Participants in the Focus installation by Christoph Beck attempt to focus their attention on a mantra in front of them. When they allow themselves to be distracted, they transform the distraction into the focus. If they ignore the distractions this suggests that their internal thinking processes were 'louder' than the external impulses. The installation reflects how the way we interact with ourselves and the external world leaves traces within us. It links up with the internal processes of the autonomous nervous system in order to show that participants direct their own well-being by means of conscious processing of distractions.
The installation Transformation in Sync by Vincent Stange reflects the connection and separateness of rooms. Both, the sound and the lighting, play a crucial part in this installation. On February 14, 2018 Vincent Stange presented his sound and light composition on the two floors of Filmwerkstatt Düsseldorf. The audience was exposed to equally strong auditory and visual stimuli. What they heard was converted to light and back again to sound. The central question in this study is whether a light composition can replace musical elements or whether it remains only a visual event.
The audiovisual installation they don’t need repair by Valentin Dudeck establishes a link between object and sound. The deliberate destruction of an object made of glass is transferred to the sound level. As a result, the destruction continues to be audible beyond the moment of disintegration. The chance configuration that occurs is scanned by a camera. The individual positions of the broken pieces of glas determine the sound, which is also made visible by the projection of the camera picture.
The Moiré Patterns installation by Jannis Carbotta reflects upon the moiré effect. This is a graphical effect created by overlaying screens onto each other and produces endless new forms according to the angle from which they are viewed. In the installation the effect is reconstructed analogously and made perceivable in the form of light and sound. Jannis Carbotta transfers this optical illusion to sound and shows a large-screen visualization in the room.
In the VR production Relativity by Leon Eckard the public can hear hip-hop beats against shifting polyrhythms. This also shifts the sense of the downbeat as well as the type of meter. At the visual level users find themselves in abstract spaces with geometric figures. These are linked to the individual elements of the music and shift accordingly with the result that the sense of space also changes.
Vernunft & Triebe by Bennet Meyer is an expressive and jarring digital collage that shows a violent inner fight between the human's good sense versus its instincts impulses and desires.
Via Bennet Meyer: "The human mind’s good sense requires its natural origin, but condemns it at the same time. V&T is an experimental video clip that shows an audiovisual interpretation of an inner fight between good sense and urge."
Red Orange Ground is a contemporary sports film about the sense of temporal dimension during a 100 meter sprint. Johannes Geier's idea for the film developed over a period of six years until he finally decided to produce it as his graduate film for his Motion Design diploma at the Baden-Württemberg Film Academy. He translated his feeling of temoral expansion when he runs with immersive metaphors and unique key visuals on to film.
Red Orange Ground was supervised by Alexander Hanowski and me. Johannes Geier's final presentation and exam were in spring this year, and now, finally, all rights are clarified and the clip is online.
Via Institute For Music And Media: "Following the principle of the unity of research and teaching, the Klang und Realität master’s degree program combines aesthetic, technical and theoretical approaches. The program benefits from the unique academic situation at the Institute for Music and Media: the multiple facets of time-based art, such as composition, performance, and algorithmic art forms, have been established here for many years.
IMM students autonomously develop their own stance, and learn to integrate it with a range of artistic, technological, economic, scientific and cultural contexts. Graduates of the Klang und Realität master’s degree program are ideally prepared to shape, influence, advance and even anticipate developments in the 21st century.
Musicality is not attached to musical instruments exclusively – it includes many aspects of artistic and scholarly work. That is not least of all the reason why this degree program is generally open to graduates from all disciplines. It is therefore particularly appropriate for those who are interested in the diversity of media forms, schools of thought and topics. The institution of a Musikhochschule is ideally suited for promoting exchange among interests and abilities in different domains.
Student projects play a vital part in this exchange. In the course of their studies, students learn to re-conceptualize their proposed project on the basis of critical and differentiated feedback and to bring it to fruition at a high level through collaboration with other students. They carry out their project in one of two areas of focus – Epistemic Media or Transmedia Forms – both of which open up completely new perspectives in the environment of a state conservatory."
In his audiovisual composition Geoformen [Geo forms] Thomas Gärtner combines acoustic and visual characteristics of squares, circles, and triangles. Using computer animation and synthetic sounds, each form develops its own personality.
Geoformen [Geo forms] was completed in the 2016/17 winter semester as Thomas Gärtner's final project in the upper-level Visual Music module, and supervised by Marcus Schmickler, assistant professor of Composition, and me at the Institute For Music And Media.
[ Teachings ]
Etüdion February 2017
The interactive media installation Etüdion was completed in the 2016/17 winter semester as Jonas Scheler's final project in the upper-level Visual Music module, and supervised by Marcus Schmickler, assistant professor of Composition, and me at the Institute For Music And Media.
An elastic white membrane reacts to mechanical stimuli e. g. pressure, movement, speed, and fabric expansion, making the inconspicuous screen a touch-sensitive audiovisual multitouch-instrument. Motion graphics are projected from behind onto the same screen. The user can touch this canvas and thus receive a representation of their movements in the image on the screen as well as in the sound, which is heard via headphones.