Through a series of collaborations, different facets of sound are analyzed to form a collaborative understanding. The everyday language and content of musical practice on both the academic and academic as well as social levels is dominated by Western, masculine realms. The most accessible works, written content (texts, books, etc.) that are even globally standardized, represented and practiced, are created in white, privileged contexts. Here there are clear colonial relations, which have already been thematized in decolonial debates by various historians and composers. and deconstructed by various historians and composers. Other knowledges and practices have been constructed in such contexts, through the structural and and institutionalized racism in educational fields as well as in musical societies rejected. It should be mentioned that communal, spiritual, and critical voices have been formed. Often, however, these are not transparently mentioned in the story because of origin or gender are not mentioned transparently, or are hidden. Non-patriarchal voices that do not fit the dominant image of the white, heterosexual cis man have historically and to this day had little place in society.
For Sonosythesis, the analysis of the historical aspect of sound, of hearing and listening to this so-called hidden knowledge in the center. A platform that gives this knowledge a space to discuss, to understand and also to realize critical confrontations.On the other hand, it is about forming and establishing new bodies of knowledge in collective processes. To update ourselves and raise awareness of cultural listening and to Trying to understand this in ourselves as individuals. The focus of this series of sonosynthesis in the form of performative formats, concerts and of the Listening will be NOISE. with a first input on this topic, we want to analyze the relationship between noise and Power with the guests.

What do we as marginalized people of different cultures and genders understand by noise? Is the meaning always and everywhere the same? Who is allowed to produce noise and why? Which noise is tolerated, and which is not? How do we absorb noise? Are we aware of the reduction of noise?

Kitchen , Train , acoustic public spaces , forest , construction companies but also the Church …

In the Sonosynthesis NOISE #, an international artist and a local artist in collaboration with Siavash Namehshiri will during a 3-day mini-residency at MiM will explore the above-mentioned questions as well as questions mentioned above as well as emerging questions of musicians and discuss them in a format of a and then perform the result of the collaboration in a performative form.
performative form. For each mini-residency, a title will deliberately not be given. The title should develop and grow organically and grow organically during the collaborative work.