rdd- robodynamic diffusion

The RDD system utilizes a custom built uni-directional speaker that produces a tightly focused beam of sound, like a sonic spotlight, which can be robotically aimed in any direction from any single position within the performance space. This robotic speaker is in effect a mobile soloist, however the resulting experience upends expectations: cast into the room, the RDD’s sonic beam bounces and blends with the reverberant space in subtle and surprising ways. Much of the time the sound appears to originate from invisible yet mobile sources in the room or from the walls, floor and ceiling themselves. We look around for another sound source, only to realize that the room’s own reflections are transforming this robot soloist into a spectral ensemble. Though we can rationally connect the sound’s source to the position of the robot, its ventriloquistic projections open the potential for sounding to the entire volume of the room. No longer a simple container, the room becomes a respondent and the sonic coauthor of a spatial drama. Likewise, as the speaker’s narrow beam reflects it produces complex patterns of sound that vary widely by listening position, such that a listener’s own movements produce striking changes in what they hear. The audience for an RDD performance is invited to move and explore these acoustic effects, to displace themselves from their passive position as audience-receivers and into a system of feedback and response as listener-collaborators.

RDD’s robot is not intended to be the work’s focus, but is important primarily for the displacements it can effect: controlled disorientations and sensory redirections which invite a refreshed engagement with the choreographed situation, toward a sense of space that is multi-perspectival and responsive. These displacements begin with the speakers themselves. Spatialized audio, whether multichannel surround or wave field synthesis, is delivered traditionally from a set of fixed loudspeakers. Movement is simulated by the transition of sound between these fixed elements. This defines what RDD co-founder Jan St. Werner calls a ‘room within a room’, a kind of virtual space of listening placed within the real space we occupy as persons.

Andy Graydon

Robodynamische Diffusion (RDD) ist ein Projekt von Michael Akstaller, Nele Jäger, Oliver Mayer und Jan St. Werner

Gefördert von LEONARDO – Zentrum für Kreativität und Innovation TH Nürnberg und Staatliche Kunsthalle Baden-Baden

Mit freundlicher Unterstützung von Evocortex

Fotos & Video Joseph Kadow

encourage the stream – kunsthalle baden-baden

Encourage The Stream (2021) by Jan St. Werner, half of the electronic music group Mouse on Mars, functions as an acoustic amplification of the Oos River, which flows through the park as the heart of Baden-Baden and shapes its nature. In an attempt to communicate with the Oos, Werner places a microphone just above the water to transport the sound of the river via a directional loudspeaker beyond the riverbank into the park toward the Kunsthalle. Thereby, Werner creates the possibility to explore and perceive the Oos at different frequencies of sound (acoustically) and create new spatial relationships. The active act of listening creates a perceptual experience of distance and proximity. The acoustic supersedence of space and time also stands for engagement with the forces of nature. It is therefore no coincidence that the first large-scale public art work commissioned by Çağla İlk and Misal Adnan Yıldız for their tenure as directors of the Staatliche Kunsthalle Baden-Baden is a single project of an experimental artistic practice that brings together the fields of visual art and sound.

Imperium Droop – Thrill Jockey

Thrill-549 – 2021

The duo of John Colpitts aka Kid Millions and Jan St. Werner brings together the minds of two mavericks committed to exploring new avenues of musical expression. Kid Millions is one of the most sought after drummers and improvisors in NYC, known for his expansive solo work as Man Forever, as well as collaborations and performances with the likes of Laurie Anderson, Philip Glass, Boredoms, and So Percussion. Millions’ acclaim is equally rooted in his work with rock bands such as his own Oneida, as well as working with bands like Royal Trux and Spiritualized. Jan St. Werner has consistently remained at the vanguard of electronic music with his work as one half of Mouse on Mars as well as with his solo work and collaborations with The Fall’s Mark E Smith, Oval’s Markus Popp, Stereolab and The National. On their debut collaboration Imperium Droop, Millions and Werner, along with special guests Mats Gustafsson, Andrew Barker, and Richard Hoffman, created a collection of beautiful pieces built on surprising sound combinations. Together, the works on Imperium Droop are a joyful listen and an exhilarating foray into the unknown.

Imperium Droop is the continuation of an ongoing musical dialogue between the two musicians that began in 2016, when Werner invited Millions to perform an interpretation of his Felder album as part of a series of curated concerts and interventions around the globe. Oddly prescient of the events of 2020, the unique performance was held at Oneida’s practice space with an extremely limited audience of one – songwriter Helado Negro. The concert was to be the first in an ongoing series of  recorded collaborations between the two musicians, from improvised live performances in New York and Berlin. In addition to a series of concerts accessible via the internet, the duo slowly archived a wealth of recorded material that would form the foundations for Imperium Droop. Revisiting and reimagining this material, the duo meticulously edited and arranged elements of the recordings, from full sections to individual sounds, sculpting new pieces from the library of improvisations. Another equally important component for the album was  Mouse on Mars’ collaboration with Lee Scratch Perry which had a profound effect on Werner’s artistic practice and approach in the studio.

Werner’s application of a seemingly infinite arsenal of textures unleashes colorful swaths of energy. Mats Gustafsson joins Werner on the maximalist “Color Bagpipes,” unleashing torrents of swiveling melody and breathy clicks over the exponential thunder of Millions’ drum kit. Pieces like “Dark Tetrad” and “Astral Stare” demonstrate the duo’s mastery of space and surprise. Dark flutters flow in slow pulses across “Apotropaic” where erratic swirls of sound twist and mutate on “Sorrows and Compensations,” unified as a single force by the overwhelming diversity of sounds. Millions’ drums effortlessly ride each wave of Werner’s prismatic deluges and channel their energy into dynamic movements. Through his singular prowess, Millions’ tireless rhythms and subtle gestures mirror Werner’s boundless textural palette and drive each piece towards transcendence. 

On Imperium Droop, Kid Millions and Jan St. Werner have combined their powers into an incomparable work of gripping and intrepid sonic fluctuations. In exploring a liminal space between improvisation and composition, the duo manage to expand their musical dialogue beyond the physical limitations of space and time, striking a truly unique balance between the urgency and unpredictability of improvised performance and deliberate nature of studio composition.


Alchemical – bitforms gallery

bitforms gallery is pleased to introduce ​Alchemical​, a collaborative exhibition by Casey Reas and Jan St. Werner. ​Alchemical presents the artists’ suite of videos alongside a selection of prints by Casey Reas. The online component of this exhibition is presented in collaboration with New Art City.

Untitled Film Stills are a series of prints that trace Reas’ exploration of generative adversarial networks (GAN) as image-making instruments. This empirical procedure more closely resembles alchemy than the artist’s usual practice of software art. Reas and technical lead Hye Min Cho trained GANs with specific films selected for their visual and emotional environments. The artist extracted impressions from consequent material, thereby positioning GANs as an apparatus of his visual language. ​Untitled Film Stills​ are selections from the unique and labored procedure of modeling, generating, and editing.

As the ​Untitled Film Stills​ evolved over a year of production, Reas began animating images that formed the video series ​Untitled ​ 1–5. This cyclical procedure required GAN models to be repeatedly trained to produce a range of images the artist could choreograph with cinematic transitions. Works within this series signal toward subject matter through titles such as ​Untitled 4
(Two Dead!)
​ or ​Untitled 1 (No. Nothing.)​ . Reas’ directed movement is instilled with uncanny gestures made manifest through the sentient electroacoustic sounds of Jan St. Werner.

Werner’s compositions augment the transmutation of imagery in and out of recognition by adapting computer-generated sounds with granular synthesis, a technique that transforms acoustic events into microscopic grains to be arranged and modulated freely. This process allows certain auditory signals to be obscured while others may manifest suddenly. The final culmination of visuals and sound mimics a discernible lexicon of film while establishing a new, multi-sensory expression of cinema.

Alchemical​ delights in the curious combination of machine and human perception. The works synthesize image comprehension through an incantation of sound and motion. Werner and Reas employ a critical process of mediation in relation to machine learning that honors the processes of transformation and combination over generative output.

Thank you to Meyer Sound and Sound Associates for their generous contributions that make it possible to provide a spatial audio experience of Jan St. Werner’s compositions in the exhibition space.

by Casey Reas + Jan St. Werner
January 8–February 14, 2021
Gallery Hours: Tuesday–Saturday, 11 AM–6 PM

Virtual exhibition tour


compressed cinema – reas & werner

Compressed Cinema is the series title for five new audiovisual works completing in 2020. The video images were created by Casey REAS, and each work has a stereo audio track composed by Jan St. Werner.

The images for the videos were derived from a set of “film stills” created by Casey REAS with generative adversarial networks (GANs). This process is documented in REAS’ 2020 book Making Pictures with Generative Adversarial Networks.



Casey REAS’ software, prints, and installations have been featured in numerous solo and group exhibitions at museums and galleries in the United States, Europe, and Asia. His work ranges from small works on paper to urban-scale installations, and he balances solo work in the studio with collaborations. Reas’ work is in a range of private and public collections, including the Centre Georges Pompidou and the San Francisco Museum of Modern Art. Reas is a professor at the University of California, Los Angeles. With Ben Fry, Reas initiated Processing in 2001; Processing is an open-source programming language and environment for the visual arts.

More at https://reas.com


Jan St. Werner is an electronic music composer and artist based in Berlin. He’s best known as one half of the electronic duo Mouse on Mars, and he also pursued a solo career creating music under his own name as well as Lithops, Noisemashinetapes, and Neuter River. Starting in the mid-1990’s as part of Cologne’s A-Musik collective, St. Werner released a steady stream of influential records both as a solo artist and with Mouse on Mars. During the 2000s, he acted as the artistic director for Amsterdam’s Institute for Electronic Music (STEIM). In 2013 Werner launched a series of experimental recordings called the Fiepblatter Catalogue on Thrill Jockey Records. Werner has been a visiting lecturer at the Arts Culture and Technology department of the Massachusetts Institute of Technology MIT, and he holds a position as a professor for Interactive Media and Dynamic Acoustic Research at the Academy of Fine Arts Nuremberg, Germany.

More at http://fiepblatter.com/


Molocular Meditation – Editions Mego

Molocular Meditation, LP, 2020

Molocular Meditation is a bespoke light and sound environment featuring the voice of the Fall’s Mark E Smith. Smith is heard making observations on mundane objects, events and a range of meditation techniques basically associating his discontent with an apolitical british upper class. His voice forms the narrative component of an electroacoustic composition by Jan St. Werner placed in a hyper-real scenario evoking a state of transformation and deceleration. Molecular Meditation premiered at Cornerhouse, Manchester in 2014. This album presents a re-edited stereo version of the original multi-channel installation. Voice and guitar feedbacks were recorded by Werner and Smith at Blueprint Studios Manchester, electronics in Werner’s Studio in Berlin.

The B-side consists of unreleased new work partly written around the same time as Molocular Meditation in context of Werner’s Fiepblatter Catalogue on Thrill Jockey. Back to Animals is a non-metric rhythm exercise frantically hybridizing percussive accents with synthesized pulse. On the Infinite of Universe and Worlds is the layout for an electronic opera on Giordano Bruno’s Renaissance writings which Werner was asked to conceptionalize for Finish festival Musica Nova. VS Canceled finds Mark E. Smith reading an email from Domino Records explaining their discontinuation of Von Sudenfed, a band Mark E. Smith had founded with Mouse on Mars’ Jan St. Werner and Andi Toma in 2006. Their debut album Tromatic Reflexxions came out on Domino in 2007.



The Spatio Sensory Soundcheck – HKW

Sound becomes a spatial experience, band structures are deconstructed, a brand new sound technology celebrates its premiere in art: Last year, Jan St. Werner, part of the duo Mouse on Mars, listened to a festival sound check by the US indie rock band The National. Echoes, voices and acoustic artifacts overlapped, songs were begun and interrupted, harmonies were detuned and filtered. The picture of the perfect rock band was torn open, while at the same time the incompleteness of the action seemed to follow a method. The ambient sound installation The Spatio Sensory Soundcheck reconstructs this experience. The musician and composer disassembled a sound check recording as well as individual tracks of the current album I Am Easy to Find by The National, then electronically manipulated and reassembled them with his own elements. Mouse on Mars and The National had contributed music to each other’s most recent albums. Now Werner goes a step further – the installation dissolves the categories of band and album and shifts the sounds in a continuous state of instability on a psychoacoustic stage: With a novel speaker system based on wave field synthesis, Jan St. Werner arranges the sounds independently of each other in the space; movements and perspectives of the listeners become part of the composition.


The installation employs a speaker system by Holoplot. The audio technology of the Berlin-based company creates fully digital 3D-beamforming of multiple audio beams based on its own wave field synthesis algorithms and real-time audio processing.

Glottal Wolpertinger – fiepblatter catalogue #6

Glottal Wolpertinger was initially conceived as a radio installation for documenta 14, with each of the tracks broadcasting individually over the course of ten weeks and culminating in a convergence of all eight tracks at a performance in Athens. The pieces consist of microtonally tuned feedback, multispectral drones which Werner modulated and filtered with a purposeful, and indeed vocalized, emphasis given to the different frequencies and textures used. By naming the individual frequency bands, Werner defies traditional tuning systems and instead centers the piece on collaging variable elements. Sonic elements churn and sprawl across the tracks in constant motion. Their drones, combatting for space, entangle one another and oscillate into overtones that shift, build, and wither with fluid motion that blurs the line between consonance and dissonance.

Glottal Wolpertinger’s incarnation as a recording is no less potent than its preceding forms, but serves as a continuation of the project’s evolution as a distinct listening experience. Werner’s apt title for the project embellishes the ambiguity and cognitive dissonance inherent with the work, as the wolpertinger is a creature of European myth which is said to be the mutated result of different species breeding under special circumstances in the Alps. Glottal intonations are those produced by the guttural and throat region of the body, the center of organic sound. According to Werner, wolpertingers are “bastards, collaged freaks who exist in the grey zone of nature’s perfect plan,” the same grey zone in which his pieces live.




Written, performed and produced by Jan St. Werner

Live guitar Aaron Dessner

Studio guitar Bryce Dessner

Software Dietrich Pank

Voice Jessica Rasmussen

Additional Live recordings by David Memari and Paolo Thorsten-Nagel

Mastered by Rashad Becker

Artwork by Paul McDevitt & Cornelius Quabeck

Art Direction by Rupert Smyth Studio

Fiepblatter Catalogue # 6

Thrill Jockey 488

central spark in the dark – WDR

Für Schlagzeug und Elektronik – Kompositionsauftrag des WDR – UA 
Dirk Rothbrust – Schlagzeug
Jan St. Werner – Elektronik & Komposition

Samstag, 23.02.2019 WDR Funkhaus Köln & WDR3 Radio


»central spark in the dark« erkundet und dynamisiert die Beziehungen zwischen Elektronik und Akustik, zwischen Klang aus den Lautsprechern und Perkussionsinstrumenten, zwischen den Reflexionen im Raum und dem Klangbild im Kopf des Zuhörers. Die mehrkanalige Mischung erlaubt den komposito- rischen Elementen eine erweiterte Räumlichkeit: Klänge treffen sich nicht ausschließlich in den Schaltkreisen des Mischpults, sondern mitten im Aufführungsraum – in the air.

»central spark« lässt sich auch als Paradox verstehen, denn in dem Stück gibt es keine Mitte, keine zentrale Perspektive. Jeder Funke könnte selbst Zentrum eines klanglichen Universums sein. Die akustischen Signale werden kontinuierlich und oft abrupt verschoben, sie lösen kognitive »Zündungen« beim Hörer aus. »spark« steht auch für eine akzentuierte Kontrapunktion, für einen Rhythmus, der aus ständigen dialogischen Bewegungen neue Klangbeziehungen generiert und sie über die Grenzen der Notationslinien schiebt. Es gibt keine tonalen Flächen, aus denen harmonische Verdichtungen entstehen, sondern schnelle, partielle Verknüpfungen, durch die sich unvermittelt neue Räume öffnen und in denen sich in Mikrozeit musikalische Figuren bilden – wie Wunderkerzen, die kurz im Dunkel unserer Vorstellungswelt gezündet werden und ebenso schnell wieder verlöschen. Die digitalen »sparks« sind wie Steine, die über gefrorene Eisdecken springen. Es prasseln disparate Materialien in verschiedenen Aggregatzuständen aufeinander; Feuer, Eis, scharfe Splitter, wie aus felsenfesten Formen gesprengt. Es entsteht ein dynamisierter Raum, in dem extreme Kräfte wirken.

Das Arsenal des Schlagzeugers ist nach dem Klangbild der Elektronik ausgerichtet und kontrastiert es. So greift der Instrumentalist die Bewegungen der stark manipulierten, computergenerierten Klänge auf und steht mit seinen klanglich klar umrissenen Formen dem unendlich variierbaren des Digitalen gegenüber.

Video: Nik Kern

Fotos: Felix Berner

Periodic Composite Waveform Environment – Ultima Festival

Ensemble neoN & Jan St. Werner
feat. Dynamische Akustische Forschung – Periodic Composite Waveform Environment (WP)
Henie Onstad Kunstsenter
15 & 16 September 2018


Experimental electronic composer Jan St. Werner (Mouse On Mars, Lithops, Microstoria) and Ensemble neoN collaborate on an unconventional performance format that includes new compositions, improvisation, spatial arrangements and interventions from Werner’s class in Dynamic Acoustic Research, which he leads at Nuremberg Academy of Fine Arts. For two days, Ensemble neoN will take up residence at Henie Onstad Kunstsenter and a space will open up in which a mass of different audio practices will be exercised. Dynamic Acoustic Research is a radical course of investigation into post-war contemporary music, psychoacoustics and unconventional methods of capturing and producing sound and music. Periodic Composite Waveform Environment explores sound as an unstable art form and pushes players to the limits of their capacities.

11.00   Periodic Composite Waveform Environment Pt 1
Ensemble Neon & Jan St. Werner  
12.00   Intervention 1
Dynamische Akustische Forschung
12.30   Jan St. Werner performs Solo Pieces from the Fiepblatter Catalogue
13.00   Innermost Effects 1 – Texts by Thomas Raab and others Ensemble Neon & Jan St. Werner
14.00   Periodic Composite Waveform Environment Pt 2
Ensemble Neon & Jan St. Werner 
14.30   Intervention 2 Dynamische Akustische Forschung
15.30   Jan St. Werner performs Solo Pieces from the Fiepblatter Catalogue
16.00   Periodic Composite Waveform Environment Pt 3
Ensemble Neon & Jan St. Werner 
16.30  Dynamische Akustische Forschung & Ensemble Neon & Jan St. Werner 

In collaboration with Henie Onstad Kunstsenter.

Supported by Norsk kulturråd and Akademie der Bildenden Künste Nürnberg.

dissolve music – MIT

Dissolve Music @ MIT is a two-and-a-half-day conference and sound festival, March 7-9, 2018, to bring together musicians, sound creators, and scholars of music and sound studies to discuss the diversity of music and experimental sound. Combining art and scholarship in a spirit of dialogue and controversy, the conference aims to dissolve boundaries between different arenas of sonic engagement to identify paths towards alternative, more inclusive futures.


Keynote Speakers

Diana Deutsch (UC San Diego), pioneer in psychoacoustics research and inventor of musical illusions

Thomas F. DeFrantz, professor, African and African American Studies, Duke University, choreographer, author “Dancing Many Drums.”


Jan St. Werner, musician with Mouse on Mars, prof. Academy of Fine Arts Nuremberg

Rekha Malhotra, award-winning music producer and activist; M.S. student in Comparative Media Studies

Ian Condry (MIT), cultural anthropologist of Japan, professor at MIT, author “Hip-Hop Japan.”  How do new experiments in music and sound offer possibilities for activating social and political change?

Nicole L’Huilier, sound artist and Ph.D. student at MIT Media Lab, Opera of the Future research group

Walker Downey, writer and Ph.D. student, History, Theory and Criticism of Architecture and Art (HTC), MIT Architecture

Confirmed Participants:

Geeta Dayal, artist/activist and author of Brian Eno’s Another Green World

Oswald Wiener, musician, activist and curator from Vienna, now living in Berlin

Maren Haffke, researcher in Germany working on a project called “The Sound of Order / The Order of Sound”

Sonya Hofer, musicologist specializing in post-WWII musical avant garde

Toni Lester (Babson College), professor and sound artist.  How do issues of author control in music and interpretation help us understand the politics of race, queerness, and free speech

Stefan Helmreich, professor of anthropology, MIT, author “Sounding the Limits of Life”

Nancy Baym, author and researcher in the Social Media Collective at Microsoft Research in Cambridge, MA

Wayne Marshall, professor at Berklee School of Music, technomusicologist, author & DJ

Patty Tang, ethnomusicologist of Senegalese drumming, and professor in Music and Theater Arts, MIT

Toshiya Ueno, professor Wako U (Japan), author “Urban Tribal Studies,” DJ Toshiya the Tribal

Koichi Sei, sound artist, DJ and owner of Bar Bonobo in Tokyo, Japan, a legendary meeting ground for musicians, sound artists, and DJs

Susanna Bolle, DJ on WZBC and organizer of the Non-Event series of experimental music and sound in the Boston area

Ganavya Doraiswamy, musician and PhD student at Harvard in the Music Department

Rajna Swaminathan, musician an PhD student at Harvard in the Music  Department



Spectric Acid – fiepblatter catalogue #5

Spectric Acid, CD, 2017

Jan St. Werner summons flux and fragmentation on Spectric Acid, building up the record’s blistering, locomotive beat structures around the correlation of musical spectra. Their movements triggered in part by peaks in frequency envelopes, rhythms buckle and fracture according to a complex logic that slides past aural perception and harmonic resolution; a “phenomenological alchemy” (Rădulescu) takes shape among unsteady synthesizer whirls and stammering percussive phrases. The effect is deadly, paralytic; but listeners willing to surrender to Spectric Acid’s movement might find themselves taken to wider horizons of trance. Crucially, Werner turned also to the ceremonial rhythms of West Africa in his shaping of Spectric Acid’s bending timescales, and one can hear a clear impress of Vodoo drumming in the way rhythmic patterns cross converse, teeter off-beat, and rapidly redouble.

Though it shares with 2016’s Felder (Fiepblatter Catalogue #4) a desire to spill beyond metric linearity and notated time, Spectric Acid strays from that record’s breathy spatiality towards more pointed concerns with motion and the liberation of rhythm. In pursuit of this new direction, Werner borrows, on the one hand, from the structural techniques championed by the Spectralist school of the 1970s; breaking free of the tempered system through a focus on frequency and timbre, spectral composers like Gérard Grisey and Horațiu Rădulescu introduced sweeping, tectonic temporalities untroubled by notes and intervals, refining what Edgard Varèse before them had evangelized as a fragmentary, atomistic approach to form given to a “[constant] changing in shape, directions, and speed.”

A record both brute in force and exacting in its sensitivity to perception’s effective limits, Spectric Acidoffers fresh glimpses of the deft compositional grasp Werner has developed across over two decades of practice, whether in Mouse on Mars and Microstoria or on his growing log of solo records. Treat it less as a document than a potent sonic distillate, to be taken on an empty stomach for full effect.

– Walker Peterson Downey

Spectric Acid is released on CD only in a hand-numbered edition of 300 copies with an 8 page 5” x 7” booklet designed by Rupert Smyth (co-founder of YYAA Recordings and Hallso Press Editions).  Spectric Acid was mastered by Rashad Becker at Dubplates & Mastering in Berlin. Becker said the intense nature of the album meant that to master for LP would “mutilate the spectrum and phase of the material”


Dynamische Akustische Forschung – Akademie der bildenden Künste nürnberg

Project based class led by Jan St. Werner at the Academy of Fine Arts Nuremberg Germany. DAF explores sound as an unstable art form which merges with other disciplines and yet makes strong claims for disciplinary autonomy. A critical awareness is developed of how sound as a field for artistic exploration is performed, produced, and distributed.


The class explores contemporary and historical practices that emerge outside of purely musical environments and investigates specific compositional developments of post-war modernity and electro-acoustic music, as well as non-musical disciplines related to the psychophysics of hearing and listening. Sound is understood as a means of artistic exploration through practical exercises, performances, installations, writing, recordings, diffusions and instruments building.

In Dynamic Acoustic Research a sound that is perceived – or rather thought – in front of or behind the inner ear, is regarded as equivalent to audible sound. The tool for that is a focus shift of the acoustic range: to search and explore with un-, over- and transdisciplinary methods as a performative self-experiment and with a permanently self-modifying interest, that has no rigidly defined program. Composition is conceived as a finding with maximum attentiveness involving all affects of the perception process.

By means of the concept of the hearing in front of or behind the inner ear a »multi-perspectivity« is applied to the act of hearing – i.e. a sonic art that does not only take place in the ear, but that also makes use of intensive hearing and listening inwards and outwards. In order to achieve this »inter-est« is the matrix of reception in the future: As an artist I will have to ask myself to what extent I am able to invest my inter-est – understood as an intellectual effort – in a structural documentation of real and discursive sounds, for missed, unheard, and outrageous things. How far can we differentiate this inter-est?

Lead by passions (affect, emotion, sensation) and the [calculating] deliberations (intention, reflection, purposefulness). In our researching experiments passions and deliberations should be brought into resonance – an inter-est in the in-between: between the others, the sounds and the devices. For all this Prof. Jan St. Werner favours an interest on the part of the students in a collective process of learning in order to explore something unknown – something undetermined.

Until now the class for Interactive Media / Dynamic Acoustic Research has published a record entitled DAF01. During the Jahresausstellung 2017 sounds arose at the campus were recorded and simultaneously analysed, filtered, interconnected, arranged. By using a mixing desk the students created their individually interpreted melody of the Jahresausstellung. The record sold by A-Musik is also available upon request (akstaller@adbk-nuernberg.de). There is also a cassette tape DAF02 and a print publication DAF03.

Furthermore, the class for Interactive Media / Dynamic Acoustic Research has established a radio station transmitting acoustical experiments. It can be received online via




Glottal Wolpertinger – documenta 14

Glottal Wolpertinger (multi-fragmented composition, commission for documenta 14, 2017)
Jan St. Werner, composition, computer
Aaron Dessner, guitar
Bryce Dessner, prerecorded guitar
Glottal Wolpertinger deconstructs the principle of the musical drone, the timelessly dense, continuously spreading mass of sound, and uses idiosyncratic spatial movements to break with the linear narrative of music. Eight microtonally tuned feedback channels were broadcast via the documenta 14 Radio Program “Every Time A Ear Di Soun” for a period of ten weeks. On July 6, 2017, the feedback channels converged with each other during a performance of Jan St. Werner together with guitarists Aaron and Bryce Dessner in Athens. The eight compositional fragments each consisted of a continuously modulated feedback based on the harmonic spectrum of Glottal Wolpertinger. The feedback channels resonated at the tuning frequencies of 44 Hz, 133 Hz, 339 Hz, 527 Hz, 826 Hz, 1014 Hz, 1552 Hz, 1889 Hz, 2.3 kHz, 4.6 kHz, 7.15 kHz, 10.14 kHz, 14.873 kHz, and 29.45 kHz. The spatial configuration of these frequencies inside the Romantso space resulted in oscillations, binaural pulses, and sound artifacts that became more or less palpable during the course of the performance depending on the position of the listener. In this way traditional techniques of orientation in a musical experience were pushed beyond the limits of comprehension.

Photo of Jan St. Werner and Aaron Dessner by Stathis Mamalakis – Listening Space, documenta 14, Athens, 2017

Glottal Wolpertinger artwork by Paul McDevitt

Print excerpt from Mousse Magazine #58

documenta14 listening space

documenta14 public radio

A 46 minute collage of the multiple incarnations of Glottal Wolptertinger was commissioned by Deutschlandfunk Kultur

A stereo version of Glottal Wolpertinger called Glossal Wolptertinger as a white CD-R with stamped date, white screen-printed cover on black card sleeve and printed insert plus a limited number of t-shirts and tote bags were released via farbvision.

Live DVD – n.b.k.

Documentation of the concert by Jan St. Werner at Neuer Berliner Kunstverein on January 29, 2017

Jan St. Werner is an artist and musician. He became internationally known in 1993 as the co-founder of the innovative and groundbreaking electro-duo Mouse on Mars, who until today have released more than a dozen albums and gave concerts worldwide. Additionally, in 1995, Werner joined Markus Popp for the project Microstoria and performed as a solo artist under his own name as well as under the pseudonyms of Lithops, Noisemashinetapes and Neuter River. Numerous other influential releases sprang from this. In the mid-2000s, Jan St. Werner was the artistic director of the Amsterdam Studio for Electro-Instrumental Music (STEIM), which is dedicated to the research and development of new instruments for electronic music and digital art. Werner’s activities also extend into the visual arts, in that he creates installations and produces music for them, as well as for the works of other artists, such as Rosa Barba. In 2013, Jan St. Werner released Blaze Color Burn, which was the beginning of a series of experimental sound recordings entitled Fiepblatter Catalogue (released by Thrill Jockey Records, Chicago), followed by three further conceptual albums until 2016. At Neuer Berliner Kunstverein, Jan St. Werner presents selected material from this series.


Felder – fiepblatter catalogue #4

Felder, CD, 2016

“Felder” means “fields” in German, and here the word refers to conceptual frameworks and subjects, and sound fields. Werner is a cultivator — a farmer — of the various sounds, from metal scratched on a big glass window to piano phrases found on a private Popul Vuh compilation. He mixes organic sounds from French horns and cellos seamlessly with synthesized notes created with one-of-a-kind programs. Werner builds layers of sound with differing cadences upon one another, creating intricate patterns that connect with each other structurally, rhythmically, semantically, and historically. Suggestions of jazz, industrial music, drone and even folk float in and out of the electronic compositions in a seemingly effortless manner; paradoxically, Felder was meticulously constructed over the course of four years.

Werner’s refinement process for the pieces on Felder was simultaneous with the lofty goal of challenging himself as a musician while still creating a record that is melodic and complex. Werner recorded the album in Marfa, Texas; Berlin, and around the world while touring with Mouse on Mars. Just as the album’s creation and production cannot be tied to a specific setting or time, the sounds heard on the album have no clear boundaries. They are unexpectedly malleable and mutable. Context and perceptions play with sounds to yield a fresh new experience with each listen. Samples and instrumentals bounce off one another, starting from central points and radiating outwards. With so many new sounds to discover and new inspirations to be found, Felder is an entire new field of musical possibilities — a landscape that at first appears simple and beautiful that reveals its utter complexity upon closer inspection. The album is joyful experience for both the mind and the soul.

Felder LP, CD, Download


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Felder Interventions

Kinetic Speakers and Experimental Sound Creations – MIT



The MIT Program in Art, Culture and Technology (ACT) is an academic program and hub of critical art practice and discourse. Through an integrated approach to pedagogy, hosting, public event programming, and publication, ACT builds a community of artist-thinkers around the exploration of art’s complex conjunctions with culture and technology. The program’s mission is to promote leadership in critical artistic practice and deployment, developing art as a vital means of experimenting with new registers of knowledge and new modes of valuation and expression; and to continually question what an artistic research and learning environment can be and do.

Jan St. Werner’s Kinetic Speakers And Experimental Sound Creations class defines sound as an unstable art form which merges with other disciplines and yet makes strong claims for disciplinary autonomy. A critical awareness is developed of how sound art as a field for artistic exploration is performed, produced, and distributed. Students explore contemporary and historical practices that emerge outside of purely musical environments and investigate specific compositional developments of post-war modernity and electro-acoustic music, as well as non-musical disciplines related to the psychophysics of hearing and listening. Lectures, screenings, readings, and discussions with guests and faculty contribute to the development of group and individual projects.

ACT – MIT program in art, culture and technology


MIT sound creations blog

Kinetik Speakers And Experimental Sound Creations Magazine

MIT Sound Creations Soundcloud






Apparat, mit dem eine Kartoffel eine andere umkreisen kann – Museum Abteiberg

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(Experiment of an electro-acoustic composition in commemoration of Sigmar Polke)

by Jan St. Werner and Damo Suzuki

APRIL 23 rd – JULY 5th 2015


The singer Damo Suzuki, originally from Japan, was the singer of the band CAN from 1970 to 1973. He developed the improvised singing in psychedelic music, disappeared for ten years and began his own solo and network projects from 1983. Suzuki lives and works in Cologne until today. Together with Andi Toma, Jan St. Werner is the initiator of the band Band Mouse on Mars which was formed in 1993, then discovering a new connection to the avantgarde of the 1970ies and being one of the most important bands in electronic music ever since. Werner now lives and works in Berlin and operates in the most diverse musical collaborations (see Mouse on Mars: 21 again (2014)).

Beginning with Sigmar Polke’s 16mm films shown for the first time in the 1980ies, Museum Abteiberg presents in its halls an electro-acoustic concert consisting of several parts which combines Sigmar Polke’s sampled visual aesthetics, which have often been described as alchemy, with a contemporary acoustic counterpart. Damo Suzuki and Jan St. Werner present an electroacoustic composition which draws its procedures from the Krautrock and diverse form of improvisation in the 1970ies, using a range of sound materials, speech and noise, thereby presenting Polke’s process of cross-fading and multiple exposure as an acoustic procedure. Suzuki and Werner – which have never worked together before – practice an acoustic reflection which both moves within the system and makes an observation from outside at the same time. Experimenting with different materials and perspectives, this approach presents an interdisciplinary parallel to Polke: All material becomes a big picture, everything joins an alchemist mixture. Jan St. Werner: “There is no centre in this composition, the elements must be newly brought together again and again. What was just perceived and has faded is redrawn from memory and compared to the new. The image and after-image form a collage in the head as the actual composition.”

The acoustic-visual installation will subsequently be shown in parallel with the exhibition “SIGMAR POLKE Approaching Venice – Movies and Materials of the 1986 Biennale” at Museum Abteiberg until 5 July.

An edition of 6 vinyl records with hand made sleeves by Suzuki & Werner were sold on the occasion
Städtisches Museum Abteiberg
Abteistr. 27
41061 Mönchengladbach
Tel.: 02161-252636
Fax: 02161-252659
foto credits & museum contact: Uwe Riedel riedel@museum-abteiberg.de

MISCONTINUUM album – fiepblatter catalogue #3

Electroacoustic opera featuring Kathy Alberici, Taigen Kawabe, Markus Popp & Dylan Carlson, 2015

The central concept of Miscontinuum Album explores misconceptions of time and memory, inspired by unique acoustic phenomena derived through digital phasing and musical time stretching techniques. There is an aura of doom that pervades the work. Much of the album’s evocative nature comes from the interplay of Werner’s electronics with Alberici and Kawabe’s voices and the contrast between those organic and inorganic elements. Popp, a longtime collaborator with Werner in Microstoria, wrote the libretti, which are presented in five distinct scenes and recited redolently by Carlson. The surreal plot involves a progressive distinction of time as a force rather than a structuring system, where an individual who can shift consciously between states within that force. The high concepts and unusual creative partners combine for an album that is uncommonly emotionally resonant.

Miscontinuum was first performed as a part of Werner’s Asymmetric Studio series in Munich on June 18th, 2013, and also featured video by Werner and Karl Kliem and stage design by Christina del Yelmo & Sonia Gomez Villar. It was broadcast by Bayerischer Rundfunk BR2 public radio. The striking visual elements, flowing dresses and impressionistic masses of color, make appearances on the album’s art, and will be presented in new forms in the coming months. The first revised version of Miscontinuum featuring live video by Zoya Bassi premiered at the St Luke’s Church in London on Feb 8th 2015. The second performance was shown at Volksbühne Berlin on April 5th 2015.





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Radio Version BR2 Radio

Kunstverein Muenchen, June 18th 2013

Rotationsstudien, Sequenzen 20-5 – CTM



R3 R1 R6 R5

Created by Jan St. Werner and Karl Kliem, this series of audio-visual compositions of constantly and subtly shifting antidromic sounds and images experiments visually and acoustically with Gestalt principles from the field of cognitive psychology, and triggers sensory irritation in the recipient.

Composed of 60 frames per second, the visual component of the “Rotationsstudien” uses complementary contrasts, sudden bursts of colour, and shifts from bright- to darkness to generate spatial effects that simultaneously give rise to new assemblages and undermine the viewer’s sense of reality. Same as the images, the installation’s sound component is completely digital in origin, and by means of granular resonance shifts, stereo movements, and phase changes prompts phantom perceptions. Every visitor listens to and sees a different installation. “Rotationsstudien” is a generative piece of abstract extended cinema, that runs for days without repetition.

CTM Festival 2015: http://www.ctm-festival.de/festival-2015/transfer/rotationsstudien/

Rotationsstudien, Sequenzen 20—5

MOLOCULAR MEDITATION – Cornerhouse Manchester

15787216148_bb1bf9e350_oExperimental listening enviroment & surround sound composition by Jan St. Werner featuring Mark E Smith for Cornerhouse, Manchester

Musician Jan St. Werner has created Molocular Meditation, a bespoke light and sound enviroment with a soundtrack featuring the voice of the Fall’s Mark E Smith. Smith is heard making observations on mundane objects, events and a range of meditation techniques. His voice forms the narrative component of an abstract electroacoustic composition placed in a surreal scenario evoking a state of transformation and deceleration.



Klanginstallation von Jan St. Werner, 2014

“Klänge, die in den Räumen der Neuen Nationalgalerie Berlin aufgenommen und mit elektronischen Elementen versetzt wurden, dienen als Material für diese elektro-akustische Komposition. Sprache und Bewegung verbinden sich auf einer abstrakten Ebene, die Möglichkeiten konkreter und absurder Aktivitäten in einem sozialen Raum thematisiert. Die Komposition mischt sich zurück in die Realität der Ausstellungshalle und erzeugt eine akustische Parallelchoreografie, die innerhalb der Ausstellung, zusammen mit der Ausstellung, gegen die und aus der Ausstellung heraus läuft.”

The festival’s program of performances, sculptures, talks, and installations by 100 artists and contributors who have been part of the past five years of the Institut für Raumexperimente will be held in and around the exhibition “Sticks and Stones” by David Chipperfield, an intervention in dialogue with the architecture of Mies van der Rohe.


Staatliche Museen zu Berlin

Postdamer Straße 50

10785 Berlin



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“The piece is 36 minutes in length and draws into itself a diverse range of sounds that Jan St. Werner has recorded during his stay in Marfa along with elements recorded elsewhere but which reasserted themselves in this place. The piece manages to be site specific, but without being orthodoxly so. The train is a representative element in that it contributes a significant aspect to the town, and to the piece, because it omes from elsewhere, appears and then returns to farther away.

“So did the poet Clark Coolidge appear; and musicians Primo Carrasco, Max and John Ferguson, Scott Hawkins and David Grubbs; so, too, the various anonymous visitors to the Marfa Lights’ Viewing Station and linguist Lynette Melnar; and almost everyone, including Jan and myself. Additionally, Jan has treated the radio event as a sculptural entity, one that can be cut from time and transferred, via recording to other times and places.

“As such, the piece, which will air on Marfa Public Radio this Wednesday, is marked by the station itself, and therefore by the people of this area, but this same marking will appear again on WDR 3 German Public Radio at some point in the future and for that performance, German Public Radio will be marked by Marfa.”

Tim Johnson, KRTS Marfa Public Radio


SPLIT ANIMAL SCULPTURE 10″ – infinite greyscale

As the title Split Animal Sculpture suggests, this piece manages to sound simultaneously biotic and fabricated. An impressionistic rendering of church bells and organ drone is suggestive of a large man-made structure, while in-between can be heard the flutters and whistles of something animated navigating it’s way through the reverberating buzz. This circling and spatial piece illustrates St. Werner’s intelligent approach to creating sound that has both weight and aerodynamic energy. This record also exists as asound installation for a single listener using headphones and one speaker.

Infinite Greyscale

BLACK MANUAL – Brigade Commerz

BLACK MANUAL – Brigade Commerz, CD, 2013

On “Mordendo” the dynamics of speaker compositions intertwine with concrete Afro-Brazilian sound patterns, with special “toques”, drum beat sequences also found in Samba and Candomblé… Sounds rear up, diffuse, and rhythms dissolve into tones thereby creating a “total music”.

“Black Manual” was formed in 2012 after Jan St. Werner had heard the percussionists Valdir Jovenal, Juninho Quebradeira and Leo Leandro play at a Candomblé ceremony in Berlin Kreuzberg.

Together with his colleague Andi Toma, with whom Jan St. Werner also works as “Mouse on Mars”, he mixed this unholy conglomerate of frigidly staged disorders, digital fragments, samples, broken melodies and the vibrant, tugging sub-bass caprices of the Brazilian “voodoo” rhythms – “a fala dos atabaques” (“speech of the drums”): with violence and passion as if they were trying to force the gates to transcendence open.

A performance between concert and ceremony: When the three percussionists and Jan St. Werner really cut loose, challenging and tempting each other, then worlds collide making the earth tremble! Then the black Gods of Africa are also near as if they were amusing themselves or trying to dance with the Christian hallows… “O tempo é fora do comum!” Or: “The time is out of joint!”







DAS ASYMMETRISCHE STUDIO 1-4 – Kunstverein München / Bayerischer Rundfunk

Series of performances, concerts, lectures and talks curated by Jan St. Werner at Kunstverein Munich in collaboration with Bayerischer Rundfunk “Hoerspiel & Medienkunst”

DAS ASYMMETRISCHE STUDIO 1 Black Manual concert stream
DAS ASYMMETRISCHE STUDIO 1 Black Manual concert video
DAS ASYMMETRISCHE STUDIO 2 Helmut Lachenmann / Jan St. Werner DJ session & talk
DAS ASYMMETRISCHE STUDIO 3 Andrey Smirnov: Music out of Noise, Light and Paper
DAS ASYMMETRISCHE STUDIO 4 miscontinuum opera with Kathy Alberici, Taigen Kawabe & Markus Popp


Wichtel & die Wuchteln: “falscher Auerhahn” 12″ picture disc, no label
Ingrid Wiener, Oswald Wiener, Rosa Barba, Klaus Sander & Jan St. Werner. Edit of a live performance at Villa Romana, Florence, 2011. Curated by Angelika Stepken.
“Sound & noise collages played live with additional singing, percussion and subtle instrumentation. Somewhere between early Franco Battiato, Throbbing Gristle, Napolitanian folk music and selten gehoerte Musik.”

order at a-musik
Wichtel & die Wuchteln interview with Ingrid & Oswald Wiener

ENTLANG DER ZEITACHSE – WDR Studio Akustische Kunst

Radio composition for WDR Studio Akustische Kunst.
“36 Sekunden dauerte der Satz, in dem Karlheinz Stockhausen während eines Vortrags in den frühen 1970er-Jahren die heute gängige kompositorische Praxis des Time Stretchings voraussah: „Wenn wir einen beliebigen Klang nehmen und ihn ausbreiten, also entlang der Zeitachse ausdehnen, bis zu einer Dauer von 20 Minuten, einen Klang, der vielleicht ein oder zwei Sekunden lang war, als wir ihn aufnahmen, dann haben wir eine Musik, ein musikalisches Stück, dessen gesamte Form entlang der Zeitachse die Ausdehnung dieser mikro-akustischen Zeitstruktur ist, die in diesem Klang steckte.“ Fünf Jahre nach dessen Tod nimmt Jan St. Werner Stockhausen beim Wort: Stockhausens Statement ist gleichermaßen Material und granulare Syntax für eine Komposition, in der sich nicht nur akustische und digitale Signale überlagern, sondern auch Substanz und Methode verschmelzen. Mit Hilfe digitaler Klanganalyse- & Synthesetechniken und Timestretching zieht Werner musikalisches Erbgut aus Stockhausens Stimme. Durch die Hinzunahme akustischer Instrumente wie Cello (Michael Rauter), Cembalo (Clemens Flick) und Perkussion (Matthias Engler) werden harmonische, tonale und rhythmische Verdichtungen herausgearbeitet und musikalisch konkretisiert.”

WDR3 Studio Akustische Kunst
stream / download

GLASAUGE – ifrex

A P R I L 2 6 — M A Y 6 Wednesday – Sunday, 5 – 9 pm
Virchowstraße 6 10249 Berlin

WORKS BY AEAEAEAE, Rune Bosse, Julius von Bismarck, Julian Charrière, Merlin Carter, Andreas Dzialocha, Leon Eixenberger, Olafur Eliasson and TR, Eric Ellingsen, Tomas Espinosa, Maresa Fiege, Fabian Gisler, Andreas Greiner, Felix Meyer, Rodrigo Maltez Novaes, Markus Hoffmann, Jeremias Holliger, Friederike Horbrügger, Clara Jo, Anne Duk Hee Jordan, Felix Kiessling, Jonas Kesseler, Fabian Knecht, Hans-Henning Korb, Felix Lüke, Laura McLardy, Macarena Ruiz-Tagle, Andrea Sanzvela, Martin Schick, Tiago Romagnani Silveira, Diana Sprenger, Wilm Thoben, Alvaro Urbano, Raul Walch, Jan St. Werner, Euan Williams, Hendrik Wolking


“The sources for “Formationen” are early solo recordings produced with synthesizers and tapes in 1992 and 1993, during Werner’s collaborations with F.X.Randomiz and his first experiments with Andi Toma that should be released later under the alias Mouse on Mars. Werner found those early tapes a while ago, re-mastered and carefully re-worked them, and the result are four stunning pieces of beautiful electronic music.” limited vinyl edition of 300 copies. (a-musik)


Jan St Werner, one half of German electronic duo Mouse on Mars, creates a new composition for the ICA that uses the structure and daily sounds of the building. Arranging drones from harmoniums with soundpockets produced by ICA staff, the work exists throughout the ICA for one day.

“Three players and three harmoniums are located in separate areas of the ICA.
The sound of the first player who plays vibraphone is relayed to an amp in the room of the second player. The sound of the second player who plays guitar, and the sound of his amp, are relayed to player 3. Player 3- who is playing guitar, and the sound of his amp, are relayed to a fourth amp located at the entrance of the building.
Every 15 minutes each player chooses one of a given number of note groups. Each player repeats the chosen note group three times. Player 1 starts every quarter of an hour. Player 2 joins in when player 1 is playing his note group for the second time. Player 3 joins in when player 2 is playing her note group for the second time.”

The Mall
London SW1Y 5AH
22 November 2009


A spacial sound composition for church bells, church organ, brass orchestra, bicycle sound systems, vibraphones, recorders, street noises and electronics.
Piazza Della Repubblica, Foligno, Italy, June 27th, 2009, 9.00 – 19.00
“the compostion started at 9 in the morning with the two piazza cafes playing especially prepared cd’s. one was a 60 minute slow piece which was derived from sounds of the piazza plus vibraphone elements and street noises. the idea was that the cafe sounds whould interfere or match with the sounds of the piazza. the other cd was a saxophone recording by topo freier who had made an improvisation in tune to the church bells. the jazzy saxophone track was also supposed to match with the glossy cafe interior of the centralbar. outside electronic sounds from a big stereo p.a system were fading into the piazza ambience. there were high sounds, feedback modulations, bass jolts. around mid day three bicycles with speakers were sent around the piazza and inner city playing electronic signals which worked as solo melodies similar to mobile phone ringtones but would later also function as harmonic elements in the grande finale of the piece. next came a vibraphonist who was positioned opposite from the church. she played a score which was written by composer stefan streich and took elements from the church bells melody and the arizzete song, an adaption of a traditional foligno folk song. every hour the main church bells were supposed to play, too but on the day of the performance they didn’t. another unexpected interference were the heavy rain showers which interrupted the composition about every half an hour in the afternoon. at 4 o’clock a group of 10 kids entered the piazza playing two continous low notes on recorders. this subtle but nervous drone added another layer to the piece. finally the brass band entered the scene playing the arizzete arrangement at full speed. the band played the theme for a certain number of times and then continously slowed down. interrupted by rain showers for about three times the band finally played one long continous drone of all the notes of the arizzete composition. it was like a long real-time timestretching effect. the church bells finally joined in and together with the electronic sounds from the p.a. plus the long sustained notes of the vibraphone the piece culminated in a swirling vortex of harmonies and noises.”

Fahren 1

Score for an undefined number of cars on a highway to be performed until all actions are exercised. By Volker Hormann, Michael Rauter & Jan St. Werner. On the occasion of “Nordkurve”, Künstlerische Arbeiten am Ort der ehemaligen Autorennstrecke AVUS und heutigen Autobahn A115 Berlin
kunstraum avus


Spatial composition for church bells, church organ, brass orchestra, bicycle sound system, vibraphone, recorders, street noises and electronics.
Piazza Della Repubblica, Foligno, Italy, June 27th, 2009, 9.00 – 19.00


sonig is an independent music label for experimental, electronic and non genre specific music. the artist roster is international and features bands, solo artists and art related music projects. sonig is based in cologne and shares offices with a-musik, the specialist shop, distributor and label for all kinds of outsider music. sonig is also running a mail order service and alternatively offers products through online stores such as itunes or amazon. sonig is run by frank dommert, jan st werner and andi toma.

A&E / Aelters / Audiogarde / Baleine 3000 / C-Schulz / C-Schulz & F.X.Randomiz / Candie Hank / DJ Elephant Power / Dogr / Dü / F.X.Randomiz / Fan Club Orchestra / Fanal / Hajsch / Jason Forrest / Kevin Blechdom / Lithops / Michel Waisvisz / Microstoria / Mouse On Mars / Nathan Michel / Noisemashinetapes / Patric Catani/Chris Imler/Jorinde Voigt / Schlammpeitziger / Scratch Pet Land / Sun OK Papi K.O. / The Allophons / Uské Orchestra / Vert / Wang Inc. / Wevie De Crepon / Workshop / Xberg Dhirty6 Cru

sonig, kleiner griechenmarkt 28-30, 50676 koeln, germany.




a-musik is a highly recommended record store, label, mail order service and distributor for experimental music

Kleiner Griechenmarkt 28-30
D-50676 Köln
Tel.: 0221 – 510 7591 (mailorder)
Tel.: 0221 – 169 30 600 (shop, distribution)
Fax: 0221 – 510 7592

Shop-hours: tuesday – saturday 12:00 p.m. – 7:00 p.m.
every 1st thursday/month until 11 p.m.

“target=”_blank”>a-musik blogspot

Travel Controller

a one octave micro keyboard with transpose up/down buttons and 8 rotary controllers. the travel controller uses a junxion board to translate controller data to a junxion software patch which generates midi. it is connected to a powerbook via usb. the travel controller was contrived by jan st werner and built by jorgen brinkmann at steim. size: 15,5 x 8 x 3 cm

VORGEMISCHTE WELT suhrkamp verlag

„Mit Vorgemischte Welt legen Klaus Sander und Jan St. Werner die anregendsten Gedanken zum Thema Musik und deren ästhetische Bedingungen seit Jahren vor. Wer sich auch nur ein wenig über Musik als traditionelles Beruhigungsmedium hinaus für tatsächlich auch soziologische, biologische, ökonomische oder ästhetische Fragen des Kunstschaffens interessiert, darf an diesem Buch nicht vorbeigehen. Pflichtlektüre!“ (Der Standard, Wien)
Suhrkamp Verlag


jan promo neu 3website2

The NOISEROOM is an autonomous surround sound installation built for pre-recorded musical works and sonic experiments. It is a musical deconstruction of a room-within-a-room as much as it is a sound studio sculpture. Each musical work which is performed in the NOISEROOM has been selected, edited and arranged for a listening situation in which the listeners can dedicate themselves to a maximum listening experience. The pieces presented in the NOISEROOM refer specifically to the concept of a so-called ‘speaker’ concert in contrast to a so-called ‘live’ concert. Each composition will be played back through a multi-channel 5.1 speaker setup that is configured according to the spatial acoustics of the NOISEROOM. The NOISEROOM is a project of Jan St. Werner, artistic director of STEIM and member of Mouse on Mars.

The NOISEROOM features compositions by:
Lee Ranaldo, Black Dice, Kevin Blechdom, Stereolab, Mouse on Mars, Lithops, Sun ok papi k.o., David Grubbs, Vert, Jason Forrest, Daniel Schorno, Casey Rice, Robert van Heumen, Jeff Carey, Hrvatski


Marshall Amp Fire – CASCO

sound event @ CASCO Office for Art Design and Theory, Utrecht, Netherlands

St Werner adapted electric harmoniums to create a subtle continuous sound that is every now and again disrupted by other noises that were recorded in the space, quietly harmonising and conflicting with the social setting.
Casco archive

doku/fiction Kunsthalle Düsseldorf

Starting from the idea of producing a remix album of Mouse on Mars in book-form, Jan St.Werner and Andi Toma, in conjunction with the Kunsthalle Düsseldorf, asked over 30 artists, musicians, designers and scientists to document their imaginative responses to and associations with Mouse on Mars. They were invited to contribute works for the project without actually generating any sound. Inspired by the music of Mouse on Mars (to be viewed as ‘work in progress’ rather than something striving to be complete), ideas, sketches and designs were originated, which correspond to a fantastical, occasionally formal, but always personal analysis of what it means to experience music.
The exhibition featured works by Heike Baranowsky, Rosa Barba, Laurent Baudoux, Armin Boehm, Michel Carré, Katja Davar, Diango Hernández, Waseem Khan, Matthias Köchling, Dirk Königsfeld, Stefan Kozalla, Simon Lewis, Jean-François Moriceau & Petra Mrzyk, Soulis Moustakidis, Daniel Roth, Constantin Rothkopf, Silke Schatz, Christian Schwarzwald, Alice Stepanek/Steven Maslin, Leif Trenkler, Emmett Williams, Jo Zimmermann.

Otto Rössler: Descartes’ Traum – supposé

Otto E. Rössler: Descartes’ Traum
“Der Chaosforscher Otto E. Rössler (geboren 1940), Professor für Theoretische Chemie und Spezialist für Nichtspezialisiertheit, ist ein hinreißender Erzähler, der seine Hörer mit Begeisterung anzustecken versteht. Der Entdecker des nach ihm benannten Rössler-Attraktors hält die Wissenschaft für eine wichtige Aufgabe und gleichzeitig für ein Spiel, er schätzt Gehirngleichungen und die Theorie der Menschenrechte. In eigens für diese CD aufgenommenen improvisierten Kurzvorträgen berichtet er von der unendlichen Macht des Außenstehens, von Heraklit’s Joystick und Descartes’ Traum, spricht über Mikrorelativität, Bewußtsein, Quantenwelten und Chaos ohne Charakter, entwickelt eine kleine Theorie des Lächelns und entdeckt das Wunder des Jetzt.”

Rosa Barba

Sound for films and installations

Outwardly from Earth’s Center
Definition Landfill
Subconcious Society
The Empirical Effect
Who can tell if I’m inveting?
The Long Road
Time as Perspective
Vertiginous Mapping
The Color from out of Space
Fosse d’Orchestre
Vertigenous Mapping
Bending to Earth

“The work of Rosa Barba points towards a future cinema that’s not beholden to the digital, yet which is still capable of exploring uncharted territory just as resourcefully.”


RB_StageArchive-800x624 RB_Color-Studies1_lr-800x533  RB_Time-as-perspective03-800x533 RB_2010_The_long_Road_STILL_1-800x499 Subconscious-Society-2013

doku/fiction – Kunsthalle Düsseldorf / die gestalten

doku/fiction publication edited by Kunsthalle Düsseldorf 160 pages & CD 16.8 x 24 cm released: April 2004
ISBN: 3-89955-03-8
Softcover, incl. CD with 9 audio tracks by Mouse on Mars. Design by Frieda Luczak, Icon Communications Design, Cologne
Using Mouse on Mars’ songs, albums and concerts as inspiration, 37 artists, musicians, designers and academics have created commentaries, paintings, drawings and collages for this book. The results gathered here document the visual, artistic and theoretical contexts of modern electronic music as well as a range of personal interpretations of what it’s like to experience it. The book contains essays by author and journalist Dietmar Dath as well as Professor Siegfried Zielinski of the Academy of Media Arts in Cologne in addition to an interview of linguist and cyberneticist Oswald Wiener by Jan St. Werner. As an added bonus, the book includes an audio CD featuring 9 exclusive Mouse on Mars tracks referring to the production of the remix artworks. The concept for an accompanying exhibition was born out of the book project. It is held at the German museum Kunsthalle Duesseldorf from April 4 through June 27, 2004.
doku/fiction publication

Sound Speaker – STEIM

Comprised of unequal parts concert, exhibition, lecture and theatre play, “sound speaker” presents interdisciplinary performances highlighting the inconsequential and the unpredictable in music. The artists and performers take the stage and use sound itself as the medium to address questions of musical aesthetics, dynamics and logics.

SOUND SPEAKER 1: David Michael DiGregorio and Sung Hwan Kim “Two in a Room” aug. 24 2006

SOUND SPEAKER 2: James Beckett feat. the n-ensemble „animals in instruments“ sept. 2 2006

Venue: STEIM, Utrechtsedwarsstraat 134
Info and reservations: knock@steim.nl or 020-6228690

Open Lab 123 “On Being A Band” – DasArts

Musical Reading & Workshop by Jan St Werner
October 11th – 23rd 2005
DasArts, Mauritskade 56, 1092 Amsterdam

“By learning with others you can get instant feedback from other creative minds (each bringing to the table different experiences and insights) DURING the learning process. This enables a kind of collective experience that can be drawn upon when internalizing information the first time. I don’t believe collective learning is stressed in the west. Performing music in a creative group is collective learning as is playing in a big band of some sort but I’m speaking now of collective learning in the more general and traditional concept of studying and conceptualizing together with others..”
O. Coleman, “An Interview”
“We came together to try out a kind of aesthetics of failure i.e. an aesthetics of the non-ability, of wanting and willing. And this is a very painful aesthetics, it is an aesthetics of embarrassment, blamage and renouncement. But as it is actually all about seizing an emotional affect on the listener and how it naturally feeds back as disgrace and how this embarrassment becomes a play of being taken away and feeling painful… ”
Oswald Wiener on the occasion of the Berlin concert of “SELTEN GEHÖRTE MUSIK” 1974
Dasarts archive. Please scroll down to view this project

meshbox – STEIM

The meshbox is a real-time sample-based drum sequencer designed for live performances. It allows the sampling of any soundsource on the fly and is syncable to midi. It’s using a junxion board to send controller data to a junxion software patch which translates the controller events into midi. A mac powerbook running LISA is used as sound giving device. The meshbox has been contrived by Jan St. Werner and was programmed by Frank Balde and designed by Jorgen Brinkmann at the STEIM workshop.