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1. Sprengzeichnung
für Computerleichnam (explosion sketch
of a computer corps) - Hans W. Koch (Cologne/D)
This piece is not so much of a musical work, but a set-up of an experiment.
While using it sounds and musical structures fall off like side products.
The aim is to explore the instrumental potential of a discarded computer,
not through bits and bytes, but through a direct attack on the inner
life. For this, simple audio signals are sent directly to the »little
legs« of the individual circuits, elsewhere picked up again,
ways and changes in the inside of the machine explored. The »working
rhythms« of the computer are transferred into the audible area.
Since the interventions and manipulations lead to irreversible changes
of the circuit, it is impossible to reach predictable results. Already
a test with the computer corps changes its inside to such an extent,
that on stage totally different results are to be expected. Preparation
means in this case selecting experiences with the set-up of an experiment,
in order to be able to use on stage a repertoire of sound generating
strategies if confronted with an unknown computer. (Hans W. Koch 11/96)
Hans W. Koch - (*1962) Studies in Egyptology,
cuneiforms, religious sciences, history, physics, music theory and
composition. Member of the Cologne society for contemporary music
(kgnm), of the ensemble »krahnenbaum company Koeln«, of
the »Koeln Salon e.v.« and of the »akt 1 Koeln e.v.
- Arbeitsgemeinschaft internationaler Kuenstler«. Organisation
of concerts, performances and intermedia-events. Concerts/performances
at the »sklenena louka«, Brno, festival »next wave«,
Prag, »rhiz«, Vienna, »experimentelle musik ‘99«,
Munich, »experimental intermedia«, New York, »mexx«,
Dortmund, »de overslag", Eindhoven, »skop«
Frankfurt, Ksln and... Lives in Cologne as freelance composer/performer
and music teacher.
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2. Piercing
the Imaginary - Thom
Kubli / Sven Mann (Cologne/D)
5.1 Performance
Any media technique reveals intrinsic aesthetics. With the introduction
of 5.1 systems as a cinematic format, multichannel sound display is
widely accessible. Nonetheless the potentials regarding auditory production
are not yet elaborated, the acceptance for auditory display is still
hesitant.
The technological development from mono to stereo led, for instance
in the field of radio play (language and sound), from monological
speech and dialogue oriented productions to the autonomy of sound
and noise itself. This included an advanced spatial reception of soundscapes
via the possibility of room simulation and foremost the possibility
of virtual movement of sounds through the stereo field of the speakers.
Still the understanding of sound was based on a euclydic notion of
space tightly bound to a perspective visual imagery.
A further look at the development from stereo to 5.1 audio format
brings a new possible set of auditory and spacial paradigms. The sensation
of space is constitutive for the positioning of the individual within
an environment. In a surround sound setting the space behind the listener,
by experience not accessible to the sight, is developed. This imaginary
space adumbrates the difference from an auditory to a visual thinking,
inquiring for new forms of aesthetics.
Digital audio programming with software like MaxMSP and Supercollider
holds the potential of creating much more relational spaces using
the possible materiality of 5.1 systems. Space is created by fragmentation
and deconstruction of digital sound structures and positioning within
the topological setting of sound, sound fields are layered, merge
in time, movement and space. This opens up to the perception of sound
as a phenomenon undermining the principles of linearity and continuity
concerning space/time either in the mode of documentary recorded sound
structures or in the field of abstract electronic sound waves.
We offer a situation with no signalised listener alignment, in contrast
to cinematic set-up, which assumes an aligned viewer, facing the screen.
The listener is encompassed with the acoustic scenery, confronted
with an auditory environment, where his perception is connected to
the sensation of physical space. The sensation of sound being closely
related to space gives the listener an involuntary closeness of the
auditory situation (immersion). Interweaving realistic room situations
with dissolved spatial modes, the psyche oscillates between an assimilation
(psychasthenia) to and separation from space.
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3. triPhaze
(Leipzig/D)
triPhaze (aka Marek Brandt) is working in the context of soundscapes,
experimental sounds, video and media art.
Marek Brandt aka triPhaze (*1970) studied
photography at the hgb Leipzig and Time Based Media in Dundee, UK.
He is the founder of privatelektro / label platforom project (together
with C. Wruck). Musician, artist and label owner who works in the
field of sound research, video art, interventions and strategies of
networking.
>
http://www.privatelektro.de/triphase.html
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