An object always appears in front of a background - and the transition between object and background determines its contour. The piece attempts to outline the spatial structure of the ticking of a clock, which becomes audible through constant changes between four loudspeakers.
electric guitar - Michael Schröder
live video - Janina Luckow
Missverstandenes fehlinterpretiert deals with a communication phenomenon that includes several deceptions. There are two loudspeakers, one above the other, their membranes connected by a spring. The lower speaker sends trivial pulses to the upper one while the signal is dramatically distorted by the spring. As a result, the correct transmission of the information must fail. And now? The incorrect signal is further processed, which means the misunderstood information will be further misinterpreted. But what if the double error leads to the correct result?
live video by Janina Luckow
audio (headphones required)
Most electromagnetic radiation cannot be perceived, it is constantly around us and yet remains hidden. In Hidden Tracks this radiation becomes audible. An electromagnetic sensor was used as a field recorder at various locations like railway lines, ticket machines, ATMs and advertising displays. Unlike our usual sonic environment, the sensor reveals a hidden auditory world where every location has its sound ranging from pulses, clicks and noise to composite modulated frequencies. The recordings were arranged in a complex sonic texture that is contrasted with a fundamental spatial shape: one single movement between two opposing points in space; following the principle of electromagnetic radiation that constantly goes through our bodies.
visuals created by Janina Luckow
sensor developed by Tobias Falke
audio (headphones required)
Unten is my graduate project in Multimedia Composition at the University of Music and Drama in Hamburg. 16 loudspeakers were placed below a walkable luminous area covering 16 square metres. The audience moves over a composition of spatial electronic music and generative light patterns. The project emerged from the idea of creating an audible space below the listener, in contrast to various current spatial audio systems that often represent sounds around or above the listener. The interactive composition mainly uses psychoacoustic effects such as pitch illusions, which appear to descend continuously, to enhance the effect of depth. All audiovisual parameters are generated in realtime and were triggered by the presence of the audience.
light patterns developed and created by Hanjo Müller
sensor system developed by Jacob Sello
"Five large, white discs were placed in front of the audience and wired up to Troschka’s laptop. The torchlights of the Electric Light Quintet played teasingly over the discs, twisting the fabric of Troschka’s composition. Licht ins Dunkel was essentially a collaborative improvisation, more about the possibilities of the medium than the creation of an exceptional artwork. Regardless, my head spun with the creative potential of light and sound."
Sam Johnstone, The Cusp
Big Data is about the overload of artificial intelligence based on an interview with Noam Chomsky, where basic concepts of AI are discussed. Excerpts from the interview were arranged together with the recordings of a printer and a scanner. The video animations are shown on the three-dimensional model of a head and a screen in the background and follow the idea of abstract digital processes. A virtual machine calculates huge amounts of data and quickly reaches its limits. The resulting malfunctions and the final breakdown are shown on the head in the foreground.
visual concept, video animation and mapping by
Franziska Funke and Christopher Kuss
My graduate project in cooperation with the Design Department at the University of Applied Sciences in Hamburg is an immersive installation based on Franz Kafka's Der Bau. By using 3D sound and a panoramic projection Der Bau tells the story of a badger living in his burrow, being torn between selfconfidence and paranoia. The installation lets the audience dive into the badger's environment and headspace, starting with the calm and secure feeling inside his burrow versus his fear of the outer world of the forest. Through the dramaturgy the listener is able to follow the badger's frequent changes of mind from his supposedly set opinions to their opposites; to the point where he loses trust in his own concept of security.
visuals created by Janina Luckow, Niklas Söder and Efrén Parra
technical support by Iwer Petersen, Janina Schlichte, Axel Groot, Indra Schreiber and Hanjo Müller