frequencies emergent in standstill (just not amplified yet) (performance, 2012) For this performative sound work, the STRFLD Simulation interrconnects noise emitted from different sonic origins with their layering, modulation, and feedbacking through sound processing devices.
As a sonic source a wide variety of material comes into play: the dust and clicks of blank grooves, obscure test pressings and experimental electronic music from vinyl records; self—produced tracks and not—yet—deleted flea market tapes; and the buzzing and crackling of needles, wires and effect equipment themselves.
All of these are taken as sonic occurrences which are essentially wired with an audio—processing apparatus. The apparatus contains delay, echo, phaser, filter, vocoder and mixing devices, and its structuring and circuitry is itself up for treatment of re—arrangement and re—wiring.
Through its performance STRFLD Simulation evokes a concept of sonic materiality, which blurs the idea of a decided meaning in recorded sound. It questions the separation of source and editing, and of the content of a medium and its reception. Rather sonic material and audio processing are treated as an immanence. Composition is demonstrated as based on pre—given entities and thereby operates as the disclosure of not—yet—amplified frequencies.
STRFLD Simulation is a systematic arrangement for sound layering and re—composition, constructed for two operators and their audio—investigative performance.
Since its first prototype in 2010, it was further developed and used at festivals and club—music venues (like Dockville 2011 and Waagenbau, Hamburg) with an emphasis on experimental club music culture.
The device is also being applied in sound production and music composition processes. A first tape was released in 2011 assembling the outcome, and there are more musical compositions to be released shortly.
STRFLD Simulation is an artistic approach that deals with the appearance of hidden sounds in materialised sonic frequencies (vinyl, tape machines, etc.), production tools and technical devices (all of which are employed as media) through performances.
This interest leads to the sound artistic practice of STRFLD Simulation, which found its first public appearance in a live set performance at transmediale 2012 and is continued in their new work ‘frequencies in zero—hour (not yet amplified)’.
Lukas Grundmann (born 1987) and Max Hoppenstedt (born 1984) are the operators of STRFLD Simulation.
Apart from longer histories as DJs and organizers of music cultural events, they studied Applied Cultural Studies in Lüneburg, Germany, with emphasis on digital media and information technology, media theory and arts. Lukas Grundmann proceeds with his studies in Berlin and works in the cultural field as a sound designer and project manager. Max Hoppenstedt currently writes his master thesis on Micro—politics and the Sonic, applying Deleuzian concepts to questions of control and collectivity in Sound.
