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All Around Audio Symposium
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Ultrasonic Communication: Risks and Chances of a Novel Technology
Matthias Zeppelzauer, St. Pölten UAS, AT
The ultrasonic frequency band represents a novel and data exchange to track users across devices and to
so far hardly used channel for the communication of collect information about their behavior without their
different devices, such as mobile phones, computers, knowledge. In my talk I will present the novel technol-
TVs, and personal assistants like Google Chromecast. ogy of ultrasonic communication, show how it works
Ultrasonic communication is a promising technology and which risks and chances are linked to it. Addition-
since it requires only a standard loudspeaker and a ally, I will present the project SoniControl which aims
microphone (as built into our phones) for communi- at the development of an ultrasonic firewall to protect
cation. While offering a number of opportunities for the privacy of users as well as the project SoniTalk
innovative services (e.g. in the domain of Internet of which aims at developing a safe and privacy-oriented
Things), the technology, however, also bears a num- protocol for ultrasonic communication.
ber risks. Companies like Silverpush employ ultrasonic
Modular Synthesizer Ensemble
gammon, Vienna, AT
The Modular Synthesizer Ensemble performs with vent, prove, execute, improvise and compose. A simul-
fixed instruments and variable orchestration. 12 Mod- taneous prizes of composing and executing electronic
ular Synthesizers provide the starting point for this music is evolving. The aim of the Project is, to per-
participatory music project, with the aim to present form the musical result live as an ensemble. The In-
electronic music live as an ensemble. With the ana- stallation of the modular synthesizers at the hall will
log Modular Synthesizer the participants are able to be supervised by Gammon and Jessica and Thomas
shape the process of electronic sound formation by from http://schneidersladen.de.
themselves, even with no previous knowledge. Pro- http://www.gammon.at
ceeding with the originated sound material we will in-
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On Models and Pragmatic Features in Digital Musical Instruments
Cornelius Pöpel, Ansbach UAS, DE
The digitalization of objects, methods and working and playing an instrument it is questionable in how
procedures is a big topic in our times. In the field far the models used in the digitalization of audio re-
of audio, digitalization has been done in many areas ally do cover the essentials those musicians are talking
already. A core issue in digitalization is the develop- about. The digitalization in audio has brought a huge
ment of models and their transformation by formal- mass of new opportunities in working with sound. Ac-
ization. According to the model theorist Stachowiak cording to a seemingly loss of essentials in music it
(1973, p. 131) the term “model” can be understood may be seen as a need to do research on qualities in
to include three features: a) the feature of mapping, sound that have been forgotten, unseen or lost. One
b) the feature of reduction, c) the pragmatic feature. question may be what the essentials are that have not
In order to create a model the essentials of an object been covered yet. A second question might be what
(which the model maps to) have to be figured out. The factors play a role when it comes to models that do
model only includes those essentials. Things that are not cover the essentials needed by musicians. Another
not essential are left out. The question which prop- question can be in how far this loss plays a role for the
erties of the object are essential is coupled to what younger generation of digital natives who may be more
Stachowiak calls “pragmatic feature”. The model was interested in the new opportunities of digital musical
created from a specific group of persons, in a specific instruments than in a loss which does not play a bigger
time and for a specific reason. Given the precondition role for them. The paper will cover selected parts of
of the pragmatic-feature-settings in which the model the author’s findings when doing research on the de-
was created and for which the model was of use and velopment and usage of models for musical purposes
so to say valid, the question comes up what may hap- with a specific focus on the pragmatic feature. It will
pen to the model in case the pragmatic-feature-setting include as well results of a study on how digital natives
has changed. What does it mean for a model if per- did couple musical ideas with the difficulty of creating
sons, time and reason differ in comparison to when a digital musical instrument.
the model was created? One of the reasons musicians
give for why they do unplugged music is that they References
want to get beck to the essentials when making music.
Since the models implemented in synthesizers were al- Stachowiak, H. (1973). Allgemeine Modelltheorie [A
ways thought to cover the essentials of tones, sounds general theory of models] Vienna, Austria: Springer.
3D Audio: Sculpting with Sound - Report on an Artistic Research Project
Sabine Breitsameter, Darmstadt UAS/Soundscape- & Environmental Media Lab (SEM-Lab), DE
Although 3D audio is considered a novel way of pro- to prove its necessity, beyond just providing hyped-up
ducing, the aesthetic desire, and the capabilities for a versions of already familiar artistic phenomena. Based
three-dimensional positioning of sound in the 360 de- on the rich cultural history of 3D sound creation, this
gree sphere can be traced back to the antiquity and presentation will point out major categories and main
even to the time before. Numerous 20th century com- criteria which reflect the specifics of 3D audio. It will
posers tried to implement their 3D audio ‘visions’, but point out why the approach given by the concept of
the full technological possibility to accomplish sonic soundscape can be crucial. Trendy terms like immer-
plasticity has come up quite recently only by the avail- sion, tangibility, illusion, and virtuality are questioned
ability of innovative 3D sound systems. However, ap- and investigated in reference to overused aesthetics,
plying these systems in a technically correct way does naive realism and the lack of providing the position
not automatically lead to convincing artistic results. of critical distancing. We will suggest and point out
So, what needs to be clarified and explored in order that a huge artistic potential for specific 3D audio pro-
to create plausible artistic 3D audio productions? In ductions can lie in dramaturgical approaches like frag-
this presentation we would like to give an overview mentization, deconstruction, as well as in the careful
on selected topics of our 3D audio artistic research conceptualization of auditory materials and their rep-
at Darmstadt’s SEM-Lab. It assumes that 3D audio resentational potential.
needs distinct aesthetic concepts and criteria, in order
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All Around Audio Symposium
Acoustic holograms: Artistic approach to 3D-Audio
Natascha Rehberg, Darmstadt UAS/Soundscape- & Environmental Media Lab (SEM-Lab), DE
Emerging 3D-Audio technologies locate and treat nal and meta-data (room-coordinates and other data)
sounds as three-dimensional, virtual sound sources [5]. Meta-data potentially can be delivered by any
with a certain position, dimension and shape - acoustic device or software (sensors or game engines). The
holograms, that provide an increasingly tangible ex- container-format technically allows to define various
perience (in particular referring to my experiences in parameter as meta-data, such as volume or sound ef-
working with the SpatialSound Wave System (SSW) fects. The audio material constitutes the microstruc-
by Fraunhofer IDMT Ilmenau, during an ongoing re- ture (inner structure) of a virtual sound source, which
search project at Darmstadt UAS). The emancipation may contain a single note or a whole soundscape. A
of sound from a speaker is altering the role of the lis- collapsing tree thus can be implemented as one vir-
tener, as well as the role of the listening: the frontal tual sound source (e.g. a distant event) or as a com-
stage disappears and the auditory perception becomes plex figure: a spatial construct of several virtual sound
an omnidirectional experience, in which the listener sources (e.g. an immersive situation). As overlapping
interacts with the acoustic environment. With the ob- sounds in an audio file cannot be spatially separated,
jective of expanding artistic means of expression by a distinguished spatial polyphony requires thought-
the use of such an Apparatus, this writing situates 3D- fully prepared audio material. The collapsing tree also
Audio within the conceptual framework of soundscape hints at the expanded possibilities of artistic expres-
and hints at aspects of conceptualization and practical sion through motion of sounds. Beyond illustrative
implementation. or narrative aspects, sonic motion performances can
generate fascinating, unheard structures and forms -
Soundscape: concept of 3D-Thinking advanced features such as programmable motion pat-
terns prospectively enable to animate sound like a
Understanding 3D-Audio compositions as soundscapes choreographer and therefore intensify a media-specific
has many implications for conceptualizing and com- aesthetic.
posing. The term and concept of soundscape refers to
the appearance of all sounds in a room, place or land- Conclusion
scape within a 360 degree sphere - an acoustic envelop,
shaped by all properties of the environment [1][2][4]. Through holographic spatialization of sound, poly-
Based on the premise, that hearing is an environmental phonic textures and figures acquire a sophisticated
form of perception, it indicates a non-selective, omni- manifestation. Moreover, the object-based production
directional method of listening, which is a prerequisite is best suited for interactive settings. Consequently,
for comprehensive 3D-Audio composition [3]. More- 3D-Audio offers the potential to create new forms of
over, the associated terminology contextualizes sound sonic or multimedia art with more holistic notions of
in its interdependent relations, identifies functional auditory experience [4]. The soundscape approach is a
categories for the elements of a soundscape, such as valuable tool to develop dramaturgical expressiveness
keynote sound, sound mark, signal sound and provides of spatialization, that goes far beyond reproduction or
design-related criteria, that are helpful to (re-)evaluate naturalistic, simulative and illusionary representation.
proportions [3]. It’s a whole field of artistic exploration to create appro-
The artist as sound architect and choreographer priate, object-oriented implementation methods. It’s
The arrangement of virtual sound sources creates fig- up to us, the forward-listeners, to take 3D-Audio as a
ures, structures and forms – an architecture of sound, gift to create an artistic and social value.
in which artistic intentions are expressed through con-
References
struction, deconstruction and transformation of spa-
tial relations. Thus, perspective and proportions are [1] Sabine Breitsameter, Hörgestalt und Denkfigur
crucial criteria and fundamental design issues. From – Zur Geschichte und Perspektive von R. Murray
a conceptual viewpoint, the perspective significantly Schafers Die Ordnung der Klänge. An introduc-
determines, whether the listener literally is immersed tory essay in: R. Murray Schafer, Die Ordnung der
or in a more distant position. The implementation Klänge. Eine Kulturgeschichte des Hörens (pub-
assumes a material concept, which takes in account lished and translated by Sabine Breitsameter), Mainz
the object-based production principle: sound is not – Berlin: Schott International, 2010.
assigned to a certain speaker, but to a to an ob- [2] Schafer, R. Murray, Voices of tyranny: temples of
ject, that is positioned via graphic interface or other, silence, Ontario, Canada: Arcana Editions, 1993.
even interactive devices. Objects consist of audio sig- [3] Sabine Breitsameter, Sculpting with Sound: 3D
154
All Around Audio Symposium
Audio and Its Aesthetic Specificity - Selected Problems [5] Jürgen Herre, Johannes Hilpert, Achim Kuntz, Jan
from an Artistic Research Project, in: Proceedings of Plogsties in: MPEG- H Audio-The New Standard for
Sweep - Symposium on Sound Research at the Uni- Universal Spatial / 3D Audio Coding, AES 137th Con-
versity of Kassel, May 18-19, 2016 Kassel, Germany, vention, October 2014.
2016. [6] Milena Droumeva, Understanding immersive Au-
[4] R. Murray Schafer, Die Ordnung der Klänge. Eine dio: A historical and socio-cultural exploration of au-
Kulturgeschichte des Hörens (published and translated ditory displays, in: Proceedings of ICAD 05-Eleventh
by Sabine Breitsameter), Mainz – Berlin: Schott In- Meeting of the International Conference on Auditory
ternational, 2010. Display, Limerick, Ireland, July 6-9, 2005.
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Steps Toward an A/R/Tography of Sound
Hans Ulrich Werner / HUW, Offenburg UAS, DE
AllKlang Schöning called him – titled his 1977 artistic instruc-
tion manual The Tuning of the World; in Sabine Breit-
Qualitative scholarship, artistic research, and
sameter’s 2010 translation, this became Die Ordnung
research-based learning bring together insights from
der Klänge (The ordering of sounds). The two com-
practice and experience. In the autoethnography of
plement each other, becoming a third thing. The
own auditory workshops, and of the cultures of other
triad of practice, forward-thinking inquiry (Krippen-
studios, I evaluate the new interdiscipline of sound
dorff 2011), and education keeps us close to the pro-
(studies) and extend it with ideas for practice and
tagonists and lends itself to autoethnography as well.
theory, from the (still unknown) a/r/tography to a
There are also connections here to ideas on the activ-
future a/r/tophony: artistic research in music and
ity of music (Stroh 1984), “reflection-in-action” (Schön
through sound composition, radio art and visual mu-
1983), and learning through research (Huber 1970).
sic.
Similarly, the thematic emphasis on “Künstlerisches
Forschen in der Musik” (Artistic research in music)
EinKlang at the University of Münster Conservatory) does not
The waveform symbolizes artistic research as a com- come across as a variation on the global theme of artis-
plex resonance in music, sound composition, and radio tic research as new system (currently on the rise in
art. The picture was taken by Dan Curticapean at the Germany as elsewhere); the verb form (forschen) fore-
Technorama in Winterthur. Curticapean is a physicist grounds doing. The focus is on aural activity; what
with a passion for art, who does research in photon- matters is audio art and the auditory in a broader con-
ics and creates through photography. His image high- cept of music and sound, rather than a general account
lights the interweaving of the methods of perception: of a future system of art and research. We are exhorted
through sound itself, in the highly developed discipline to “follow the actors” (Latour 2005, 12) – a call em-
of sound art, and as the core of our work in all media, bodied by the sociologist of music Howard S. Becker
including those as yet unknown to us. in his decades of practice as teacher, researcher, and
jazz musician. This gives rise to transitions in which
“the actions of the scientist begin to approach artis-
VielKlang
tic action” (Hildebrand 1994, 13). With Germany’s
In the medium, sound unfolds as both a material and longest-running series of media-research publications,
a workflowmadeupofmatter, in timeandspace, from- the University of Siegen’s MuK (Medien und Kom-
soundscapetosound design, from perception to form munikation), I have been experimenting with meth-
and effect. Early soundscape models and “acous- ods of analysis and “microtheories” on ways of pre-
tic communication” (Truax 2001) encounter the now senting, describing, and dealing with sound. As an
global phenomenon of sound studies: from natural to active participant, I query practitioners who work as
technological sound, cultural to societal audio image, scholar/artist/ educators (few of whom identify them-
always characterized by mediality, mediation, mediol- selves as such). Basic research, too, is increasingly
ogy, mediamorphosis (Smudits 2002). As a system, coming into contact with the aural: see for example
such transformation is a whole, but also fractal, in Max Ackermann’s 2003 dissertation on the “culture of
the practice of many sound artists, researchers, and hearing,” or the symposium on “audio media cultures”
educators. The Canadian discipline of a/r/tography held at Siegen in 2010 (Volmar and Schröter 2013).
is an especially intensive explora- tion of the trio of This reflection of sound as theorem has the potential to
a/rtist, r/esearcher, and t/eacher, with the transitions affect the creative act and the creators themselves. In
between them deliberately included (Werner 2015). It the triad of content and aesthetic, communication and
proceeds from the sound-generating person to his or organization, and technology and actor, it can be put
her aural environment, from sonic moments to sonic into practice in any studio and any sound. In dialogues
spaces: from research to creation, analysis, synthe- and diagonals, the materiality of sound meets its medi-
sis, and experience (cf. Dewey 1934). The composer ality: temporality plus mediation (Debray 1996), sonic
Murray Schafer – the “great ear of Canada,” as Klaus space plus culture and mediamorphosis.
156
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Situating Performance in the Performing of Situation: The Effect of Situational Context on Per-
former Expressivity
Hans-Peter Gasselseder, Maria Kallionpää, Aalborg University, DK
How to articulate what is believed to be the funda- the building of mental models detailing interactional
mental artistic idea, and more arguably, the represen- patterns that are implicitly activated by environmen-
tative character of a state of mind or situative qual- tal cues. The detection of these cues may vary de-
ity that is ascribed to a music composition? Apart pending on a performers’ awareness of situational con-
from actually applying the operating instructions of text; a cognitive representation of how we relate to
a score to an instrument, several aspects of acoustic our surroundings and give purpose to actions. Thus,
scene, ergonomics, attention focus and mood need to we expect situational context to affect mental mod-
be taken into account when adapting to the situative els of performer-instrument interactions and expres-
affordances of a particular piece of music. But what if sivity. In order to test this hypothesis, we examined
a performer lacked intuition and expertise to adapt to to what extent specific parameters of acoustic scenery
these contextual variables? Or in other words, what if alter a performers’ rendition of contemporary piano
one lacked the ability to adapt the handling of an in- works. Utilising a combination of binaural DSP mi-
strument in different contexts or under varying acous- crophone/earphone setup, we were able to present sub-
tic conditions? Interpreting the current situation and jects with life-like, immersive acoustic sceneries decou-
selecting an appropriate action in a real-time perfor- pled from their visual appearance. Data gathered from
mance setting often proves to be a challenging task. audio- and MIDI recordings as well as focus interviews
This is even more the case when thoughts and actions with seven professional pianists illustrate how alter-
require an extra step of mediation [the instrument]. ations of spectral- dynamic features and room acous-
In order to bypass this step towards non- mediated tics affect the performing under varying situational de-
representations of control, extensive practising allows mands.
When More is More: How to Supersize Musical Expression
Maria Kallionpaa, Hans-Peter Gasselseder, Aalborg University, DK
“Super” or “hyper” instruments are sometimes men- in order to open up previously-unheard instrumental
tioned within the discussions among musicians but sounds. This leads us to the question of what con-
both terms are used relatively flexibly. Whereas some stitutes a super instrument and what challenges does
composers and performers refer to them with regards it pose aesthetically and technically? We argue that
to certain software (for example, the hyper score soft- the essence of the super instrument lies in the enhance-
ware by Machover), our research regards the “super in- ment of the technical and expressive capabilities of the
strument” as a piece-specific concept or phenomenon. performer and composer, as well as in the better inter-
Rather than referring to any particular instrumenta- action between the performer, instrument, and live-
tion or technological solution, the super instrument electronic systems in a concert situation. Our pre-
comes to be defined as a bundle of more than one in- sentation explores the effects that super instruments
strumental lines that achieve a coherent overall iden- have on the identity of a given solo instrument, on
tity when generated in real time. On the basis of our the identity of a composition and on the experience of
own personal experience of performing the works dis- performing this kind of repertoire. The purpose of this
cussed at this lecture concert, super instruments vary lecture concert is to showcase the essence and role of
a great deal but each has a transformative effect on piano or toy piano in a super instrument constellation,
the identity and performance practice of the pianist. as well as the performer’s role as a “super instrumen-
An increasing number of composers, performers, and talist”. We consider these issues in relation to case
computer programmers have thus become interested studies drawn from our own compositional work and a
in different ways of “supersizing” acoustic instruments selection of works by other contemporary composers.
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Breaking The (Imaginary) Wall between Performers and their Audience in Live Music
Oliver Hödl, University of Vienna, AT
Breaking The Wall is a research project at the intersec- digo, null.head and Johannes Kretz call for participa-
tion of art and technology in live music. Its goal is to tion in the interplay of artist, audience and technology.
explore how to use technology to involve the audience The artists played electronic, electro-acoustic and in-
in live music performances, or metaphorically speak- dustrial music and the audience participated through
ing, how to break the imaginary wall between perform- robots, smartphones and laser tracking. The fourth
ers and their audience in live concerts. The project is a performance was not music-based and provoked the
collaboration between the Vienna University of Tech- audience to make them aware of surveillance aspects in
nology, the University of Applied Arts Vienna and the technology-mediated audience participation. This talk
University of Music and Performing Arts. Through- presents the development process of the performances
out the project, the research team and the involved and the actual technologies used for the concerts. Fur-
artists developed four performances. These four per- thermore, you learn about the results of the scientific
formances were showcased at the music-event Breaking evaluation and how to use the new knowledge in future
The Wall in Vienna in June 2017 and two of them ad- projects around technology-mediated audience partic-
ditionally at the Ars Electronica Festival 2017 in Linz. ipation.
During their concerts, the three musicians Electric In-
Line & Hemisphere – A Hybrid Studio Setup for Immersive Experiments in Spatial Audio and
Music
Paul Modler, Hochschule für Gestaltung Karlsruhe, DE
The development of new audio reproduction systems is based on standard high quality active loudspeakers,
are based on multichannel speaker setups to apply whereas the WFS is based on multi speaker boxes com-
recent distribution techniques such as Higher Order bined with 16 channel audio amps developed as a low
Ambisonics (HOA), Vector Based Amplitude Panning budget feasibility study. According to the number of
(VBAP) or Wave Field Synthesis (WFS). The pre- channels the system can operate from one CPU or of
sented studio setup aims to combine audio projection two remote CPUs controlled through network sockets.
approaches to provide a test bed for experiments in or- The system is implemented in a standard class room
der to investigate new possibilities of increased immer- with no or very basic acoustic treatment, to showcase
sive perception of spatial audio and music. For this a achievability with restricted resources found in normal
hemispheric speaker setup is extended with a horizon- environments.
tal linear speaker arrangement. The hemispheric setup
AudioAllAround: Immersive Audio – Evolution of Techniques and Tools
Martin Mayer, Diana Mayer, Mister Master, Klosterneuburg, AT
This short talk about our work in the last 20 years, main-fields of interest in the past and present. But
wants to show the evolution of our techniques and immersive audio is now also increasingly gathering in-
tools by presenting individual projects. The spectrum terest from areas such as recreation and health-care,
ranges from early experiments with analog 4-channel with promising new approaches in therapies against
technology, through large scale outdoor opera produc- dementia, tinnitus and different phobias in artificial
tions, to recordings and concerts in full 3D Audio. but completely realistic 3D audio wave-fields. Our new
Today’s technologies provide a level of realism being ATMIX 3D Audio Lab has opened it’s doors in early
impossible until recently. This opens up new areas 2017 as a new space to experience, experiment and
beyond obvious applications in music, theater, cin- evaluate in a full-dome speaker setup using WFS and
ema, TV, museums and exhibitions, which were our other immersive technologies and formats.
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MED-EL Hearing Implants and the Science Center AUDIOVERSUM in Innsbruck
Eckhard Schulz, Ewald Thurner, MED-EL GmbH, Innsbruck, AT
The sense of hearing is besides the important aspect riety of indications. The ScienceCenter AUDIOVER-
of human communication and interaction also a major SUM, which opened in 2013, was initiated by MED-
channel to express our emotions. The sophisticated EL and aims to raise awareness for hearing loss among
anatomy of the ear (outer, middle and inner ear struc- the society by giving a combination of medical, techni-
tures) plays an important role in processing sound in- cal, educational and art exhibitions with regard to the
formation. Hearing loss is caused by damage to one sense of hearing. The AUDIOVERSUM is unique in
or multiple parts of the ear. The sense of hearing is Europe and fascinates its visitors with interesting facts
the only human sense, which can be replaced and/or about hearing and the accompanied senses. The learn-
reproduced by means of technology. Hearing implants ing objectives of the given presentation comprise the
may enable relief for those affected by hearing loss. anatomy of the ear and the physiology of hearing, dif-
The Austrian company MED-EL with its headquarter ferent types and degrees of hearing loss and how they
in Innsbruck, dedicated the past 27 years of focused can be treated with MED-EL hearing implants, as well
research to overcome the barrier of hearing loss by de- as the interactive ScienceCenter AUDIOVERSUM in
veloping an innovative and wide-ranging product port- Innsbruck with its various exhibitions. The presen-
folio. The commitment of its founders, Ingeborg and tation will be held by Dr. Eckhard Schulz, former
Erwin Hochmair, in fostering a company culture of Managing Director of MED-EL Germany and founder
excellence, advanced MED-EL to the industry’s tech- of the AUDIOVERSUM and by DI Ewald Thurner,
nology leader in implantable hearing solutions for a va- Area Manager of MED-EL Vienna.
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Heart Sound – how sound and radio can help to improve the relationship between people with
dementia and their carers
Christine Schön, Berlin, DE
Imagine the sound of happily screaming children, How do “Heart Sound” and “Listening Time”
splashing water, a light breeze and chirring crickets. work?
Can you feel the summer? Now imagine the sound
Hörzeit – Radio wie früher is a worldwide unique radio
of a stiff breeze blowing the icy branches and crunch-
programme especially designed for people with demen-
ing steps in the deep snow. Can you feel the cold?
tia. It is produced in the style of the 1950s radio en-
Sound translates directly into an emotion. The ear is
tertainment shows. Each programme focuses on a dif-
a very sensitive organ: hearing is the first sense we
ferent subject, such as children, travel and professions
develop in the womb and from this point onwards our
– timeless topics to delve into a conversation with peo-
ears can never be closed again. Sounds are deeply
ple with dementia. Christine Schön and Frank Kaspar
rooted in us – when we listen to a familiar sound, it
lead the listeners through the programme; they speak
triggers an emotional memory. That’s why sound is
about their personal experiences – about their chil-
so suitable for people with dementia whose reactions
dren, their most impressive journeys or their dream
to emotional stimuli are much stronger than to cogni-
jobs. They present sound collages, feature reports,
tive ones. Collective listening is a very familiar thing
famous pieces of music, proverbs and rhymes. The
for today’s elderly: in their youth, radio was the most
presentation converts the communication techniques
common medium – families and friends got together to
of validation: it applies a genuine and deep appreci-
listen to entertainment programmes, sportscasts and
ation of people with dementia, takes them seriously
concerts. Dementia – The current situation: 46.8 mil-
with their feelings and emotional states and doesn’t
lion people worldwide live with dementia; due to esti-
give too much information. Helga Rohra, a person
mations it will be 131.5 million in 2050 (statistic pre-
with dementia, has a regular column in every issue.
sented at the Alzheimer Europe Conference 2017). In
The programme for people with dementia is around
Germany, there are 1.5 million people living with de-
50 minutes long; a following programme for relatives
mentia. The German Alzheimer Foundation estimates
and caregivers is around 20 minutes long. In this
that this number will have reduplicated itself by 2050.
second programme Schön and Kaspar review books,
Every year, 300.000 people are diagnosed with demen-
films and games, present institutions and interview ex-
tia. This effects their friends, family and carers, too.
perts (http://www.hoerzeit-radio-wie-frueher.
People with dementia have the right to live a fulfill-
de). The non-profit sound-based web portal Herz-
ing life with their impairments and to play an active
ton (“heart sound”) helps to activate people with de-
role in society. To ensure this, there need to be of-
mentia individually using all acoustic means: e. g.
fers specially tailored to their needs and capabilities.
self-sung songs, dialects, interviews with contempo-
It can be very difficult for carers and relatives to get
rary witnesses and easy accessible soundscapes. They
into emotional contact with people with dementia who
are recorded and produced by sensitive journalists,
often live in their own world. Motivated by this chal-
sound artists and musicians. Relatives and caregivers
lenging situation we developed Hörzeit – Radio wie
can select pieces individually for the people with de-
früher (“Listening Time – radio like in the old days”)
mentia entrusted to their care: for example people
and Herzton (“Heart sound”). The major concern of
who grew up in the countryside may enjoy the sounds
our sound projects is to strengthen the relationship
of a farm; for someone from Bavaria, it might be a
between people with dementia and their carers.
pleasure to listen to a story told in the Bavarian di-
alect. Herzton will be launched in late December 2017
(http://www.herzton.org).
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Philology of electronic music - New methods, strategies, falsifications and historic cleansing: Stock-
hausen, Xenakis, KRAFTWERK
Reinhold Friedl, Goldsmith University, London, GB
It is astonishing the classical philological methods have Etude” that is actually not his piece, Iannis Xenakis
not been adapted for electronic music so far. This lec- hiding of the real sound sources in his multitrack com-
ture will discuss how this can be made and that ap- positions and KRAFTWERKs historical cleansing of
plying this new methods astonishing results can be their body of work. This research is part of a PHD
achieved. This will be shown on three prominent project at Goldsmiths University London.
musical examples: Karlheinz Stockhausens “Konkrete
<>Worte werden Raum
Eva Paulitsch, Coburg University of Applied Sciences And Arts, DE
“Fast könnte man sagen, dass vom Tempo, der in cooperation with experts from the fields of music,
Geduld und Ausdauer des Verweilens beim Einzelnen, computers or the theater. In walk-through video in-
Wahrheit selber abhängt” (Theodor W. Adorno) stallations, they created spaces that visitors could ap-
proach from many different perspectives. In contrast
“One could almost say that truth itself is dependent to the video installations, in # CRESCENDO, it is not
on an individual’s tempo, patience and endurance in the moving images that are in the focus, but rather the
lingering.” (Theodor W. Adorno) respective audio tracks of specific videos. In this work,
the artists only explore the mobile phone videos’ audio
From 2006 to 2016, the artist duo Eva Paulitsch und tracks. They had the original sound of all the videos
Uta Weyrich collected mobile phone videos shot in in their collection transcribed and thus expanded their
public space by teenagers and young adults; with this “no-story video” archive to include a “no-story audio”
material, they created a video archive that is unique in collection. In the transcription process, it is possible
the world – the Mobile Video Archive. The skewed and to represent the spoken language as well as the con-
unexpected fragments of the world from young adults’ text of the speaking situation beyond the content of
perspective – which simultaneously open up space for what is said. Abbreviations, punctuation marks and
associations and belie a fascination for moving images special characters frame individual words. Meaning is
– were Paulitsch and Weyrich’s motives for speaking only constructed when reading the text: these are acts
to young people in public places about their videos of of speech, dialogues – teenage slang. The translation
daily life. The artists asked for the videos as a gift and from sound to a manuscript has its own power, which
began creating an archive with them. Their interest already exists in the texts’ unusual codification. In
was in the mobile phone videos that were “resting” the materialization in script, language itself becomes
on the smartphones’ memory cards, and not the con- an image – the ephemeral, often incomprehensible but
sciously staged videos made for YouTube, for example. perceivable sounds are paused; new spaces and new
Their collection campaign saved the videos from being meanings develop. By decoupling the soundtrack from
deleted and declared them to be basic artistic mate- the film level, the fragmentary dialogues become sin-
rial. The artistic transformations usually took place gular and achieve an autonomous reality.
DaVinci Head project: The best price/performance binaural head
Vytenis Gadliauskas, LT
There are a lot of binaural microphones for consumers user. Binaural head is one of the most accurate but
in the market. Some of them are dedicated to profes- also pricey approach. DaVinci Head project started
sionals, others look like they were created as a toy. as home build binaural head with no intention to
Though all them use slightly different approach to go worldwide. It was the final prototype, test re-
record Interaural Level Differences (ILD’s) and In- sults and creator’s motivation, that later set the goal
teraural Time Differences (ITD’s), the goal is the of the project – DaVinci Head have to be the best
same – immersive spatial audio experience to the end price/performance binaural head in the market.
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