installation: space, objects, processes (selection)
Dwelling, 2018
Dwelling, 2018, Weimar
A generative electro acoustic sound environment in an old underground ice cellar in Weimar.
Different generative sound processes are projected via six Loudspeakers into the aisles of the abandoned cellar. The arrangement of the speakers and the programming of the panning through space is dynamically exploring the chambers and its acoustic properties. The programming is composed in a way that different sound Gestalt’s are moving with changing patterns through the rooms. Each movement and shape of the sounds is created in real-time with generative processes in the Supercollider programming language. A microphone is recording snippets of the soundscape, changing it creatively and feeding the results back into it. Space and time are enfolding through the perspectives that are emerging by sound and its experience while moving through the spaces. People were invited to wander through the space with scant light for orientation, so that they can follow the trajectory of the sounds.
more live recordings here
Staircase, 2017
at the group exhibition ‘The Pacific Wall’ at TOP e.v. Berlin, 2017
The iron staircase to the basement of the exhibition space is used as a resonant live compositing tool. A computer algorithm is generating variations of the sounds the interaction with the stair is producing. Ideally a dialogue between the generative algorithm the player and the stair is starting to take shape.
Singing Ossicle, 2018
Singing Ossicle, 2018, at ‘Bach Advent’ Arnstadt (Ger)
A computer process is generating high frequency tones that are super-imposing. The sounds are distributed and refracted through three adjacent rooms, in an old hospital in Arnstadt, Thuringia. Only two speakers at each side of the spaces are projecting the sound. Phase shifting and beating occurs, by the always slightly changing frequencies of the sawtooth waves that are emitted. According to these frequencies and shifts, and one’s location and movement in the spaces, different patterns and acoustic experiences arise. The composition plays with the space and our perceptual faculties of sound. Sometimes it feels almost like something is slightly touching our eardrums. The smallest movements of our heads results in a totally different impression of the sound. While the source of the sounds remains absolutely disconnected from what we hear. Ossicles or auditory ossicles usually refer to the three small ‘hearing bones’ (ossicula auditus) in the middle ear. They transmit sounds mechanically to the cochlea in the inner ear and are crucial for our sound perception.
Nische, 2017
Nische, at the exhibition ‘niche construction’ Bauhaus University Weimar 2017
Our ateliers in the former office spaces Weimar were turned into exhibition spaces for the annual exhibition ‘summaery’ of the Bauhaus University Weimar. For that occasion I emptied my room and started transporting soil from the near by Ilm Park with a wheel barrow and buckets, to fill it in a second story office space. A very nice ambient ensued the following days. People were invited to traverse the ground or sit and dig in the soil. At some point later at night two poets did show up for a spontaneous reading. People were filling the room and sitting on the earth.
TWO, 2016, with Saman Moeinsadat
TWO, is a generative sound installation realised 2016 together with Saman Moeinsadat at the Studio for Electroacoustic Music in Weimar (SeaM).
It was shown at the annual concert of SeaM. Two rectangular metal plates are hanging top down. Both are endowed with a transducer and several contact mics. A semi- aleatoric computer process is gradually changing the amplitude of the mic inputs and outputs. The feedback that is produced is displayed on
the other plate and vice versa, based on the algorithmic process.
2016, with Rama Bielewski
Demonstration at Bauhaus University Weimar. Video by Francis Kamprath
Soundperformance/Installation together with Rama Bielewski performed at Transmediale 2016, at Haus der Kulturen der Welt in Berlin.
The INTERFACE is a conceptual sound performance tool set that is using materials and objects of the interior or environment to create a feedback
loop. We connect ourselves to a computer process that is closing the feedback between transducers and contact mics that are impromptu
attached on objects and surfaces in our environment. When we touch each other and close the electrical circuit the feedback goes off.
While connecting us to more people between us, the moment of touching will change the feedback in unforeseen ways.
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