lecture / performance at alexandrinsky theater, St Petersburg, nov 2016
amplifiers, filter, analoguemodules, real-time audio software / Supercollider, contact microphones
Electronic circuits are interconnected to cause semi-natural entities, autonomous organisms, half-animals. The electronic machine functions as an organic entity, voice and articulation is generated through loops in feedback networks. Continuous ecosystems, archaic animal-noise-transmission, onomatopoeia.
live at cabaret poulet #2, mo.ë, sept 2016
live at struma+iodine, rhiz, jun 2016
Audio - Visual Performance / Faux Terrain - Claudia Larcher, may 2016
live at parallel, 2015
Composition for violin, grains on a metal surface and live-electronics ~8‘ , 2012
[violin is played by Barbara Lüneburg, recorded at Echoraum, Wien]
The piece consists of singular tones that fill the space horizontally and create a quiet ubiquitous drone. Filtered noise areas, quiet creak, some prominent sound particles, (no open strings), minimal timbre (out of a grayscale evolve „colours“), microtonality vs. widely spaced intervals, grains, ..
The pitch of the violin results from the vertical position of the note within the score; i.e. high frequencies - low frequencies. The timeframe is also relative. The task of the electronics is to extract individual sections from the played parts of the violin and to filter them slightly by means of pitch shift or granular synthesis. Due to the division into 4 channels there are focal points, but they are selected loosely. The notation makes suggestions for this, but these are understood as indications.
for diy-zither, cymbal, contact microphone, live granular synthesis
This recording examplifies some of the sounds that can be played with an instrument I built.
It consists of the following parts:
Sound Processing (live granular synthesis realised in SuperCollider running on the Computer)
Acoustic Input (e-Zither, cymbals, contact microphones, microphone input of other sounds)
Performance / 2011
taperecorder, oscillators, frog
Description of the setup:
The sounds of a cassette recorder, a simple oscillator circuit and a wooden frog are recorded on an empty tape loop. The name Wilhelm‘s Punk refers to the piece Williams Mix by John Cage, in which pre-recorded and selected sounds are mounted on tape by a random system. For Wilhelm‘s Punk, sounds, which are produced during the performance are played on the tape loop and reproduced immediately. Each loop replay plays the already recorded fragments, takes up new ones and deletes older parts by accident.