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Performance during Transoceanic
Performance with Grainfield, which is a web-based application used to network the audience and create an immersive listening experience. It was designed by Benjamin Matuszewski and Norbert Schnell as part of the CoSiMa research project developed at the IRCAM Center Pompidou.
(Pictures by Laurien Bachmann)
Exhibithion & Performance
with electric guitar and mobile devices
Transoceanic deals with the cultural imagination of dematerialisation, historical sound carriers and digital colonialism.
The worldwide distribution of shellac records started around 1925 with an unprecedented electrical recording boom. It was also the beginning of the music industry as we know it today. The trade networks were run via the old colonial ports and slave shipping routes on the Black Atlantic, the Mediterranean Sea and the Polynesian Pacific. The contemporary music industry is predominantly digital and online. The internet has emerged as a „global jukebox“ of digital sounds. However, the network infrastructures remain resolutely material and are entangled with the colonial and militaristic histories of the western world. This materiality exists deep under the ocean. Undersea cables are the critical infrastructures that currently support over 95 percent of transoceanic internet traffic.
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