Release: Split 10"

24/10/2006 Rephlex releases a Hecker / Voafose split 10" Vinyl
(#: KIT 001)

Performance: Lampo

21/10/2006:

FLORIAN HECKER
SATURDAY OCT 21 9:00PM
LAMPO - 2116 W. Chicago Ave., Chicago, Ill.
Admission open to all ages

Questions? Or to become a Lampo member: http://www.lampo.org/

Published On-line Gallery: UPIC Diffusion Session #4. 16.10.06

Haswell & Hecker feature in a on-line photo-set of the Frieze Music event at the London Hippodrome, proving Haswell & Hecker did appear in the audience using the front of house MIDAS desk to diffuse their set. Thats why they didn't appear on-stage. Also note their laser and ring of strobes! + obviously the hooded man pics are Sunn 0)))

http://flickr.com/photos/failme/sets/72157594327029492/

Release: Une exposition à Marseille

01/10/2006: 'Precedence' is included on the DVD accompanying the Carsten Höller's artist book "One Day One Day / Une exposition à Marseille". The DVD contains two versions, slighly different to the version featured on "Recordings for Rephlex"


CARSTEN HÖLLER. One Day One Day. Färgfabriken Stockholm 2003 / Une exposition a Marseille (mac) Marseille 2004-2005. Text by Jan Anam & Nathalie Ergino. Köln 2006. 96 S. mit 79 (73 farb. ganzseit.) Abb., Ppbd. - Mit 2 DVDs - Text in engl. & franz. Sprache. Verlag der Buchhandlung Walther König, Köln

Published Article: HASWELL & HECKER CD booklet text: Deutsche Grammophon Recomposed by Jimi Tenor _.09.06

Russell Haswell & Florian Hecker contributed the booklet text for Deutsche Grammophon Recomposed by Jimi Tenor CD which has just been released on Deutsche Grammophon and includes versions of the major work of Steve Reich, Edgar Varèse, Pierre Boulez, Erik Satie etc...

http://www.jimitenor-recomposed.de

Show / Release: Hijmans van den Bergh-building, University of Utrecht

14/07/2006
Permanent installation of a neural network driven particle based sound piece in the
Hijmans van den Bergh-building, University of Utrecht, Netherlands.

A.A. Hijmans van den Berghgebouw
Universiteitsweg 98
3584 CG Utrecht

In a panel discussion at the International Computer Music Conference 1992 in Delphi, Iannis Xenakis stated:
"The point is that I don't need to try with computers to imitate this sound that exists already. You don't need that. What is interesting is to explore other paths or ways or sounds or even evolutions of sounds that have never been done or realized, and that is the interesting point."

The sound piece is based on a generative composition process running on a computer. The generative process is based on cellular automata driven neural networks which control several sound synthesis and processing algorithms. The neural networks are educated by the composer to produce desired output.

"These artificial neural networks are advantageous, especially in pattern recognition and classification tasks. Artificial neural networks are usually applied to tasks that are generally easy for humans to accomplish, but difficult for traditional computers. Traditional computers remain superior to neural networks in many situations, but neural networks are dominant in recognizing patterns in extremely large data sets. With the ability to learn from a set of examples and generalize this knowledge to new situations, neural networks are excellent for work requiring adaptive control systems."

The sound generation is created with a customized version of SuperCollider (see Software Links) and is running on GNU/Linux based operating system using a regular server computer (see Default Hardware). Just like clouds in the sky, sonic particles will accumulate and dissolve constantly to create an ever changing sound structure in the building. Oscillating between the constant light of the neon work and the pseudo endless light sequence of the chandelier, the generative sound piece is the third, almost holographic link between these different time-scales in light, and ultimately in sound.

Besides the range of deliberately determined structures of the sound piece, the neural network will be educated by my practice in 'doing' live electronic music, and installed at the university create music in 'the style of me'.

Software Development: Tommi R. Keränen

Show: CCB Lisboa

30/06/06: Angela Bulloch's "The Disenchanted Forest x 10001"
featuring a 7 channel Electronic Music Soundtrack by Florian Hecker
as part of the exhibition: Collection Helga de Alvear;
Conceitos para Uma Colecçao
Centro Cultural de Belem, Lisboa, Portugal.

30.06. - 22.10.2006

Centro Cultural de Belém
Praça do Império,
1499 - 003 Lisboa
Portogallo
Tel: + 351-213.3612400
Daily 10-19

Show: ARC/Musée d’Art moderne de la Ville de Paris

'Asynchronous Jitter', a 4 Channel Sound Piece with a 15 Channel computer controlled spatialisation system, will be premiered within Cerith Wyn Evans's Solo Exhibition " …in which something happens all over again for the very first time*"

09.06. - 17.09.2006

ARC/Musée d’Art moderne de la Ville de Paris
11, avenue du Président Wilson
75116 Paris

Software Development: Alberto de Campo
Photo: Marc Domage

Published Article: frieze magazine. _.04.06

frieze magazine Issue 98 April 2006 pages 39-40
Seen and Heard: Russell Haswell and Florian Hecker unleash the potential of Iannis Xenakis’ UPIC sound system by Dan Fox. A text-only version can be found at http://www.frieze.com/issue/article/seen_and_heard/

Published Article: HASWELL & HECKER mini interview. _.5.06

A mini interview with HASWELL & HECKER is published in MAY issue of COMPUTER MUSIC Magazine (UK) on page 71 as part of a Sonic Art feature entitled 'The Art of Noise'!

Spheres of Interest Symposium: Florian Hecker, Curtis Roads, Yasunao Tone

14.04.2006: Florian Hecker, Curtis Roads, Yasunao Tone

Friday, 14 April at 5:00pm
Lecture Hall
800 Chestnut Street campus
Free and open to the public

San Francisco Art Institute
800 Chestnut Street
San Francisco 94133

Release: Live @ ZKM

01/04/2006 Tochnit Aleph releases Hecker Live @ ZKM on Cassette.

Tracklisting:

A		Live @ ZKM (43:13)
B		Standard Map & Cusp Map (Binaural Mix) (10:13)

Track 1 recorded with Neumann KM 100 microphones direct to DAT at the ZKM Medientheater on 28.04.2005.
Mastered @ Skye Mastering.
File under: mean & abstract contemporary lsd computer-music.
First Edition of 62 copies. Second Edition of 38 copies.
(Presstext)

Release: Electronic Music Soundtrack For 'The Disenchanted Forest X 1001' By Angela Bulloch

01/03/2006 Editions Mego releases "Electronic Music Soundtrack For 'The Disenchanted Forest X 1001' By Angela Bulloch" DoCD in Super Jewel Case.

Tracklisting:

Disc One: Stereo Mix
Disc Two: Virtual Binaural Mix

Total Time: 01:42:00

Produced by Florian Hecker

Stereo Mix recorded with a Neumann RSM 191 Microphone direct to Harddisc at the Hamburger Bahnhof, Berlin on 01.10. 2005 by Lupo / Acoustic - Interface
Virtual Binaural Rendering by Alberto de Campo
Mastered by Lupo @ Dubplates and Mastering

Photography: Carsten Eisfeld
Graphic Design: Tina Frank

Florian Hecker's Electronic Music Soundtrack for Angela Bulloch's "The Disenchanted Forest x 1001", has already been described as 'irritating' by The Guardian after its showing at the Tate Triennial 2006 in London. However, this double CD contains some of his most accessible works to date, while at the same time being far more experimental than the pieces found on "Sun Pandämonium" (MEGO 044) or his collaboration with Yasunao Tone, "Palimpsest" (MEGO 060).
Comprising of a "Stereo Mix" and a "Virtual Binaural Mix", 1000's of minute pockets of sound spring from all corners creating a mindful experience. The "Virtual Binaural Mix" rendered by Hecker's long time collaborator, the Composer and Software Engineer Alberto de Campo offers a hypnotizing, yet spatially disorientating version of the original seven channel piece. For Headphone use.
"The Disenchanted Forest x 1001" is a complex sound, light and architectural installation consisting of a suspended ceiling, a raised floor, a web of luminescent string, a found text describing the method to place numbers on trees, four different kinds of posters which give views into other optical worlds, a stack of posters on a europallet held down by a plate dispenser, a hammer, a wooden stick to extend the length of an arm and several nails. Furthermore, on a straight line, all the way around the perimeter of the room, are aluminum numbering plates from 1 - 1001. These plates are normally used to number trees along the avenues of cities in Germany but here the individual plates are nailed directly to the wall and spotlit by an occasionally revolving pistol lamp hanging from the suspended ceiling. The different light sources within the installation shift and change according to a sequenced program which is not in synch with the soundtrack. The seven channel electronic music soundtrack was composed by Florian Hecker, commissioned by Angela Bulloch especially for this work. Six of the sound channels are audible in separate localized areas within the installation between the suspended ceiling and the floor. The seventh sound channel is audible throughout the room. The installation was first shown at the Hamburger Bahnhof, Berlin, on the occasion of the, Preis der Nationalgalerie für Junge Kunst 2005, 01.09.2005 - 15.10.2005; followed by the Tate Triennial, curated by Beatrix Ruf, Tate Britain, London, 01.03.2006 - 14.05.2006. (Presstext)

Show: Tate Britain, London

01/03/2006: Angela Bulloch's "The Disenchanted Forest x 10001"
featuring a 7 channel Electronic Music Soundtrack by Florian Hecker
as part of the Tate Triennal 2006 at Tate Britain, London.

01/03/2006 - 14/05/2006

Tate Britain
Millbank
London SW1P 4RG


Photo: Carsten Eisfeld

Show: Hamburger Bahnhof, Berlin

02/09/2005: Angela Bulloch's "The Disenchanted Forest x 10001"
featuring a 7 channel Electronic Music Soundtrack by Florian Hecker
as part of the exhibition"Preis der Nationalgalerie für junge Kunst 2005"
at the Hamburger Bahnhof, Berlin.

02/09/2005 - 16/10/2005

Hamburger Bahnhof - Museum für Gegenwart
Invalidenstraße 50- 51
10557 Berlin

Photo: Carsten Eisfeld

Release: Revision 12"

01/06/2005 Mego releases Haswell & Hecker, Revision,
single-sided vinyl 12”, in clear sleeve + large sticker!

Tracklisting:

Side A: Orange-Time-Shock-Format-Wave-Re-Composition (Remix for VOICE CRACK)

The first and till now the only collaboration between Extreme Computer Music Artists Russell Haswell & Florian Hecker.
Possibly the first record to sound very similar when played on either 33 or 45 rpm, or in fact, any speed!
Edition of 500.

(Presstext)

Erratum text from the back label:

The Russell Haswell + Florian Hecker re-mix/recomposition for VOICE CRACK (1972/2002) contained on this single-sided vinyl 12" was previously released as part of the CD compilation "Voice Crack: Remixed" on the now defunct South London Label, Ambush.
To the artists' horror it was released -18dB quieter than the supplied master, a +8dB peak level at 0dBFS! Rashad Becker at Dubplates + Mastering in Berlin managed to restore the intended effect of between +6dB and +8dB, depending on the cartridge and tone-arm et cetera used by the listener.

Release: substantials #02 CCA Kitakyushu

31/03/2005:
substantials #02 (with CD)

ISBN 4-901387-71-5
March 31, 2005
pp. 176 with CD

Florian Hecker
Chris Watson
Atau Tanaka
Helmut Schäfer
Yoshihide Otomo

http://www.cca-kitakyushu.org

Release: Palimpsest

01/10/2004 Mego releases Palimpsest, a collaboration of Yasunao Tone and Florian Hecker.
(Cat.# MEGO 060)

Tracklisting:

1		Palimpsest (28:32)
2		Man Yo 36-37/507417 Xero Crossings (Extended Mix 2) (7:12)
3		Man Yo 36-37/507417 Xero Crossings (Edit) (5:17)
4		4 (3:53)

Finally, the long awaited collaboration between Yasunao Tone and Florian Hecker is ready for release on Mego.

Yasunao Tone (b. 1932, Tokyo) founded the Group Ongaku in 1960, a group devoted to creating "event music" and improvisational music. He began participating in the Fluxus movement in 1962, and has been in events and shows in numerous places. Tone also composed a great deal of experimental music for use in films, theater and dance pieces. Since coming to the United States in 1972, he has composed four scores for the Merce Cunningham Dance Company, and has given many solo concerts as well as participating in numerous Fluxus concerts. Since 1976, Tone has been designing musical compositions as a compound of cultural studies which have been ideas based on post-structuralist theories and audio visual materials compiled with ancient Oriental texts and musical sounds generated by electronic means.

Florian Hecker (b. 1975, Augsburg), has been working with computer music, independently and in collaboration with other artists such as Russell Haswell, Peter Rehberg, Marcus Schmickler, Yasunao Tone since 1996. Hecker's works emphasize the connection of most recent as well as historic developments in computer music, hard- and software. Often working closely together with software engineers and scientists, his recent productions incorporate psycho-acoustic effects disorientating the listeners spatial perception in live presentations and studio works.

This CD only release is packaged in a "grey tray" jewel case with art direction by Russell Haswell including an extensive interview with both artists by Hans Ulrich Obrist , curator at the Musèe d'Art Moderne de la Ville de Paris.

(Presstext)

Show: MAC - Musées d'Art Contemporain Marseilles

"Precedence" a 2 Channel Sound Piece conceived for Carsten Höller's
"Une exposition à Marseille" on display at the Musées d'Art Contemporain Marseilles


MAC - Musées d'Art Contemporain,
69, Avenue de Haïfa
13008 Marseille

4.7. - 17.10.2004 & 27.11. - 13.02.2005

Show: ARC/Musée d’Art moderne de la Ville de Paris au Convent des Cordeliers

Works by Florian Hecker, Russell Haswell, Iancu Dumitrescu,
Curtis Roads, Whitehouse, Mathias Gmachl, GESCOM,
pxp, i.d., Yasunao Tone, Pita are featured in the exhibition
OFF THE RECORD / SOUND ARC
at ARC/Musée d'Art moderne de la Ville de Paris.

25/06/2004 - 03/10/2004

Cour du Couvent des Cordeliers :
15, rue de l'Ecole de Médecine
75006 Paris
http://www.mam.paris.fr

OFF THE RECORD / SOUND ARC est une série de programmations de
musiques actuelles et de créations sonores d'artistes contemporains
sur iPods - juke-box numérique à écouteurs - mis à la disposition du public
dans la cour du Couvent des Cordeliers aménagée pour l'été en salon d'écoute.
Des musiciens et un artiste (iPods 2 à 5) sont invités à concevoir une
programmation subjective, présentant certaines des approches les plus
singulières de la création musicale, incluant des morceaux exclusifs.
Parallèlement, l'ARC / Musée d'Art moderne de la Ville de Paris (iPod 1) a
sélectionné ici les incursions d'artistes plasticiens dans le champ sonore.
« OFF THE RECORD » traduit le caractère rarement diffusé, voire inédit des
morceaux retenus, tout en évoquant la dématérialisation progressive des
supports, de l'objet qu'est le vinyle, K7, ou CD, au fichier informatique
(MP3).

Tirant parti des multiples options contenues dans un iPod, chaque sélection
s'organise selon une arborescence propre, au-delà du simple enchaînement
linéaire d'une compilation traditionnelle. Devenu espace d'exposition, ce
support permet d'éprouver un mode de diffusion, d'échange et d'écoute
bouleversant les pratiques habituelles.
OFF THE RECORD / SOUND ARC se déclinera en plusieurs étapes et sous
différentes formes durant l'année 2004 - 2005.

Eté 2004 :

iPod 1 - « Bandes originales »
Peu diffusés et inattendus, ces projets (bandes sons de vidéo,
enregistrements de concerts, d'installations, pièces pour téléphone?)
témoignent de l'intérêt des artistes pour le medium son, empruntant parfois
des styles référencés (rock, country, pop, electro, variété) avec un
amateurisme revendiqué et jubilatoire.

iPod 2 - christophe van huffel et motif_r
« saisons soniques » mêle, sur le mode du miroir, musique électronique et
électro-acoustique en détournant le thème des quatre saisons, commençant
ici par l'été.

iPod 3 - Florian Hecker
figure de la scène viennoise expérimentale, il propose des sons générés par
ordinateur (« computer generated  music » ), désactivant certaines
fonctions de son iPod pour en privilégier d'autres.

iPod 4 - Goran Vejvoda
confronte, avec « Cris-e et Hurlements », des morceaux de musique minimale
à des sons 'noise' et rock, de la  voix au cri, entre protestation et
explosion instinctive.

iPod 5 : Claude Lévêque
présente « Hyperactive child ».

Banque de données en consultation libre, le dispositif temporaire OFF THE
RECORD inscrit les expérimentations sonores et musicales dans un
prolongement réel avec les arts plastiques, activé sur un mode
volontairement aléatoire par les utilisateurs eux-mêmes.

Commissariat : Anne Dressen et Angeline Scherf

(Presstext)

Release: PV Trecks

02/02/2004: Mego & Kölnischer Kunstverein release "PV Trecks" on occasion of Florian Pumhösl's solo exhibition at the Kölnischer Kunstverein, Cologne.

Tracklisting:

1		Y-Gwaot Phase Inv (4:06)
2		Y-Gwaot Phase Inv (3:04)
3		Y-Gwaot Phase Inv (2:09)
4		Y-Gwaot Phase Inv (0:36)
5		A51 (0:50)
6		Mini (0:08)
7		CLA (0:36)
8		Bet (0:06)
9		Fümo A2 (0:13)
10		Fümo A4 (0:13)
11		Based - Polarisation - Modu… (1:21)
12		Fµziar Bell (0:45)
13		Fµziar Bell Edit (1:28)
14		Mini (0:35)
15		L-Relief (0:41)
16		L-Packing (2:13)
17		Femtoje Helical (0:36)
18		Dyn Acid (0:20)
19		IP 5xc (0:13)
20		Ixi 6 (0:07)
21		LP Ryntik (0:51)
22		Reverb & Resyth 5 (1:09)
23		PDO (0:04)
24		IP PDO (0:05)
25		PM Synth (0:34)
26		PM Synth (3:33)
27		VS 86246710115.0291 (0:51)
28		Mini (0:12)
29		Verxir 3 Mix (0:31)
30		UY (0:24)
31		UY°r (0:12)
32		Chant WS (0:26)
33		Ciz-Glemp 2 (5:05)