Ambiophonics is a less obscure matter than I thought. At first I thought it was just one of the usual phasiness causing improvements for the worse in the sense of pseudo-stereo, but the technique has real potential. Especially for installations, for example.
As a student I had made it my habit not to turn off the music when I left the apartment but the album I was listening to had not yet come to an end. To me it seemed disrespectful towards the music to just turn it off. What was brought into oscillation should be allowed to finish. On the creation of "Small Places", a sound installation for ECM Records‘ 50th anniversary as part of the RE:ECM exhibition at Storage by Hyundai Card in Seoul, Korea, 2019.
Romantisation and dissection of our reality: "...at the same time we are made aware of the fact that we all too often do not want to see the other side of prosperity, poverty, loneliness, social inequality, especially in Munich, we surround ourselves with bulletproof glass 'in order not to break', as a passer-by remarked."
FAQ under construction Does the app collect data? No, we do not collect any personal data. We log when someone uses the app, but we only store the date and time. This is purely for statistical purposes.…
Where is the music coming from?
The sound impression for the musician in the orchestra is clearly different from the sound impression of the audience. Not only the instruments, but the entire body of sound is designed to resonate with the concert hall and enter into a symbiotic connection with the room. As a listener in the hall, one hears the result of this complex connection. Is it possible to let a listener hear the sound of the musician within the orchestra through media? Report on a 360° Virtual Reality research project with the Munich Symphony Orchestra
The change from linearity to non-linearity associated with digitalization is accompanied by a change in the perception of art and culture. We now have the chance to shape our co-existence with the algorithms, not only socially and politically, but also artistically.
Documentary film maker Felix Hentschel accompanied the production of the Mixed-Reality-Techno-Opera MAYA and held talks with the artists involved. The resulting film (ca. 40 min) illuminates the development of the Maya character and provides insights into the conception of the music and the design of the MAYA augmented reality app.
About the musical collaboration with Leon Michener aka Klavikon, Jörg Hüttner, Anton Kaun aka Rumpeln, Björn Eichelbaum and the TrioCoriolis for the mixed reality techno opera MAYA.
