorite.
Orthoclase scratches apatite, quartz scratches apatite,
topaz scratches apatite, corundum scratches apatite,
and diamond scratches apatite. Quartz scratches orthoclase, topaz scratches orthoclase, corundum scratches
orthoclase, and diamond scratches orthoclase. Topaz
scratches quartz, corundum scratches quartz, and
diamond scratches quartz. Corundum scratches topaz,
and diamond scratches topaz. Diamond scratches
corundum.
The music is generated from the Mohs scale of hardness
of 1822.
Josef Klammer, born in Lienz in 1958,
is a musician and media artist. He initially worked as a photographer, then
studied drums at the Graz University
of Music. Since the mid-80s Klammer
has worked continuously developing
his instruments and sound while
maintaining his involvement in
research and the transformation of
the media’s immanent music potential. In 1994 he received the award for
computer music from the Austrian
Ministry of Art and Science. He has
participated in numerous exhibitions,
concerts, festivals and transdisciplinary projects all over the world.
Music for TV and film; radio plays and
programmes for the ORF; stage music
for productions at theatres in Hamburg, Stuttgart, Schwerin, Gera, Ljubljana, Klagenfurt, Linz, Graz, and for
the Wiener Festwochen. Artist in residence at ZKM Karlsruhe and IEM
(Graz University of Music). Numerous
concerts and recordings with a wide
variety of ensembles playing new
improvised electronic and experimental music. Award of Distiction by Prix
Ars Electronica 2015.
Scratched by Dr. Bernd Moser, head curator of the mineralogical collection of the Joanneum Graz Universal
Museum.
Text: Extracts from Lieder der Bäume (Winterträumereien
in meinem Garten in Ramleh) by Ludwig Salvator. Printed
and published by: Heinrich Mercy Sohn, Prague 1914.
Voice: Ninja Reichert
22
Commisioned by ORF musikprotokoll im steirischen herbst 2015.
23
03
Sound Block
Mateu Malondra Flaquer
The relation between interior and exterior, impression
and expression and ultimately the dialogue between
what is composed and what the listener will perceive,
inspires Sound Block.
This basic idea, formalised by the use of synthetic
sounds and recorded audio samplers of open-air landscapes, creates a duality in the treatment and the processing of sound.
In the beginning I approached the work as if I was composing two independent pieces, synthesis block and
concrète block. These two blocks are subsequently
combined to create the final work. In some stages of the
piece, the individuality of these two independent compositional processes is preserved by juxtaposition. The
juxtaposed blocks evolve into a mixture, creating a
sound unity by amalgamation.
In the synthesis block the material used is based on the
Hz variation of the A tuning pitch in Europe, between
1847 and 1915, before the A (440 cycles) was accepted
by convention in 1939. The material is expanded using
the natural harmonics series of the focal pitch. In the
concrète block the material used is based on the open-air
recordings made in Mallorca between July and September 2015.
The idea of composing acousmatic music that potentially
could be perceived linearly or, due to the installation
format, dissociated was very important to me. I’ve been
trying to avoid formats that take into consideration the
free circulation of the visitors by delimiting the duration
of the work. The intention is to detach from its natural
concert environment an acousmatic compositional process of sound organisation.
Mateu Malondra, born in Palma de
Mallorca in 1977, studied composition
with Robert HP Platz at the Maastricht Conservatory and classical
guitar at the Royal Conservatory of
The Hague. Currently, he is a PhD
candidate in composition at Kingston
University under the tutelage of Paul
Archbold. He attended master classes
with Daniel D’Adamo, Richard Barrett,
Brian Ferneyhough, Beat Furrer, Wolfgang Rihm, and Edwin Roxburg. His
music has been performed at the
Cairo Contemporary Music Days,
Donaueschingen Music Days –
Next Generation, Forum Wallis,
Gaudeamus Muziekweek, IDAF Festival London, Darmstadt International
Summer Course for New Music – Open
Space, and Mostra Sonora de Sueca,
among others. In 2015 the festival
Mixtur (Barcelona) commissioned his
Free Module Study nº1 with the funding support of the Ernst von Siemens
music foundation. His two string
quartets Una Isla de Granito (2010)
and Archipiélago (2011) were
recorded by the Arditti Quartet as
part of an international call for new
works.
24
The sound installation control system to be used relates
the sound output to the presence of someone in the
booth. When a person is in the booth the sound is triggered and vice versa. In addition, the piece will be played
in a perpetual loop, and every time someone enters, the
piece will start at the point the previous person left it. In
this way, an unpredictable chain of formal relations will
be created and the listener will directly influence how the
piece is perceived.
The idea of duality attempts to evoke a parallelism with
the figure of Ludwig Salvator the adventurous traveller
and Ludwig Salvator the scholar.
Commisioned by ORF musikprotokoll
im steirischen herbst 2015.
25
04
Abyss
Oh Ludwig, the sea is deep …
Peter Brandlmayr
If you consider the stories and motivation of people like
Ludwig Salvator, it becomes apparent that the hunger for
knowledge that drives them onto the oceans, that drives
them out into the world, applies not only to the external
world that they face but also, and in particular, to themselves. Their search is ultimately based on the mystery
of their own existence. The unknown is to be found outside and inside equally. If you expose yourself to the
unknown, the mysterious in the world, you also provoke
the unknown and the mysterious in yourself. There is,
after all, a connection between the individual being and
the world. The world is a person’s meta-body, it is something that can only be investigated mimetically and
communicatively by starting out from your own body.
It is precisely in this sense of going out into the world and
at the same time discovering oneself as a being, in order
to discover oneself in one’s friction with the world, that
the acoustic material of the sound installation Abyss was
generated by friction. For this, however, I did not select
a few objects in accordance with their variety in this
world, but instead a single one that, paradigmatically,
offers a metaphor for man’s confrontation with his surroundings. You might initially be surprised that I raise a
balloon to the status of a paradigmatic figure. Its apparently internal void makes it, despite the idea of an ontologically internal and external abyss suggested above,
appear initially as absurd and dubious. The elasticity and
vulnerability of a balloon also leads us to reject it at first
sight. It is our habit not to begin our confrontation with
the world with elastic and flexible conditions but rather
from what can be defined beyond doubt. We want stable
conditions, we make an effort to present and represent
our own standpoint and our own philosophy as the only
ones that are right. Salvator’s catalogue is also in this
tradition of finally providing a genuine geography in
order to eliminate conventional illusions about the nature
of the world. But where do we draw this certainty, if not
from our own standpoint?
Peter Brandlmayr, born in Bad Ischl in
1970, studied geology in Innsbruck
and graduated from the College of
Photography, Höhere Grafische Bundeslehr- und Versuchsanstalt in
Vienna. In his artistic work Brandlmayr examines formal and thematic
aspects of science, in which playing
with facts and fiction becomes a central theme. In 1999 he founded the
Institute for Science and Research
(IWF), which is dedicated to the work
of the fictitious physicist Viktor Krylov. In 2012 he founded Pegasus Institute of Pataphysics (PIP). His artistic
perspective of scientific experiments
also influences Brandlmayr’s musical
work, for example Apparaturen zu
den Grundlagen der Physik (Durian
Records), with which he has already
been a guest at the musikprotokoll in
2002.
26
Viewed from the meta-standpoint, the idea of one single
truth proves to be an illusion. Images of the world and
oneself are like man or any other being, are like balloons,
vulnerable, elastic, transient and ultimately also gratuitous structures. They all correspond to a wafer-thin layer
between an internal and an external abyss, a layer that
is nevertheless capable of forming a resonance body, a
resonance body with which you can play, and even make
music. Man is an artistic, poetically creative being that
generates friction inwardly and outwardly in the spatial-temporal margins of his transient existence, that
keeps his castles in the air for the world per se and for
himself, and within this friction produces images of the
world, images of himself, music, dance, pictures, installations, texts, stories, objects and much more. Again and
again we are able to reinvent worlds, cultures, religions,
sciences, arts as well as ourselves, to rediscover them
again and again, and fortunately without being able to
encompass and determine their potential in its entirety.
For, “if things and the world could be defined” beyond
doubt and with general validity “for all times, nothing
more would exist at all”. (Merleau-Ponty)
Commisioned by ORF musikprotokoll
im steirischen herbst 2015.
27
05
Herbstträumereien
(Autumn reveries)
In the footsteps of the Archduke
die audiotapete
Ludwig Salvator appears to have spent a considerable
part of his life in contemplation and dreaming. A pacifist
who spent his time travelling, researching, writing and
watching sunsets.
Two of his writings allow us to participate explicitly in
these dreams: the Winterträumereien (Winter reveries)
and the Sommerträumereien (Summer reveries). They
show the thoughts of a man in close touch with nature,
who on his many journeys has learned to understand,
amongst other languages, the murmuring of the sea and
the trees.
The visitors to these booths are invited to take up a comfortable position, relax, immerse themselves in “Luigi’s”
world of dreams, and allow their own thoughts to w
ander.
Inspired by Eric Satie’s idea of “musique d’ameublement”
(from the same time as Ludwig Salvator) and the con
temporary sound aesthetics of the ASMR (autonomous
sensory meridian response), die audiotapete has
plastered the booth with illustrative recordings of nature
from their own journeys:
The duo die audiotapete was formed
by Barbara Kaiser und Ernst Reitermaier in 2005 to explore our acoustic
surroundings by means of art and use
these sounds in radio programmes,
sound installations, DJ sets and live
performances. Ernst Reitermaier
studied philosophy, music and cultural management in Vienna, and
works as a musician and music co-ordinator. He is a member of the Institute for Transacoustic Research, the
Reheat festival team, and organises
various projects in the field of experimental music. Barbara Kaiser studied
transmedia art in Vienna and works
as an artist, curator and musician.
Like Reitermaier, she is one of the
founding members of the Vegetable
Orchestra. She is involved in the
Radia network, curates exhibitions
and creates sound and video works.
– The murmur of the sea from Croatia,
Spain, New Zealand
– The noise of wind from Wales
– Crickets chirping from New Zealand
and the Burgenland
– Leaves rustling from Austria
– A strawman from lower Austria
– The creaking of stairs from Styria
Texts from Ludwig Salvator: Lieder der Bäume. Winterträumereien in meinem Garten in Ramleh (Songs of the
trees. Winter reveries in my garden in Ramleh). (Verlag
Heinrich Mercy Sohn, Prag, 1912) and Sommeträumereien
am Meeresufer (Summer reveries on the seashore)
(Woerl’s Reisebücher-Verlag, Leipzig, 1914). Voice:
Dr. Ernst Reitermaier sen.
28
Commisioned by ORF musikprotokoll im steirischen herbst 2015.
29
06
Bakar – Kraljevica
(45.292898°, 14.572163°)
Marcus Maeder
Ludwig Salvator visited the Bay of Bakar in Croatia in
1871 and documented it in Der Golf von Buccari-Porto Ré.
Bilder und Skizzen (The Gulf of Buccari-Porto Ré. Pictures and Sketches). My project is to draw a contemporary landscape picture. The bay has changed considerably over the hundred years since Salvator’s visit. Industry
from the age of Yugoslavia has left its traces, and the
entrance to the bay is marked by Croatia’s largest refinery plant. A new motorway wends its way high above the
bay.
Using an artistic-scientific measuring station that I set up
opposite the entrance to the Bay of Bakar, I am drawing
pictures of everyday life on sea and land, at the same
time measuring air quality (carbon monoxide, sulphur
dioxide and ozone) and meteorological conditions (wind,
air humidity, amount of rain etc.). This measurement data
is sonified, i.e. converted into sounds, in the installation.
The pictures themselves show an actually idyllic setting
that is contrasted with the acoustic/musical performance of the local air pollution, an ambivalence that is
experienced every day by Bakar’s residents, who would
gladly see their bay freed of industry and traffic.
Marcus Maeder is a sound artist,
composer of electronic music and
author. He studied fine arts at the
Lucerne University of Applied
Sciences and Arts and currently
studies philosophy at the University
of Hagen. He runs the music label
domizil, which he co-founded with
Bernd Schurer in 1996. Maeder has
worked as an editor and producer for
the Swiss radio station SRF and has
been working at the Institute for Computer Music and Sound Technology
(ICST) of the Zurich University of the
Arts since 2005. His work focuses
mainly on computer music and the
artistic and media extensions of the
term. As an author, Maeder has
written on a number of topics in the
fields of sound art and digital media.
Commisioned by ORF musikprotokoll
im steirischen herbst 2015.
30
31
07
Restless
Jana Winderen
Focused listening helps to see the world more closely and
to pay attention to smaller creatures, our neighbours on
the planet. Creatures around us make sounds. We know
the sound of a bird, but we do not generally know which
bird it is. We hear a frog, but do we know which species?
Small creatures, like plankton, fish and insects also make
sound under water, which is a difficult place for us to
access. This piece is a composition based on the sound
of crustaceans which are found in waters all over the
planet – at least for as long as the level of CO2 does not
make the water so acidic that their outer skeletons will
not form…
Some of the underwater insects, which you also find all
over the planet, are the loudest we know relative to their
size. The tiniest creature can be very noisy. The Blue
Whale is both the largest and the loudest. Another whale,
the Humpback, produces songs which can last for 40
minutes, and they are made anew each year when they
migrate to the Caribbean to meet up to procreate and give
birth. An ocean where you can only hear ships’ motors
and seismic testing is a scary place. It is a dead ocean. At
the time of Salvator, there was most probably a richer sea
life than can be found today, and the sound environments
underwater would have been more complex. He would
probably have heard the sounds of crustaceans, fish
protecting their habitats and whales singing or echo
location resonating in his ship. I have heard these sounds
even without a hydrophone, resting in a cabin under the
deck of a ship, and I imagine he did too.
Jana Winderen is an artist educated
in fine arts at Goldsmiths College in
London, and with a background in
mathematics, chemistry and fish
ecology from the University in Oslo.
She had an installation in Park
Avenue Tunnel, New York City, in the
summer of 2014 and exhibited at
MoMA, NYC, in 2013. Jana is artist in
residence at the TBA21 Academy and
releases her audio-visual works on
Touch. In 2011 she was awarded the
Ars Electronica Golden Nica for Digital
Musics & Sound Art. Amongst her
activities are immersive multi-
channel installations and concerts
and she has performed all over the
world. She currently lives and works
in Oslo.
Commisioned by ORF musikprotokoll
im steirischen herbst 2015.
32
33
08
The 18 trees broken down into three groups are:
White/Whitish 18a:
birch, rowan, ash, alder, willow, hawthorne, oak
White/Whitish 18b:
holly oak, hazelnut, vine, ivy, blackthorn, elder
White/Whitish 18c:
fir, gorse, heather, aspen, yew
Weiss / Weisslich 18
(White / Whitish 18)
(“for Robert Ranke Graves”), 1992/97
Peter Ablinger
One day, I think that it was at the height of summer 1986,
I was on a walk through the fields east of Vienna near the
Hungarian border, close to Haydn’s birthplace, when I
came upon something remarkable. The corn was high
and was no doubt about to be harvested. The hot summer east wind was blowing through the fields and suddenly I heard the rustling. Although it’s often been
explained to me, I still cannot tell the difference between
wheat and rye. But I heard the difference. I think this was
the first time that I was really listening outside an aesthetic context (such as a concert). Or it was perhaps even
the very first time that I was listening at all. Something
had happened. Before and afterwards were categorically
separated, no longer had anything to do with each other.
At least that’s how it appeared to me. After the event, I
now recognise and recall other comparable experiences
that involved perception suddenly opening up, but the
walk through the corn fields was perhaps the most
momentous. For, in one way or another, it seems to me,
all the works I have made since then have had something
to do with this experience. This includes those works that
are not dedicated to rustling or are played with traditional instruments etc.
Peter Ablinger born in Schwanenstadt, AT in 1959. 1974–76 studied
graphic design at HTL Linz, 1977–79
studied jazz piano at the University of
Music in Graz. From 1979 on he took
private lessons in composition with
Gösta Neuwirth in Graz, parallel to
this he also took lessons with Roman
Haubenstock-Ramati in Vienna until
1982. Since 1982 Ablinger has lived in
Berlin as a freelance composer. In
1988 he founded Ensemble Zwischen
töne. His exploration of unconventional instruments, venues, performance practices and notational forms
are paradigmatic for the Ensemble’s
work. Along with his compositional
activity he has also initiated and run
numerous festivals. Together with
Bernhard Lang, Klaus Lang, Nader
Mashayekhi and Siegwald Ganglmair
he founded the publishing house
ZEITVERTRIEB WIEN BERLIN.
So, White/Whitish 18 is no doubt the work most directly
due to the experience I have described. The project of
recording various trees became concrete in 1992, at a
time when I was also reading a book by Ranke Graves
about the Celtic tree alphabet, which saved me the trouble of making my own selection of trees. This work is now
dedicated to Robert Ranke Graves. The first attempts
having failed due to poor equipment and recording technique, I recorded the present version between May 1996
and March 1997 between the Baltic and the Adriatic.
Excellent microphones, borrowed from the studio of the
Berlin Technical University or the IEM Graz were used this
time.
34
35
09
From Within
An exploratory project
Mazen Kerbaj
Following the steps of the Archduke Ludwig Salvator, I
went on an expedition to explore a widely understudied
flora and fauna: the one inhabiting my inner self.
And like the Archduke, I tried to be as rigorous and precise as possible. For this, I focused my exploration on
only one of the various species that lives in my brains and
tried to document thoroughly its way of being.
I sent the NIXE for a two month exploration of my “interior
life”, and I have to admit that I was quite surprised by the
sounds and images it brought back.
Commisioned by ORF musikprotokoll
im steirischen herbst 2015.
36
The Lebanese artist Mazen Kerbaj
(born in Beirut in 1975) focuses his
activities on visual arts, comics and
music. He has published more than 15
books and many short stories and
drawings in various Lebanese and
international anthologies, newspapers and magazines. His paintings,
drawings, videos and installations
have been shown in solo or group
exhibitions around the globe. Mazen
Kerbaj is also one of the founders of
the Lebanese free improvisation and
experimental music scene, both as an
innovative trumpet player and active
member in the MILL association,
which has organised the annual Irtijal
festival in Beirut since 2001. In 2005
he launched Al Maslakh, the first
label for this music in the region.
Since his first gig in Beirut in 2000,
Mazen Kerbaj has played solo and in
various groups throughout the Middle East, Europe and USA. Partners
include Sharif Sehnaoui, Raed Yassin,
Franz Hautzinger, Mats Gustafsson,
Michael Zerang, Fred Lonberg-Holm,
Bob Ostertag, Tony Buck, Magda
Mayas, Axel Dörner, Thomas Lehn,
Joe McPhee, and John Butcher.
37
10
Driving Forces
Stanislav Abrahám
To have direction, to search, to find, to go further.
To discover driving forces and let them carry us into the
unknown.
Driving forces are moving us independently, but we can
also activate them.
To be the wind, to be the steam, to be the stream in the
sea...
To become this forces means to exceed power and create
beauty.
Commisioned by ORF musikprotokoll
im steirischen herbst 2015.
38
Stanislav Abrahám is an audio-visual
performer, sound and new media
artist based in Prague. He has
crossed over from music and pure
sound art to more conceptual works.
As a sound designer, he collaborates
with many sound, visual, and performance a
rtists on various interdisciplinary projects, such as theatre and
dance performances. He also does
studio production work, recording
and sound post-production in audiovisual works. He studied at the Film
and TV School of the Academy of
Performing Arts in Prague, and his
artistic interests include telecommunications, recording media and the
phenomenon of the “disembodied
voice”.
39
11
Der Zufall ist Basis des freien Willens
(Chance is the basis of free will)
Franz Xaver
We need chance and acausal information in order to
escape the determinism of the information society.
Artists and inventors need these parameters in order to
remain creative as IT continues to develop. As information technology progresses, new ways must be found for
using genuine sources of chance. Free decision-making
and creativity are influenced by spontaneity and the
moment. The moment is used in order to make spontaneous decisions. The quality of these decisions depends
either on the determinism of our everyday life or on
chance.
Chance and/or acausal information can be set against
the determinism of information technology.
Hydrogen is a building block of the universe and supplies
us with this chance.
Franz Xaver studied visual media art
with Peter Weibel at the Academy of
Applied Arts, Vienna. He later went on
to teach computer languages, audiovisual production, electronics and
electrical engineering at the same
Academy until 1992 and taught communication theory at the Faculty of
Architecture, Graz University of Technology. He has participated in numerous exhibitions in Austria and abroad,
including Ars Electronica, Aperto
Biennale di Venezia, Triennale di
Milano, Bundeskunsthalle in Bonn.
In 2008 he founded donautics.com
Chance signals are captured from space by means of a
radio telescope. The signal consists above all of the
spontaneous switch of the electron orbits in the hydrogen atom. This creates radiation at 1420 MHz, which is
used to control hydrogen harmonies based on Lyman,
Balmer, Paschen, Bracket and Pfund.
Chance is noise, and the music is a form of art that
attempts to communicate with acausal information.
The two together make the piece h2_m3.
Commisioned by ORF musikprotokoll
im steirischen herbst 2015.
40
41
12
Ludwig Salvator
Songs of the trees
Printed by Heinrich Mercy Sohn, Prague 1914
Read by Elke Tschaikner and Christian Scheib, 2015
Accompanied by Mazen Kerbaj (trumpet) and
Franz Hautzinger (trumpet), 2015
The date palm
The coconut palm
The dwarf apartment
The olive tree
Pistacia Terebinthus
The laurel tree
The locust bean tree
The casuarina tree
The plane tree
The bamboo bush
The pine
The beach pine
The oak
The lime trees
The vine
The poplar
Commisioned by ORF musikprotokoll
im steirischen herbst 2015.
42
Franz Hautzinger, born on March 11,
1963 in Seewinkel, Burgenland. A
Hannibal Marvin Peterson concert at
Jazzgalerie Nickelsdorf was the young
trumpeter’s “awakening experience”.
He studied at the Jazz department of
today’s Art University in Graz from
1981 to 1983 until lip palsy forced him
to take a six year total break from
trumpeting. After moving to Vienna in
1986 he started in 1989 to explore the
trumpet in his very own and
un-academic way.
The Lebanese artist Mazen Kerbaj
(born in Beirut in 1975) focuses his
activities on visual arts, comics and
music. He has published more than
15 books and many short stories and
drawings in various Lebanese and
international anthologies, newspapers and magazines. His paintings,
drawings, videos and installations
have been shown in solo or group
exhibitions around the globe. Mazen
Kerbaj is also one of the founders of
the Lebanese free improvisation and
experimental music scene, both as an
innovative trumpet player and active
member in the MILL association,
which has organised the annual Irtijal
festival in Beirut since 2001. In 2005
he launched Al Maslakh, the first
label for this music in the region.
43
13
Chor
(Choir)
Christine Schörkhuber
Ludwig Salvator studied the customs, conventions and
the environment of the previously unknown Mediterranean islands – i.e. their culture.
On her many journeys, Christine Schörkhuber spoke to
people from different contexts about the nature of
culture, about their creativity and their visions.
Around 50 interviews from over 20 countries were
developed into a choral work of recurring articulations
and questions.
Fundamentals and subtleties, hybrids and hegemonies,
identities and integrities, privileges and peripheries.
Commisioned by ORF musikprotokoll
im steirischen herbst 2015.
44
Christine Schörkhuber is a freelance
sound artist, video maker and
musician. She studied painting at the
Academy of Fine Arts Vienna with
Franz Graf and video/video installation with Dorit Margreiter. She
realises big sound installations in
public space as well as video art,
listening pieces and experimental
music. As an artist Schörkhuber is
mainly interested in intersections of
audio and visual arts (e. g. her installations Traces of the Unpresent
Present, 2014, Sonic Wall 2011),
socio-political contents and collaborative working experiences. She is a
member of the feminist DIY collective
Mz. Baltazar’s Laboratory and
co-founder of the sound art exhibition
Klangmanifeste. Performing under
the name Canned Fit, she is also a
member of the bands Laster Kanaster,
Palovnia, and Ratatoeskr.
45
14
Diagonal on Archduke Ludwig Salvator.
The King of the Mediterranean.
A historical figure in a Diagonal programme on a person – a rare event. For three
decades we have tended rather to dedicate this programme format to contemporaries who, while they have already been “discovered”, have hitherto not
been presented anywhere in such detail. In a good two hours of a carefully
arranged programme it is after all possible to examine an individual from a
number of aspects – although by no means from all. For all our interest in the
contemporary, Archduke Ludwig Salvator was worth an exception. Leaving aside
the fact that he was a bright researcher, traveller, artist, translator, pacifist,
epicure and recalcitrant individual, what is interesting for us today is his idea of
the Mediterranean as a common cultural space. For Ludwig Salvator, Africa was
equally interesting, equally worth studying and examining as Europe, for him
there was no “them over there” and “us over here”. A way of seeing things that
we might well be advised to adopt in the present time. Perhaps we need more
contemporaries with the format of the both curious and broad-minded
Archduke.
This edition of the Ö1 series Diagonal was broadcast on 26.9.2015. Extracts can
be heard as part of the NIXE sound art exhibition.
Created by: Erich Klein, Johann Kneihs, Peter Lachnit, Ines Mitterer, Michael
Neuhauser, Christian Scheib, Elke Tschaikner and Barbara Zeithammer.
1
From A for Alboran to C for Cyprus
An encyclopaedic research and publication activity: A visit to the lawyer Wolfgang Löhnert,
collector and the founder of the Ludwig Salvator Foundation. Barbara Zeithammer picks up a few
kilos of treasures. (10’ 17”)
2
The uncrowned king of Majorca
Michael Neuhauser visited the island of which the Archduke owned a good part, including vineyards and coastline. What do they think of him there now – is he good for tourism marketing?
(14’ 21”)
3
A fairy-tale seafarer
Erich Klein examines how Ludwig Salvator influenced literature, from Jules Vernes to Ginka
Steinwachs (8’ 10”)
4
Proto-hippie or a serious chronicler?
Both, according to the Swiss artist Marcus Maeder – one of the artists at the musikprotokoll
sound art exhibition “NIXE”. Elke Tschaikner visited him in the Croatian town of Bakar. (9’ 29”)
5
Habsburg’s problem children
Archduke Ludwig Salvator was not the only enfant terrible over the centuries of the imperial
family’s history. Peter Lachnit on a manic empress, naked archdukes and a red archduchess.
(9’ 21”)
http://oe1.orf.at/diagonal
6
The Archduke’s heritage
Michael Neuhauser meets the physician Dr. José Maria Sevilla Marcos. He is today’s owner of
Salvator’s gothic Miramar monastery – and a Salvator researcher with his own theory explaining
the Archduke’s character. (7’ 49”)
7
The sounds of the trees
Another thing investigated by the Archduke and set down in a publication: “Songs of the trees”
is the title of a thin volume written by Ludwig Salvator on his estate in Egypt. Without knowing
these texts, the Austrian composer Peter Ablinger – one of the artists at the musikprotokoll sound
art exhibition “NIXE” – spent a long time examining the sounds of the trees and then, at Seitel
schlag near Ulrichsberg in Upper Austria, created an “arboretum” as a kind of “landscape opera”:
trees planted according to acoustic criteria. Christian Scheib took his microphone there. (10’ 52”)
46
47
NIXE
Route Mediterranean
The Senegalese musician Omar Niang and Palma de
Mallorca as his multicultural musical metropolis
Mediterranean Measures –
Science, Research and the Arts
In a brief autobiographical note the Senegalese musician
Omar Niang wrote that at the age of 27 he had saved
enough money to fulfill his dream of going to Europe to
live as a musician. That was in 1985. In 2014 when we
heard him play with his current band in Palma de Mallorca,
he told us afterwards how much the absolutely urbane
and heterogeneous atmosphere of this metropolis
appealed to him and considering the current members of
his band, it was clear to see what he meant: The seven
musicians came from six nations on different continents.
NIXE / Final Concert
with Omar Niang
Sun 18.10.2015, 18:00
Murinsel Graz
But Omar Niang still also enjoys playing solo gigs and
does so often. Here the blend of cultures can still be
heard, but in a less ostensible, rather subtle way that is
more akin to the African idiom. He sings in Wolof, a
widely spoken language in Senegal, and plays the xalam,
or ngoni, an African stringed instrument, which is said to
be one of the precursors of what in America later
developed into the banjo. But he also sings in European
and Arabic languages, thus he usually has a lute, a guitar, and a ukulele with him on stage.
As for his consciously intercultural music, he tells us that
he simply can’t imagine a better place in the world to live
and make music than Palma de Mallorca, this so unpretentious and at the same time cosmopolitan city. Over
the years in this island hub the uniquely individual mix
of African and European influences with South American
input has made Omar Niang’s solo music what it is today.
At solo performances he tells in his charismatic,
s omewhat smoky sounding voice the rather intimate
stories of a life between different cultures, and his
virtuoso and rhythmic playing on the xalam or ukulele
give the stories their drive.
Omar Niang is a singer and musician
of a Senegalese origin. “In my youth I
worked hard, and finally I could get
enough money to go to Europe and
start my dream of being a musician.”
Born in Koul (Senegal) in 1958, he
started singing and playing percussion at the age of 6, and came to
Spain in 1985. After a first concert as
part of a pop-rock contest organized
by the City of Palma di Mallorca in
1987 Niang was offered a contract
with the National Spanish Radio and
published his first 3 CDs. Over the
following years Niang created and
played with several groups. Código
de Barras, formed by Majorcan and
Argentine musicians, Khaware Jazz
Band, with whom Niang recorded his
first solo album, and 1998 his present
formation Wakoul Diop.
This fall Omar Niang will be playing in Austria for the first
time at the musikprotokoll in Graz on October 18, 2015,
as part of the Mediterranean art project NIXE and one day
earlier on October 17 at the Radiokulturhaus in Vienna.
Text: Christian Scheib
48
49
The Ludwig Salvator Society
in Vienna
The Ludwig Salvator Society
in Vienna founded by the
Viennese lawyer Dr Wolfgang
Löhnert in 2001 concerns
itself with the cultivation and
dissemination of Ludwig
Salvator’s pan-Mediterranean
work.
Most of his writings can be
seen, digitised for ease of
reading, on the www.ludwig-
salvator.com homepage
dedicated to this, the most
important explorer of the
Mediterranean region, and
from 2016 will also be available as e-books that can be
downloaded free of charge.
www.ludwig-salvator.com
Picture credits: p. 6: Nixe © Cortesia de José Maria Sevilla / p. 10: Erzherzog Ludwig Salvator © J. Virenque, Societat
Arqueológica Lulliana / p. 13: L´árxiduc – El desig dánar més lluny (2015) / p. 19: Valentina Vuksic © Valentina Vuksic /
p. 20: RemOs1, Ny Ålesund, Spitzbergen, 9.2.2013 © Philip Fischer / p. 21: Hannes Rickli © Hannes Rickli / p. 22: Mohs
Denkmal © ORF musikprotokoll / p. 23: Josef Klammer © Eva Maria Traxler / p. 24: Mateu Malondra © Mateu Malondra /
p. 25: Meer/Strand © Jose Hevia Blach / p. 26: Peter Brandlmayr © IWF / p. 27: Mikrofon © die audiotapete / p. 28:
die audiotapete © Barbara Kaiser / p. 30: Messstation © Marcus Maeder / p. 31: Marcus Maeder © Luc Meier / p. 32:
Unterwassermikrofon © Jana Winderen / p. 33: Jana Winderen © Jana Winderen / p. 34, 35: Peter Ablinger © Sigried
Ablinger / p. 36: From Within Videostill © Mazen Kerbaj / p. 37: Mazen Kerbaj © Mazen Kerbaj / p. 38: Nixe Rettungsring
© W. Löhnert / p. 39: Stanislav Abrahám © Michal Seba / p. 40, 41: Franz Xaver © Franz Xaver / p. 42: L. Savator Lieder
der Bäume / p. 43: Franz Hautzinger © Daniel Cemborek / p. 43: Mazen Kerbaj © Mazen Kerbaj / p. 44: Collage © Maria
Hera / p. 45: Christine Schörkhuber © Christine Schörkhuber / p. 47: Inserat Fotos © Ludwig Salvator-Gesellschaft in Wien
/ p. 49: Omar Niang © Omar Niang
Production Team: Editors: Gregor Kokorz, Christian Scheib, Fränk Zimmer / Translations: Friederike Kulcsar,
David Wright / Publisher: ORF musikprotokoll / OMC Creation: Karl Markus Maier / Layout: studio bleifrei /
Printing press: ORF Hausdruckerei / © ORF 2015
Imprint: Österreichischer Rundfunk, Landesstudio Steiermark / musikprotokoll, Marburger Straße 20, 8042 Graz
Tel. (0316) 470-28227, http://musikprotokoll.ORF.at
50
Ö1 programmes
18.09.2015
23.03
ZEIT-TON EXTENDED, Curiosity, competence and creativity.
50 years of the Institute for Electronic Music
26.09.2015
17.05
DIAGONAL, About Archduke Ludwig Salvator. The King of the Mediterranean
04.10.2015
23.03
KUNSTRADIO-RADIOKUNST, In the Darkness of the World, by Sol Rezza
(CTM RadioLab 2015)
07.10.2015
23.03
ZEIT-TON MAGAZIN, Preview of the programme of the musikprotokoll in
steirscher herbst 2015
09.10.2015
17.10 Ö1 KULTURJOURNAL, Live broadcast from the Joanneum Universal Museum in Graz
09.10.2015
17.30
SPIELRÄUME, Live broadcast from the Joanneum Universal Museum in Graz
09.10.2015
23.03
ZEIT-TON EXTENDED, Live from the Helmut List Hall in Graz
10.10.2015
10.05
Ö1 KLASSIKTREFFPUNKT, live from the Graz Mur Island
11.10.2015
23.03
KUNSTRADIO-RADIOKUNST, Always here for you, by Claire Tolan (CTM RadioLab 2015)
and NIXE/ship signals
13.10.2015
17.30
SPIELRÄUME, Omar Niang – Palma de Mallorca as musical multicultural world capital
15.10.2015
23.03
ZEIT-TON, NIXE. Mediterranean Measures, a project in the public space
19.10.2015
23.03
ZEIT-TON, Christian Fennesz with the RSO Vienna
20.10.2015
23.03
ZEIT-TON, The RSO plays the Symphonie fleuve op. 20 by Jorge E.López
22.10.2015
23.03
ZEIT-TON, Ulrich Troyer, Dub Mountains in Graz
27.10.2015
23.03
ZEIT-TON, Keeping pace with the times, 30 years of the ensemble recherche
29.10.2015
23.03
ZEIT-TON, Noise Me Tender: Petra Ackermann, Philipp Meier and Jorge Sánchez-Chiong
02.11.2015
23.03
ZEIT-TON, San Teodoro 8, un omaggio a Gaicinto Scelsi
03.11.2015
23.03
ZEIT-TON, The International Nothing
05.11.2015
23.03
ZEIT-TON, Hildur Guðnadóttir & Omár. The start of a life project
12.11.2015
23.03
ZEIT-TON, Reshaping Club Music, with Assimilation Process and Pasajera Oscura
19.11.2015
23.03
ZEIT-TON, Reshaping Club Music, with Ketev and Lorenzo Senni
20.11.2015
23.03
DIE LANGE NACHT DER NEUEN MUSIK, Pure Electronics. Vintage Concerts
26.11.2015
23.03
ZEIT-TON, técnicas recuperadas by Vinzenz Schwab
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