A two-night concert series pairing books with electronic music composers
curated by Felicity Mangan
Books for Earworms is a two-night concert series pairing books with electronic music composers at Zabriskie Buchladen. Composers will present site-specific solo performances that create an immersive experience within the context of the bookshop. The idea for this concept is inspired and plays on the notion of food and wine pairing. In this case, composers select or ‘pair’ themselves with a book from the specialist bookshop.The title ‘Books for Earworms’ refers to the expression earworm – when a tune that is no longer heard is continually repeated in a person’s mind also known as (IMI) Involuntary Musical Imagery.The series is curated by Felicity Mangan, who invited three other sound composers to join her.
Supported by initiative neue musik berlin e.V.
Double Ticket: 16€
Please remember that visitors need a negative test result from the same day and a ffp2 mask to attend the concert. Maintain a minimum distance of 1.5 meters from others. We follow the Berlin senate’s ongoing Covid-19 guidelines.
Jasmine Guffond is an artist and composer working at the interface of social, political and technical infrastructures. Her practice spans live performance, recording, sound installation and custom made browser add-on. Through the sonification of data she addresses the potential of sound to engage with contemporary political questions and engages listening as a situated knowledge practice.
Interested in providing an audible presence for phenomena that lies beyond human perception, via the sonification of facial recognition algorithms, global networks, or Internet tracking cookies she questions what it means for our personal habits to be traceable, and for our identities, choices and personalities to be reduced to streams of data.
Jasmine has exhibited internationally including composing sound for Shulea Cheang’s installation at the Taiwanese Pavilion, Venice Biennale, 2019, and collaborating with Zorka Wollny on a sound installation for the Chicago Architecture Biennal, 2019. She completed her Sound Studies masters at the University der Künste in 2015, received the ‘Working Grant for New Music und Sound Art’ from the Berlin Senate in 2016, was featured in Wire magazine in 2019 and interviewed for ‘Listen to Lists’ a publication by Haus der Kulturen der Welt and Spector Books, 2021. She has performed live internationally at electronic music and art festivals including opening for CTM festival in 2020 and has released solo records to critical acclaim with the Sonic Pieces (2015, 2017), Karl Records (2018) and Editions Mego (2020) labels. She is currently finishing her PhD candidature at the University of New South Wales Art, Design & Architecture department, conducting research into sound as a method of investigation into online surveillance cultures.
Felicity Mangan is an Australian sound artist and composer based in Berlin, Germany since 2008. In different situations such as solo performance, collaborative projects with other musicians or installation, Felicity plays her found native Australian wildlife archive exploring the timbre and forms of found and self-recorded animal voices while mimicking biorhythmic patterns to create minimal quasi-bioacoustic soundscapes. Felicity has played in collaborative projects Native Instrument (Shelter Press, Entr’acte) presenting electro-acoustic bug beats with vocalist Stine Janvin. Recently Felicity has been working with choreographer and dancer Am Felicity has also released a solo publication on Longform Editions titled Stereo’frog’ic, a play on the word stereophonic – presenting a sound piece, crafted from found recordings of frogs, insects and other ‘vocal’ animals wavering about in a stereo field. More recently a tape release titled Creepy Crawly on Slovakian label Mappa Editions. Felicity has presented projects in many different settings from galleries, gardens, clubs and festivals throughout Europe. Including National Gallery Denmark, Technosphärenklänge CTM/HKW and Sonic Acts Academy.