Gerald Fiebig

Founder / Lead Visual Effects Sup/ Lead Compositor/ Optical Colour Scientistat DEGEM - German Society for Electroacoustic Music
Focus area: Computer Music, Electroacoustic Music, Sonification, Experimental Music, Writing, Literature, Poetry

Gerald Fiebig, born 1973, based in Augsburg, Germany, composes audio and texts. He studied comparative and French literature and philosophy, co-edited a literary magazine and now runs a community arts centre. His sonic work focuses on radiophonic composition, electro-acoustic live improvisation, and installation and performance concepts for specific sites and contexts. Since 2006, his sonic works have been performed and exhibited at festivals in Germany, Austria, France, Spain, Portugal, Romania, and Colombia.

 

Gerald Fiebig has had works broadcast on audio art programmes of radio stations including “Studio Akustische Kunst” (Westdeutscher Rundfunk 3), “Klangkunst” (Deutschlandradio Kultur), “Laboratorium für Musik” (BR-Klassik), and “ArtMix Galerie” (Bayern 2), “Kunstradio” (Österreichischer Rundfunk), “Arte eletroacústica” (Radio e Televisão de Portugal), “Radiacustica PREMEdice” (Radio Vltava, Czech Republic), “Radio Art“ (kolHa Campus 106.0 FM, Israel). His work was also broadcast on “Soundproof” (ABC, Australia), “Framework Radio”, “Radiohrenia”, as well as on several independent stations in Germany, Austria and Switzerland.

 

Gerald Fiebig records and performs solo as Gerald Fiebig and Sustained Development and is also a member of low-fi pop trio Jesus Jackson & die grenzlandreiter and the duos KLONK (with Tine Klink) and Recorder Recorder (with Elisabeth Haselberger). Recordings and performances with other projects include Audiovisuelles Kollektiv, EMERGE & Gerald Fiebig, Knark Esion, Laptobler Combo, Orientalism, PHONOGRAPHIA, Poembeat Live, Schindler/Lillmeyer/Fiebig, Schindler/Pereyra/Fiebig, Tonfall, Das Tote Kapital & Gerald Fiebig, and Zander/Fiebig.

 

He has released LP, CD, tape and download albums and EPs on the Labels Brainhall, Dhyana Records, Enough Records, Fieldmuzick, gebrauchtemusik, Gruenrekorder, Kulturterrorismus, Mandarangan Recordings, Tim Tim Tonträger, Treetrunk Records and most notably attenuation circuit, a label for experimental music which he also helps run.

In addition to several volumes of poetry (in German), Gerald Fiebig has published theoretical writings on various aspects of sonic art and music in various books and journals such as Testcard, Organised Sound, and Leonardo Music Journal.

Journal Articles:
Articles and Notes

The Sonic Witness: On the Political Potential of Field Recordings in Acoustic Art

December 2015
Articles and Notes

The Cadolzburg Experience: On the Use of Sound in a Historical Museum

December 2017