Sound Studies and Sonic Arts - UdK Berlin

Signal to Noise | arkaodaBerlin | 30.07.2026

w/ G**o Kverndokk Helen Hines Vicente Yáñez

Thanks to everyone that joined us for this beautiful night of experimental sounds.

Sadly this was the last Signal to Noise event at Arkaoda as we have just learnt of their immanent closure. We’d like to thank the team at Arkaoda for providing such an amazing space for experimental sound over the years.

If there are any venues that would like to continue hosting experimental sounds from Sound Studies and Sonic Arts - get in touch!

All photos by thisismywork.online

This Thursday Signal to Noise returns to arkaodaBerlin

Signal to Noise is an event series at Arkaoda that showcases the sounds emanating from the sound studies and sonic arts masters program at UDK as well as occasional guest performers from the wider experimental music and sound art community of Berlin.

Performing tonight:

Vicente Yáñez

Vicente Yáñez is a Chilean musician and sound artist based in Berlin. His recent work focuses on immersive media, sound installations, and 3D environments. His debut EP, YZEN, was released in 2025 on the Chilean label Sello 11:11.

Kėkė Søl

Helen Hines is a Berlin-based artist whose live practice centres on object-based sound, using synthesizers and material noise. Her sets move between dark ambient and granular texture, with experimental voice woven through.

G**o Kverndokk
G**o Kverndokk

The performance explores the idea of unfulfilled potential as a musical technique for improvisation. Exploring the tension created from the need for evolvement within a context where this is not possible. Leaving exhaustion as the only possible result. Performed through extended vocal techniques and long melodic phrases that push the limits of breath and vocal release.

€10 Entry on the door

Signal to Noise | 30.07.2026 | arkaodaBerlin

Signal to Noise is an event series at Arkaoda that showcases the sounds emanating from the sound studies and sonic arts masters program at UDK as well as occasional guest performers from the wider experimental music and sound art community of Berlin.

Performing tonight:

G**o Kverndokk
G**o Kverndokk

The performance explores the idea of unfulfilled potential as a musical technique for improvisation. Exploring the tension created from the need for evolvement within a context where this is not possible. Leaving exhaustion as the only possible result. Performed through extended vocal techniques and long melodic phrases that push the limits of breath and vocal release.

Kėkė Søl

is a Berlin-based artist whose live practice centres on object-based sound, using synthesizers and material noise. Her sets move between dark ambient and granular texture, with experimental voice woven through.

Vicente Yáñez

Vicente Yáñez is a Chilean musician and sound artist based in Berlin. His recent work focuses on immersive media, sound installations, and 3D environments. His debut EP, YZEN, was released in 2025 on the Chilean label Sello 11:11.

€10 Entry on the door

Superpsyched Ears - Live Broadcast at Cashmere Radio

Friday July 10 at Cashmere Radio
19:00-22:00

When listening, how can time be experienced as nonlinear? From the perspective of the nonhuman? In our dreams? In illusions? Our delusions? Psychoacoustic phenomena have traditionally been associated a pathological kind of examination, even a clinical view, but what if we were distracted enough away from that; hands waving enough to generate a current of wind that interrupts our attention, just long enough, to keep us from the seemingly crucial expectation one’s own mental analysis of personal experience. What if we could go out and experience phenomena merely as they are: heard, felt, and in that related to? Sound is a sounding, an atmospheric event, what if we found refuge in the climate of that sounding?

The works in this program form a radiophonic collage of experiences, where psychoacoustic phenomena serves us as mediators.

Students of the Master’s program Sound Studies and Sonic Arts at UdK Berlin present “Superpsyched Ears,” a sound art project exploring psychoacoustics and lived sound experience, led by Prof. Daisuke Ishida.

Works by:
Clay Hillenburg
Daniel Krumland
Franco Lapache
Grace Lu
Sergio De Luca
Anaparn Pinpradub
Lilium Redwine
Nithin Shams
Tom Varvill
Vicente Yáñez

Sound Studies and Sonic Arts is an English-language master’s program at the Berlin University of the Arts that approaches sound as an artistic medium and combines practical artistic work with theoretical studies in a transdisciplinary field spanning music, visual arts, and media art.

17 – 19 July 2026 | ‘SLACK’ | SoundS | UdK Rundgang

The Sound Studies and Sonic Arts Master’s Programme is participating in the UdK Rundgang on July 17-19 with various programmes freely open to the public.

‘SLACK’, as a condition of ‘FERTIG’, enables moments of pause, presence and play. This year’s theme opposes enforced productivity, thus enabling cheeky creativity and reflection.

The main exhibition will take place at Lietzenburger Straße 45, where students, in collaboration with various departments and international institutions, will exhibit audiovisual and interactive installations and performances. Each work incorporates sound from various perspectives, aiming to facilitate audience engagement through an array of sonic research.

OPENING TIMES

Wednesday, 15.07:
Listening Session @ ‘After’, Köpenicker Str.

Friday, 17.07.:
16:00 – 22:00 Uhr
Slack Rundgang @ Lietzenburger Str. 45

Saturday, 18.07.:
11:00 – 22:00 Uhr
Slack Rundgang @ Lietzenburger Str. 45

Sunday, 19.07.:
10:00 – 19:00 Uhr
Slack Rundgang @ Lietzenburger Str. 45

20:00 – 02:00 Uhr
Afterparty @ ‘Zemin’, Urbanstr. 3,

Selim El Sadek | Until The River Awakens | 28-31.05 Sounds Master Exhibit Collegium Hungaricum

Until the River Awakens

Until the River Awakens is a video installation. The work moves between insect, body, and land; between the swarm that passed and the witness that remained.

The piece circles a question its own footage cannot answer: what surfaces when an archive has been deliberately unmade, when sedated memories return without warning .As apparitions, as soil that refuses to forget, as a tongue trained not to speak. And as lingering memories that resist the sovereign logic that what is buried remains buried.

Louis Quek | Frisson | 28-31.05 Sounds Master Exhibition Collegium Hungaricum

Frisson

Frisson centers the phantom emergence between machine listening and human auditory perception, an ambiguous entanglement belonging to neither, summoned through their intra-active agencies. Through mnemonic perception, auditory hallucination, and algorithmic improvisation, the work cycles through initiation, recognition, reproduction, and stabilization: a continuous arc in which sound and data form feedback loops, each completing the other and generating new cycles of re-emergence. The listener is never passive, their accumulated sonic memory, becomes compositional material that the system reads, responds to, and completes. Frisson is not a mere response to interaction, but the body’s anticipation meeting the unexpected, shifting the compositional act from making sound to making the conditions in which sound makes itself.

Oda Starheim | Porous | 28.05 SoundS Master Exhibition Collegium Hungaricum

Porous

Singing at the edge of the voice, in and out of bodies, in and out of cavities. Through extended vocal techniques and live processing of voice, the performance listens to voice; its fragilities and boundaries. A voice that never settles but multiplies, dissolves, mutates, alienates, distorts. Voicing emerges not just as physical sensations in the throat, but as expanded forms of expression; as movement and non-movement, as chaos and silence. Exploring the body as a fleshy interface, it follows a voice that is leaky and shared.

Time: 8:30 - 9:00 pm

Panoptico Produktion | Requiem For A Robot | 28-31.05 SoundS Master Exhibition Collegium Hungaricum

Requiem For A Robot

Agbogbloshie
3,6175 Rezensionen, Accra Ghana, Open 24 hours. This is where electronic waste ends up. The work reflects on the human tendency to create electronic waste and garbage without considering their lasting consequences. The materials embody a kind of permanence that disrupts natural cycles rather than integrating into them. In doing so, the piece explores the tension between transience and persistence, questioning our responsibility toward the things we bring into existence.This is for all my low-performance robots. With love. Let`s pay one`s last respects!

Everything that does not come to the surface of our consciousness returns as fate (Christian Kracht) This work stages a funeral for a robot assembled from electronic scrap, treating technological waste as both body and relic. A requiem accompanies the ritual, composed through a hybrid ensemble of computer-generated instruments, a Roland JP-8000 synthesizer, and an AI-generated choir.

Sounding Photographs installed on the wall are arranged in a configuration reminiscent of the Holy Trinity, introducing a symbolic structure that frames the ritual.The work meditates on cycles of construction, decay, and obsolescence, drawing parallels between technological and natural processes. In staging a ceremonial farewell for a machine assembled from discarded materials, it highlights the fragility of systems—organic and synthetic alike—and questions the boundaries between creation, decay, and renewal.