Photos in full resolution (left to right, top to bottom): Photo #1 by Marijo Zupanov / Kamizdat archive, 2023. Photo #2 by Miha Godec / Cona Institute, Švicarija, 2022. Photo #3 by Carlos Yoder, KUD Mreža, FriForma+AV, Osmo/za, 2019. Photo #4 by Urška Boljkovac. Švicarija, MGLC, 2020. Photo #5, still from Kamizdat label video by Črt Trkman and Stella Ivšek. Cameraby Adam Mulalić, 2020. Photo #6 by Sean McIntyre, 2021. Photo #7 by Aleš Hieng – Zergon, 2020. Photo #8 by Aleš Hieng – Zergon, 2020. Photo #9 by Robertina Šebjanič, 2020. Photo #10 by Sunčan Stone / Cona Institute, 2020.
Short BIO [ENG]
beepblip (Ida Hiršenfelder) is a sound artist and archivist. She makes immersive bleepy psychogeographical soundscapes with analogue electronics, DIY and modular synths, field recordings and computer manipulations. She is interested in bioacoustics, experimental music and sound spatialisation. She was a member of the Theremidi Orchestra (2011–2017) and is currently a member of the Jata C group for bioacoustics and sound ecologies. Her solo albums Noise for Strings, Vol. 1 (2019) and Noise for Strings, Vol. 2 (2020) were published by the Kamizdat label. She studied Sonology at the Royal Conservatory in The Hague. Web: https://beepblip.org/
Short BIO [SLO]
beepblip [Ida Hiršenfelder] je zvočna umetnica in arhivistka. Komponira potopitvene psihogeografske zvočne krajine z uporabo analogne elektronike, naredi-sama modularnih sintetizatorjev zvoka, terenskih posnetkov in računalniške manipulacije. Zanima jo bioakustika, eksperimantalna glasba in zvočno prostorjenje. Bila je članica zvočnega kolektiva Theremidi Orchestra (2011–2017), trenutno pa je članica skupine Jata C, ki raziskuje bioakustiko in zvočne ekologije. Njena samostojna albuma Noise for Strings, Vol. 1 (2019) in Noise for Strings, Vol. 2 (2020) sta izšla pri založbi Kamizdat. Študirala je sonologijo na Kraljevem konservatoriju v Haagu. Splet: https://beepblip.org/
Communities
Jata C, a group for bioacoustics and sound ecologies (C Flock)
ČIPke, Initiative for Women with the Sense for Science, Technology and Art
Longer BIO [ENG]
beepblip [Ida Hiršenfelder] is a sound artist and archivist. She makes immersive bleepy psychogeographical soundscapes with analogue electronics, DIY and modular synths, field recordings and computer manipulations. She is interested in bioacoustics, experimental music and sound spatialisation. She was a member of the Theremidi Orchestra (2011–2017) DIY sound collective, performing in over 30 concerts at many international platforms for media art such as CT-SWaM & Eyebeam (New York), LiWoLi (Linz), Piksel (Bergen), Spektrum (Berlin), Share (New York), Radiona (Zagreb), Zagorje Noise Fest International (Trbovlje), Museum of Contemporary Art Metelkova – U3 (Ljubljana), Artos (Nicosia), KSEVT (Vitanje), Kino Šiška (Ljubljana). She is a co-founder of ČIPke Initiative for Women with a Sense for Technology, Science and Art with artist Saša Spačal, with whom she also collaborated on a production of two sound installations and a sound album. She collaborates with media artist Robertina Šebjanič and sound artist Aleš Hieng – Zergon on a series of chemical sound installations Sound Disposition / Crystal Gardens and Time Displacement / Chemobrionic Garden. The latter was presented in many shows including Ars Electronica (2016) in The Radical Atoms and the Alchemists of Our Time and the ZKM | Center for Art and Media in The Beauty of Early Life (2022) group exhibition. She is a member of Jata C band (with Brane Zorman, Boštjan Perovšek, Bojana Šaljič Podešva, OR poiesis) for bioacoustics in the production of Cona Institute (Steklenik – Gallery for Sound, Bioacoustics and Art) and a member of CENSE Central European Network for Sonic Ecologies. Her solo albums Noise for Strings, Vol. 1 (2019) and Noise for Strings, Vol. 2 (2020) were published by the Kamizdat label. She studied at the Institute of Sonology at the Royal Conservatory in The Hague. Web: https://beepblip.org/
Longer BIO [SLO]
beepblip [Ida Hiršenfelder] je zvočna umetnica in arhivistka. Komponira potopitvene psihogeografske zvočne krajine z uporabo analogne elektronike, naredi-sama modularnih sintetizatorjev zvoka, terenskih posnetkov in računalniške manipulacije. Zanima jo bioakustika, eksperimantalna in mikrotonalna glasba. Bila je članica zvočnega kolektiva Theremidi Orchestra (2011–2017), s katerim je nastopala na več kot 30. koncertih na mednarodnih dogodkih za intermedijsko umetnost kot so CT-SWaM & Eyebeam (New York), LiWoLi (Linz), Piksel (Bergen), Spektrum (Berlin), Share (New York), Radiona (Zagreb), Zagorje Noise Fest International (Trbovlje), Muzej sodobne umetnosti Metelkova – U3 (Ljubljana), Artos (Nicosia), KSEVT (Vitanje), Kino Šiška (Ljubljana). Je soustanoviteljica iniciative ČIPke za ženske s čutom za tehnologijo, znanost in umetnost skupaj z umetnico Sašo Spačal, s katero je sodelovala tudi pri produkcij dveh zvočnih instalacij in zvočnega albuma. Z umetnico Robertino Šebjanič in zvočnim umetnikom Alešem Hiengom – Zergonom sodeluje pri seriji elektrokemičnih zvočnih instalacij Dispozicija zvoka / Kristalni vrtovi (2019), Časovni zamik / Kemobrionični vrt (2015), slednja je bila predstavljena na številnih razstavah med drugimi na festivalu Ars Electronica (2016) The Radical Atoms and the Alchemists of Our Time in v ZKM | Center for Art and Media na skupinski razstavi The Beauty of Early Life (2022) group. Je članica banda za bioakustiko Jata C (Brane Zorman, Boštjan Perovšek, Bojana Šaljič Podešva, OR poiesis, beepblip) v produkciji Zavoda Cona (Steklenik, Galerija za zvok, bioakustiko in umetnost) in članice CENSE Centralno evropske mreže za zvočno ekologijo. Njena samostojna albuma Noise for Strings, Vol. 1 (2019) in Noise for Strings, Vol. 2 (2020) sta izšla pri založbi Kamizdat. Študirala je magisterij sonologije na Koninklijk Conservatorium (Kraljevem konservatoriju) v Haagu. Splet: https://beepblip.org/
BIO [ENG] Archivist
Ida Hiršenfelder (1977) was employed at the +MSUM Museum of Contemporary Art Metelkova (2014-2021) on projects related to digital archives: editor of Web Museum, a repository for contemporary audio-visual art, editor of Moderna galerija home page. To this day, she is a member of L’internationale Online editorial board and a co-curator of the Glossary of Common Knowledge. She is currently an advisor for Nomad Dance Academy network contemporary dance archives from the former Yugoslavia region. Previously, she was an archivist of DIVA Station, Digital Video Art Archive at SCCA, Centre for Contemporary Arts-Ljubljana (2007-2013) that contains over a thousand video works by local artists. She co-created Art-area bi-weekly edition on contemporary art and was an editor of feminist monthly Sektor Ž at an alternative radio station Radio Študent (2006-2014). She worked as a correspondent and critic at Dnevnik Daily. Amongst other media, she published texts in Art Words Magazine (Ljubljana), Maska Magazine (Ljubljana), Digicult.it on-line magazine (Milano), FurtherField on-line magazine (London), Dialogi Magazine for Culture and Society (Maribor) and in exhibition catalogues. To this day, she writes on media art, feminism in archives.
BIO [SLO] Arhivistka
Ida Hiršenfelder (1977) je bila zaposlena v +MSUM, Muzeju sodobne umetnosti Metelkova (2014-2021) pri projektih povezanih z digitalnimi arhivi, bila je urednica Mrežnega muzeja in urednica repozitorija sodobne AV umetnosti. Do danes je članica uredniškega odbora L’internationale Online< in so-kustosinja Slovarja skupnega znanja. Trenutno je svetovalka za arhive za mrežo Nomad Dance Academy. Med leti 2007 in 2013 je bila arhivistka pri projektu Postaja DIVA, Digitalni video arhiv v Centru za sodobno umetnost, SCCA-Ljubljana, ki vsebuje preko tisoč del slovenskih videastk in videastov. Bila je sooblikovalka dvotedneske oddaje za sodobno umetnost Art-area in urednica mesečne feministične oddaje Sektor Ž na Radiu Študent. Delala je kot novinarka in kritičarka v redakciji za kulturo na časopisu Dnevnik. Med drugim je objavila tekste v reviji Likovne besede (Ljubljana), reviji Maska (Ljubljana), spletni reviji Digicult.it (Milano), spletni reviji FurtherField (London), Dialogi Revija za kulturo in družbo (Maribor) ter v razstavnih katalogih. Še danes piše o sodobni umetnosti, intermedijski umetnosti, feminizmu in arhivih v različnih lokalnih in mednarodnih revijah.
Link: Academia.edu