Matthias Haenisch
www.matthias-haenisch.de
Matthias Haenisch is Research Associate at »MuBiTec – Music Learning with Mobile Technologies« (University of Cologne, Berlin University of the Arts, University of Erfurt, University of Lübeck; promoted by the Federal Ministry of Education and Science), where his research concerns, among other things, questions of subjectification, self formation and aesthetic experience in postdigital communities.
Haenisch studied musicology and literary studies at Technische Universität and Freie Universität Berlin, and completed his studies with a Master’s thesis on the aesthetic perception of sound and performance in the work of John Cage. During his doctoral studies Haenisch carried out ethnographic fieldwork in the Berlin scene of improvised and experimental music, investigating the micro-sociology of musical interaction particularly with regards to the technology and corporeality of performance practice. His research interests concern topics at the interface of anthropology, sociology and epistemology of music, performance and material culture studies, and music technology and digitization.
From 2011 to 2017 he worked as a Research and Teaching Associate at the University of Potsdam, where he taught performance studies, popular music studies, music sociology, and 20th and 21th century music history. In addition, he was a member of the BMBF-promoted research association »Transform – Educational Process in performative projects« (University of Potsdam, Braunschweig University of Art). He is also the founder and leader of the interdisciplinary research project »Improvising Knowledge« (University of Potsdam, University of Music and Performing Arts Vienna), where he investigates collaborative knowledge creation in communities of musical practice.
Since 2015 Matthias is Co-Curator of LABOR SONOR Festival for Transdisciplinary Research in the Arts. Furthermore, he has been working as a freelance saxophonist for several years, as well as a project manager in the cultural events industry in Berlin.
Matthias Haenisch is Research Associate at »MuBiTec – Music Learning with Mobile Technologies« (University of Cologne, Berlin University of the Arts, University of Erfurt, University of Lübeck; promoted by the Federal Ministry of Education and Science), where his research concerns, among other things, questions of subjectification, self formation and aesthetic experience in postdigital communities.
Haenisch studied musicology and literary studies at Technische Universität and Freie Universität Berlin, and completed his studies with a Master’s thesis on the aesthetic perception of sound and performance in the work of John Cage. During his doctoral studies Haenisch carried out ethnographic fieldwork in the Berlin scene of improvised and experimental music, investigating the micro-sociology of musical interaction particularly with regards to the technology and corporeality of performance practice. His research interests concern topics at the interface of anthropology, sociology and epistemology of music, performance and material culture studies, and music technology and digitization.
From 2011 to 2017 he worked as a Research and Teaching Associate at the University of Potsdam, where he taught performance studies, popular music studies, music sociology, and 20th and 21th century music history. In addition, he was a member of the BMBF-promoted research association »Transform – Educational Process in performative projects« (University of Potsdam, Braunschweig University of Art). He is also the founder and leader of the interdisciplinary research project »Improvising Knowledge« (University of Potsdam, University of Music and Performing Arts Vienna), where he investigates collaborative knowledge creation in communities of musical practice.
Since 2015 Matthias is Co-Curator of LABOR SONOR Festival for Transdisciplinary Research in the Arts. Furthermore, he has been working as a freelance saxophonist for several years, as well as a project manager in the cultural events industry in Berlin.
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At the focus of the symposium are the compositions commissioned by the festival LABOR SONOR : TRANSLATING MUSIC and therewith the musical translation practices of the participating artists. This provides an initial point of analysis of what it even means to speak of translation within the arts. It is not only the productive differences between original and translation that is of interest but, above all, addressing how the respective artists understand translation, which procedures and strategies they apply, and how the relations between self and other, between the familiar and the strange are all determined in the translation process.
As the festival will be held around the theme of translation transcending borders of genres and scenes, the symposium offers the possibility to observe the artistic boundary works directly. This brings into focus the resistances and fractures, but also interdependencies, overlaps, and amalgamations, unavoidable and intended appropriations and transformations, all of which accompanied the translation. Translation reveals itself therein as a contact zone and as a space of negotiation of various artistic self-conceptions and identities, and how they are bound to concepts of genre and of scene.
The symposium—itself a place of translation from practice into discourse—looks for the exchange between scientific and artistic reflection as a complementary form of awareness. Varied lecture formats will present a multitude of possible perspectives on musical translation. In studio reports, participating artists of the festival will give insight into their modes of working. Research reports from scientists, each of whom accompanied a project from the festival during its development phase, document artistic translation concepts. Lectures on aesthetic and historical questions reflect the theoretical framework of musical translation. Lastly, panel discuss ions will engage the translating and translated artists in a cross - border dialogue.
Conference Presentations by Matthias Haenisch
At the focus of the symposium are the compositions commissioned by the festival LABOR SONOR : TRANSLATING MUSIC and therewith the musical translation practices of the participating artists. This provides an initial point of analysis of what it even means to speak of translation within the arts. It is not only the productive differences between original and translation that is of interest but, above all, addressing how the respective artists understand translation, which procedures and strategies they apply, and how the relations between self and other, between the familiar and the strange are all determined in the translation process.
As the festival will be held around the theme of translation transcending borders of genres and scenes, the symposium offers the possibility to observe the artistic boundary works directly. This brings into focus the resistances and fractures, but also interdependencies, overlaps, and amalgamations, unavoidable and intended appropriations and transformations, all of which accompanied the translation. Translation reveals itself therein as a contact zone and as a space of negotiation of various artistic self-conceptions and identities, and how they are bound to concepts of genre and of scene.
The symposium—itself a place of translation from practice into discourse—looks for the exchange between scientific and artistic reflection as a complementary form of awareness. Varied lecture formats will present a multitude of possible perspectives on musical translation. In studio reports, participating artists of the festival will give insight into their modes of working. Research reports from scientists, each of whom accompanied a project from the festival during its development phase, document artistic translation concepts. Lectures on aesthetic and historical questions reflect the theoretical framework of musical translation. Lastly, panel discuss ions will engage the translating and translated artists in a cross - border dialogue.