Marcus maeder selected works and projects 2007 2017 - domizil
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marcus maeder selected works and projects 2007 – 2017
Espirito da floresta/Forest spirit sounds. By these means the dynamics of the CO2
An artistic-acoustic observatory concentration at three different “storeys” in the rainfor- Video/Sonification excerpt:
2017/2018 est are rendered audible. http://www.domizil.ch/excerpt_amazonface_lowres.
––– mov
AmazonFACE is a free-air CO2 enrichment (FACE) In the installation changes to the soundscape of the
experiment assessing the effects of increased at- rainforest at an increased atmospheric CO2 concen- Exhibitions:
mospheric CO2 on the ecology and resilience of the tration in the atmosphere are rendered observable.
Amazon forest. The experiment will simulate the atmo- Beyond that, new acoustic research methods of bio- Inter-American Development Bank IDB, Washington
spheric CO2 composition of the future in order to help diversity will be tested. The so-called Acoustic Com- DC, USA. June 2017
answer the question: How will rising atmospheric CO2 plexity Index ACI is displayed in the video projection. –––
affect the resilience of the Amazon forest, the biodiver- In this acoustic estimate of biodiversity, the amplitude Embassy of Brazil, Washington DC, USA, June 2017
sity it harbors, and the ecosystem services it provides. envelope is being analysed in a number of frequency –––
bands: the greater the number of different volumes www.amazonface.org
Carbon Dioxide was discovered by the flemish chem- measured over a certain amount of time in specified
ist Jan Baptist van Helmont in the 17th century. He frequency bands of the audio recordings, the higher
called the gas that evaporated from burning wood the acoustically quantifiable biodiversity – what inter-
„Spiritus sylvestre“, „forest spirit.“ In the installation ests us here is the dynamic of this value over short
“Espirito da floresta/Forest spirit”, a local ecosystem and long time periods. Will biodevirsity decrease un-
in the Amazon rainforest is represented acoustically. der an elevated CO2 concentration?
The acoustic emissions of a tree (Ocotea Sp.) and the
environmental sounds in the field station of the Ama- The installation “Espirito da floresta/Forest spirit” aims
zonFACE research project were recorded in 10-min- to make the processes in a local ecosystem audible
ute intervals over three days. The sounds of the tree and acoustically examinable: the noises in a tree and
and its inhabitants were recorded using specially its immediate environment change, depending on the
developed contact microphones at three positions – time of day and the weather, the CO2 values increase
in the crown, on the trunk, and at the roots. These or decrease on the different “storeys” in the forest, and
sounds can be heard through the sound panels of it becomes possible to experience sensually the close
the installation (in the module to the right of the projec- connection between environmental conditions and life
tion surface), together with the environmental noises processes in the rainforest.
(through the video projection surface itself) and the
sonification of the CO2 concentration at three heights Concept and artistic design: Marcus Maeder
in the forest (through the module behind the projec- 2017/2018. Preparation of environmental data: Ales-
tion surface). In the sonification, the CO2 data flow is sandro Araujo, Empresa Brasileira de Pesquisa Agro-
used to control the generation of sound in the instal- pecuária (Embrapa). Implementation ACI: Martin Neu-
lation’s computer. A flute-like synthetic sound is used kom, ZHdK. Programming support : Thomas Peter,
in for data sonification: this is reproduced for each of Philippe Kocher, ZHdK. Production support sound
the three measurement heights, and the current mea- panels: Thomas Tobler, ZHdK. Supported by Fonda-
sured values control the pitch of the three flute-like tion ZHdK. Recording station in the rainforest.
Espirito da floresta/Forest spirit, Installation at the Inter-American Development Bank, Washington, June 2017.
Screenshot of the video part of the installation. AmazonFACE measurement tower next to the recording station in the rainforest.
Bakar-Kraljevica (45.292898°, 14.572163°) the use of fossil fuels and pose a risk to public, animal, morning there were virtually no audible sounds as the
An air quality data sonification installation and plant health. Moreover, some of these gases are air had been washed clean. During the course of the
2015 key drivers in the greenhouse effect, i.e. global warm- week, the sound volume then increased, particularly
––– ing. The installation creates a sensory experience of at noon (nitrogen dioxide and ozone) and in the eve-
The installation „Bakar-Kraljevica (45.292898°, the local, weather- and circadian rhythm-dependent ning (carbon monoxide). All pollutant levels dropped
14.572163°)“ renders local air pollution dynamics at air pollutant dynamics by combining data sonification again significantly during rain and Bura (a stormy fall
the mediterranean sea sonically and musically per- and video images. Daytime, wind direction and ap- wind flowing down the mountains towards the sea).
ceptible. My project consists in creating a contem- proaching weather systems can be observed in the
porary musical landscape “painting” of the Bakar Bay: sky and on the sea surface and can be correlated with Nitrogen dioxide (NO2) is a highly toxic gas arising
At the mouth of the bay lies Croatia’s largest refinery, air pollutant levels and sounds. primarily from the burning of fossil fuels (gas, coal, oil
and a new motorway runs alongside the bay at a diz- and motor vehicle emissions). Nitrogen dioxide con-
zy height. With an artistic/scientific measuring station, The sonification of the four pollutants consists of four tributes to ozone formation and environmental effects
which I set up opposite the mouth of Bakar Bay, I have string sounds of different pitches, played back in four such as acid rain and soil eutrophication. The Euro-
obtained a time-lapse video of day-to-day life on sea spherical resonators: The lowest sound (carbon mon- pean limit for nitrogen dioxide is 200 µg/m3 and may
and land and have used the data from my own air oxide) is played back in the lowest resonator; the sec- be exceeded 18 times a year. Our measurements re-
quality measurements (nitrogen dioxide, ground-level ond lowest sound (nitrogen dioxide), in a slightly high- vealed daily peaks well below the limit, i.e. between
ozone and carbon monoxide) and data from a state- er one; the next (sulphur dioxide), in an even higher 26 and 33 µg/m3 at noon. The low NO2 values are
run measuring station in Urinj (sulphur dioxide) on the one; and the highest-pitched sound (ozone), in the attributable partly to the coastal location with its con-
opposite side of Bakar Bay. highest of the four. The daily dynamics – the rise and stant breeze, which quickly carries away local gas
fall of pollutant concentrations during the played-back emissions. In addition, at high temperatures (some-
Nitrogen dioxide, ground-level ozone, carbon monox- measuring period – are converted into sound: During times as high as 43°C at the measuring station), NO2
ide and sulphur dioxide are all pollutants arising from the second night, it rained briefly, and the following reacts readily, forming nitrogen monoxide, ozone and
Bakar - Kraljevica (45.292898°, 14.572163°). Next page: Measurement station at Bakar bay, summer 2015.
nitric acid. Concept and artistic implementation:
Marcus Maeder
Carbon monoxide (CO) is a highly toxic gas, too. Scientific advice:
It, too, arises from the burning of fossil fuels, mainly Marcus Schaub, Swiss Federal Institute for Forest,
by motor vehicles. Our measurements revealed high- Snow and Landscape Research (WSL)
er concentrations of carbon monoxide towards the Programming support:
evening; Carbon monoxide accumulated in the local Philippe Kocher
atmosphere during the day as a result of ship and Air quality measurement technology:
vehicle traffic in the bay. The European limit for carbon decentlab GmbH
monoxide is 10 mg/m3 over eight hours. This aver- Thanks:
age value was not exceeded for the same reasons as TZ Grada Bakra, Sonja Jelušić;
those given for nitrogen dioxide. PZ Dolcina and Ivona Miloš
Source of pollutant information:
Ozone (O3) is a highly oxidative gas: it causes irri- Austrian Department of the Environment
tation of the airways in people and animals and leaf
necrosis in plants. Ozone is formed when nitrogen Video/sonification excerpt:
oxides react with oxygen in the presence of UV radia- http://www.domizil.ch/bakar-kraljevica.mp4
tion. The agents responsible for producing ozone do
not originate locally but are carried to Bakar Bay from Exhibitions:
further afield, presumably from the south on the Jugo
wind blowing along the coast. The European limit for Nixe @ Musikprotokoll im Steirischen Herbst 2015,
ozone is 180/240 µg/m3, an 8-hour value which may Joanneum im Lesliehof, Graz
be exceeded 25 times a year. This value was not ex- –––
ceeded during our measurements.
Sulphur dioxide (SO2) is formed primarily from the
burning of coal and heating oil. Main emission sources
include combustion plants used for power generation,
in industry and in small-scale consumption. At high
concentrations, sulphur dioxide has damaging effects
on humans, animals and plants. Oxidation products
cause acid rain, which endangers fragile ecosystems
such as forests and lakes (Scandinavia) and damages
buildings and materials.
Screenshot of the time lapse movie on the monitor of the installation
trees: Pinus sylvestris, spatial audio version, Creative City, Zurich University of the Arts ZHdK, October 2014 treelab, adaption for ICST‘s Immersive Lab, San Diego/San Francisco, November 2015
trees/treelab cause and effect of the plant-atmosphere relations- http://blog.zhdk.ch/trees
Spatial audio/stereo sound installations hip. The installation replays measurement data from http://immersivelab.zhdk.ch/?page_id=1014
2014 - 2016 early summer 2015, the peak of the growth period of
––– a Scots pine (Pinus sylvestris) located in the central Video/sonification excerpt:
The link between trees and various climatic processes Swiss Alps in Salgesch in the canton of Valais. http://www.domizil.ch/trees.mp4
is usually not immediately apparent. Trees and plants
do not live merely on moisture from rain, sunlight (which Scots pines in Valais have experienced high mortality Exhibitions:
drives gas exchange) and nutrients from the soil: they rates for some decades now: this phenomenon is be-
absorb carbon dioxide from the air and produce the lieved to be caused by the effects of climate change, Ars Electronica Festival 2017, Linz
oxygen that we breathe, maintaining our climate and e.g. longer drought periods. A downy oak (Quercus September 2017
biosphere. Gathering ecophysiological data by mea- pubescens), for example, is able to better withstand –––
suring the local climatic and environmental variables the current climatic conditions whereas a Scots pine BOZAR Palais des Beaux-Arts, Bruxelles
and the physiological processes within a plant in res- is pushed beyond its physiological limits despite the September - October 2017
ponse to changes in these variables has become an fact that both tree species have coexisted there for –––
important method of researching climate change and thousands of years. Consequently, shifts in the abun- United Nations Climate Change Conference COP 21,
vegetation dynamics. It helps to determine physiologi- dance of tree species are observed. The ecophysio- Paris 2015
cal thresholds of plants in terms of increasing tempe- logical knowledge acquired is used to explain the un- –––
rature and consequently drought stress. derlying processes: Hence the cooperation between Gray Area, San Francisco
a biologist and an artist opens up new ways to study Nov 13 – 30, 2015
Plant physiologists have known that plants emit the complex relationship between tree physiology and –––
sounds for several decades now. Many of these climatic conditions on the one hand and to explore the IDEAS - Calit2 Performative Computing Lab, Atkinson
sounds are of transpiratory/hydraulic origin and are th- possibilities of acoustic and artistic representations of Hall, UC San Diego
erefore related to the circulation of water and air within ecophysiological processes in trees on the other. October 9, 2015
the plant as part of the transpiration process. Each –––
plant species – in fact each plant individual – has „trees: Rendering ecophysiological process audible“ ICAD Conference 2015
its own acoustic signature, related to its anatomical was a research project conducted by the Institute for ESC Medien Kunst Labor, Graz
structure and to the local climatic conditions. Inves- Computer Music and Sound Technology ICST of the 08.07. - 11.07. 2015
tigating the acoustic emissions of a tree in response Zurich University of the Arts ZHdK, in collaboration –––
to dynamically changing climatic conditions might re- with the Swiss Federal Institute for Forest, Snow and Clarke House, Bombay
veal biological or physical properties that place these Landscape Research WSL. „trees“ is funded by the 03.06. – 07.06. 2015
emissions in a broader ecophysiological context and Swiss National Science Foundation (SNSF) and the –––
enable us to explain processes that are not yet fully Zurich University of the Arts ZHdK. SoundReasons Festival, New Delhi, India
understood. Outset India
Artistic realization and programming: Marcus Maeder. 31.10.2014 – 10.11.2014
In our observation system «trees» and «treelab» we Scientific data and analysis: Roman Zweifel (WSL). –––
combine recordings of acoustic emissions of a tree Programming support: Philippe Kocher, Thomas Pe- ICMC SMC 2014 Conference, Athens
with sonic representations (sonifications) of ecophy- ter (ICST). Technical engineering field measurements: National Museum of Contemporary Art, Athens
siological data in one single auditory expe-rience, Jonas Meyer (ICST, decentlab). September 2014
enabling the visitor to experience and comprehend
Left: «trees» stereo/headphone version at ESC Medien Kunst Labor, Graz 2015. Right: Adaption of «trees» for ICST‘s FlowSpace, National Museum of Contemporary Art,
Athens
progeny art is seen as a heuristic act that involves coun-
CD, domizil 41, 2015 terposing images and sounds of otherness, on the
––– one hand, and ideological perspectives on nature
on the other.
Nature has presented itself as the idea in the
form of otherness. G. W. F. Hegel Listen to a piece of this CD:
www.domizil.ch/marcus_maeder/mp3/growth.mp3
In his work as a research associate at the Institute
for Computer Music and Sound Technology of the
Zurich University of the Arts, Marcus Maeder has
spent a number of years working on the sonificati-
on of scientific data. This involves the use of data
to control sounds in order to study processes in
nature that would ordinarily be beyond the reach of
our senses. In observing his research work, Mae-
der increasingly found himself asking fundamental
artistic questions, such as: When a piece of art or
music provides new or different insights into the
world around us, how do we specify its epistemic
content? In other words, when an artist describes a
process or phenomenon in nature in musical form,
or simulates, imagines it through music, what does
such a piece of art achieve? Is music, purely artistic
in its approach, capable of casting a new associati-
ve and emotional perspective on concepts and the-
orems in science by isomorphically applying, in its
implementation, certain aspects of scientific views?
The progeny project has produced ten pieces and
attempts at artistic associations of concepts as
shaped in Biology and Theoretical Biology, particu-
larly in the Theory of Living Systems. Far from shying
away from the label of „ambient music“, progeny
expressly positions itself in the fields of Ambient Po-
etics and Environmental Aesthetics, as outlined by
American philosopher Timothy Morton. Ambient Po-
etics develop speculations about nature that tran-
scend our conceptual and ideological limitations of
perception, thus reshaping our environment: here,
Cover image of the progeny CD
Exhibition poster for The Left-Hand Path, Graz and Zurich 2011 Left: Base station/installation at Shedhalle Zurich. Right: Visitors at the Old Botanical Gardens, Zurich – Lange Nacht der Museen 2011
Der Pfad zur linken Hand (The Left-Hand Path) Path, one often finds the devil himself as a travelling to use your own reason! On the Left-Hand Path, se-
A GPS-based audio play app for Smartphones companion. Listeners of the GPS-based audio play veral fundamental enlightenment-seeking questions
2011 The Left-Hand Path are led along paths of thought arise: What society do we live in? Are we content with
––– characterized by a fundamental opposition of the sta- our current way of life? How can we determine our
Graz Path: First showing at Steirischer Herbst, te of affairs in a „post-everything“ society, a society own destiny? In the audio play, these questions are
Musikprotokoll, Schlossberg/Stadtpark, Graz, 2011 in which social and ecological progress risks stalling posed by individuals characterised by having an op-
––– as a result of the establishment of global neo-feudal positional attitude towards their environment: artists,
Zurich Path: First showing as a contribution to power structures. radicals, intellectuals, sectarian gurus, alcoholics, the
„Connect. Art between Media and Reality“, an exhibi- exploited and supporters of an alternative society. The
tion with media art from the Sitemapping programme Following the economic and terrorist crises of recent Left-Hand Path is like a maze: a broad range of views
(BAK), Shedhalle Zurich/Alter Botanischer Garten, years, conservative thinking seems to be reinstating are expressed, but which lines of thought lead out of
2011 itself around the world: Right-wing politics and the as- dead ends? Can listeners find their way out of this
––– sociated exclusionary attitudes that characterize the maze of thought?
Direction, Text, Music: wealth gap, be it on the basis of national or ethnic
Marcus Maeder identity or religious belief, are becoming acceptable Production: ORF Kunstradio and Musikprotokoll im
––– once again. A renaissance of conservative and reli- Steirischen Herbst Graz, Austria
Interactivity, Software, Music: gious promises of salvation is drowning out rational Editor: Elisabeth Zimmermann
Jan Schacher aka. “jasch” discussions on how we wish to lead our lives and how Directors Musikprotokoll im Steirischen Herbst Graz:
--- society should evolve in both the West and the East, Susanna Niedermayr, Frank Zimmer
The topographical audio play The Left-Hand Path was in rural and in urban areas. Today, we live in a society
developed as a Smartphone app and is available for dominated by monetary relationships and ridden with Supported by the Swiss Arts Council Pro Helvetia,
download free of charge on our project website and myths to the point of becoming a veritable jungle; a Sitemapping of the Swiss Federal Office of Culture,
from the Apple App Store. We set up The Left-Hand society in which power, money and faith are intert- SRF Swiss Radio and Television, Ethnographic
Path in 2011 as a GPS-based audio play at the Old wined – (post-)post-modern, global capitalism has Museum of the University of Zurich. Project Partners:
Botanical Gardens in Zurich as part of the „Connect“ become the vast motley painting of everything that HTC (Smartphones) and Holding Graz Schlossber-
exhibition at Shedhalle Zürich and at Graz Stadtpark has ever been believed painted by Gilles Deleuze and glift-Service.
for the Musikprotokoll programme of the Styrian Au- Félix Guattari.
tumn festival. Equipped with smartphones, headpho- www.derpfadzurlinkenhand.net
nes and this app – specially developed for this project The question as to what today‘s enlightenment pro- http://kunstradio.at/2011B/02_10_11.html
– visitors are invited to wander around and explore a cesses should look like – referring to the processes http://www.shedhalle.ch/de/marcus-maeder-jan-
designated area, where they will come across various for raising awareness in society with a view to ex- schacher-der-pfad-zur-linken-hand
sound clips situated at different locations throughout posing and dismantling the existing power structu-
the landscape. res – requires an urgent answer. The Left-Hand Path
system is associated with a diabolic figure, which ma-
The concept of the Left-Hand Path stems from Indian nifests itself as enlightenment in its purest form, as an
mythology and denotes religious and worldly practices antagonist, as a rebel and as symbol of polemic and
opposed to the prevailing homogenous, established failure, urging listeners, in specific terms, quite sim-
beliefs. In the West, the term is used to describe ways ply to challenge the established ways of thinking, as
of thinking involving opposing views: on the Left-Hand Kant put it in his maxim Sapere aude! Have courage
On the way with smartphone and installed App, Stadtpark Graz, 2011trees: Downy Oak fact that both tree species have coexisted there for ging task to generate metaphorical sounds to portray
Spatial audio/stereo sound installations thousands of years. Consequently, shifts in the abun- a single phenomenon, such as sunlight or air humidity
2012/2014 dance of tree species are observed, and the ecophy- effectively. Besides the diurnal course of the tree’s re-
––– siological knowledge acquired explains the underlying sponse to sunlight, there are many other recognizable
processes. patterns: As it gets drier in the summer, the cavitation
“Phytoacoustics” events become longer, sometimes lasting deep into
In this installation, we have combined field recordings the night; the stressed plant needs more time to refill
Plant physiologists have known that plants emit of meteorological phenomena, recordings of acoustic with water from the soil. In addition, the number of ca-
sounds for several decades now. Many of these emissions in a tree and acoustic representations (so- vitation sounds is greater when a plant is well drained
sounds are of transpiratory/hydraulic origin and are nifications) of ecophysiological data, collected by Ro- and exposed to full sunlight than in very dry periods.
therefore related to the circulation of water and air wi- man Zweifel (WSL) and Fabienne Zeugin of the Swiss
thin the plant as part of the transpiration process. The Federal Institute of Technology (ETH) on a downy oak Artistic realization and programming: Marcus Maeder
frequencies of these acoustic emissions lie mostly in at Salgesch in the Swiss mountains in 2003 and 2004. (ICST)
the ultrasonic range, depending on the species-spe- Zweifel and Zeugin measured relative air humidity, sap Scientific data and analysis: Roman Zweifel (WSL),
cific characteristics of the plant tissues. Some of the flow, stem radius changes and ultrasonic acoustic Fabienne Zeugin (ETH)
acoustic emissions (so-called cavitation pulses) are emissions (UAE) throughout an entire tree growth cy- Programming support: Philippe Kocher (ICST)
indications of embolism in the water transport system, cle and recorded the data at ten-minute intervals th- Technical engineering field measurements: Jonas
which occurs when a plant is subjected to drought roughout the day and night. As the data relating to the Meyer (ICST, decentlab)
stress and desiccation. The excessive water tension ecophysiological processes was multidimensional, an
in the water-conducting system leads to the rupture analytical system is needed that focuses on the key www.swissnexsanfrancisco.org/event/tuningintrees/
of the water columns in the plant vessels. Each plant factors and the interrelations between these and ren- http://blog.zhdk.ch/downyoak/
species – in fact each plant individual – has its own ders them intuitively perceptible.
acoustic signature, related to its structure and to the Exhibitions:
local climatic conditions. Downy Oak: Data sonification
Baum/Mensch/Klang/Kunst
Sonification of ecophysiological data The sonification system is based on a combination of Alpen Adria University, Klagenfurt
different sonification techniques, i.e. playback of origi- May – June 2014
Gathering ecophysiological data (i.e. conducting nal acoustic emission recordings (by transposing them –––
measurements of the local climatic and environmental into the audible domain) and parameter mapping so- swissnex San Francisco
conditions and of the physiological processes within nification, whereby the sound parameters of a samp- Juli – August 2012
a plant in response to these) has become an import- le player (amplitude, pitch and filters) and the sound
ant method in research on climate change and vege- distribution system (spatial position or movements of
tation dynamics. It helps to determine physiological virtual sound sources) are controlled by the data flow.
thresholds of plants in terms of increasing tempera- The different sonification modules are implemented in
ture and consequently drought stress. A downy oak a set of Max Patches, which replays the measure-
(Quercus pubescnes) in the central Alps, for example, ment data of a downy oak throughout an entire growth
is able to withstand the current climatic conditions of cycle (April-October 2004). A larger number of eco-
the air and soil whereas a Scots pine (Pinus sylvestris) physiological and meteorological phenomena do not
is pushed beyond its physiological limits despite the manifest themselves acoustically, and it is a challen-
Left: trees: Downy oak – spatial audio version at swissnex San Francisco, 2012. Right: trees: Downy oak – stereo version at Alpen Adria University, Klagenfurt 2014Milieux Sonores – sound and imaginary space. An exhibition at Grey Area Foundaten, San Francisco, 2010. Exhibition detail: „Flow Space“ by Daniel Bisig, Jan Schacher and Martin Neukom
Milieux Sonores: Sound and imaginary space Without any doubt, reasons for this stronger emphasis create „hyper-natural“, surreal spaces of experience
Exhibitions and book project, 2009/2010 on the spatial aspect can be found in the increasingly that are filled with strange sound objects, impossible
––– important role spatially oriented media plays in our or remote spaces, sounding artificial life forms – they
Edited and curated by Marcus living environment. Whether it is the simulation of spa- create mental landscapes which become part of our
Maeder ce used in almost every computer game, GPS naviga- environment. On this phenomenon, Gilles Deleuze
––– tion systems or space metaphors in the internet such and Félix Guattari noted in the dawn of the computer
Version 1.0 of the Milieux Sonores exhibition took as chat rooms: the large share of virtuality structured age: „The real is not impossible, but it becomes more
place at Kunstraum Walcheturm from 16. 1. 2009 – in analogy to space is defining of our discourse on the and more artificial.“
21. 2. 2009. Version 2.0 from 11. 9. – 19. 11. 2010 world. Furthermore, through recent media technology,
at Gray Area Foundation for the Arts, San Francisco, a veritable topos of media related experience and ac- In the exhibition Milieux Sonores, we focused on ar-
in collaboration with swissnex San Francisco and the ting is taking on form, an ontology of the virtual is in the tistic and musical designs of sound spaces, on wor-
support of the Swiss Arts Council Pro Helvetia. making. With cinema, DVDs and computer games the king with sound and the visualization of imaginary
spatial design of sound and the sonic design of space space. Milieux Sonores presented five different artistic
Participating artists: Daniel Bisig/Jan Schacher/Mar- has gained importance. Surround technologies allow approaches, each of which either creates, in its own
tin Neukom, Jason Kahn, Yves Netzhammer/Bernd to simulate complex acoustical spaces: the „virtual“ unique way, a world of sounds and a space for a fra-
Schurer, Felix Profos, Jeroen Strijbos/Rob van Rijwsijk acoustic space has become a widely discussed sub- mework of sounds or transforms and redefines space
a. o. ject. If we view the fields of media and sound art, of through sound. Two of the five works were developed
electronic music, of game and sound design from at the music department of the Zurich University of
Contributors to the Milieux Sonores publication: such a perspective, it is striking that especially in the- the Arts, namely Vier Nebenräume by Felix Profos and
Daniel Bisig, Sabine Gebhardt Fink, Marcus Maeder, se disciplines, topological terms become parameters Flow Space by Daniel Bisig, Martin Neukom and Jan
Yves Netzhammer, Martin Neukom, Mathias Oechslin, in artistic and medial work. Furthermore, sounds do Schacher from the Institute for Computer Music and
Nils Röller not only exist in a spatial relationship to one another, Sound Technology.
they are on a level of imagination and creation part of
a consciously generated sonic and spatial milieu.
The exhibition The book
If we understand artificially generated sound spaces
The so-called „spatial turn“, the „topological turn“, has as fields of imagination that are composed of sound Milieux Sonores/Klangliche Milieus
since the end of the eighties been a topic of cultu- milieus structured in space and time, they are nonet- Sound, Space and Virtuality
ral and social studies. Topological termini are broadly heless primarily composed of technically generated
used in disciplines that deal with systems, entireties signals that trigger sensations. The producer’s as well The idea for this book came up during preparations
or groups of elements influencing each other. More as the artist’s and the recipient’s imagination through for the Milieux Sonores exposition. Inspired by the
recently, physical, social, geographical, psychological acoustic sensations creates a space for association numerous reactions of a very interested public, the
or physiological structures have been described using which brings into relation our knowledge about the contributions in this book aim to reflect the multi-facet-
spatial categories; the concept of space has always real world and the simulation of the possible. Under ted aspects of sound and the acoustic space within
served to define relations between things in our imagi- the influence of our perception’s expansion brought the current discussion of virtuality. The examination of
nation, thus interpreting reality. According to Japanese about by media technology, the conception of reali- musical methods and practices in the virtual sphere
philosopher Kitaro Nishida, space can be seen as a ty begins to change. Space simulations created by as a veritable intersection of research and art has only
place that absorbs ideas and allows the expansion of artists, be it in films, in installations or musical works, just begun.
our thinking to be grasped in linguistic terms.
Exhibition architecture with detail of „Mutmassliche Windlasten“ by Yves Netzhammer and Bernd SchurerIf we understand artificially generated sound spaces Sonifications and Music for the NOVA display
as fields of imagination that are composed of sound system 2008
milieus structured in space and time, they are nonet-
heless primarily composed of technically generated
Milieux Sonores –––
signals that trigger sensations. The producer’s as well Sound, Space and Virtuality NOVA is a three-dimensional screen with the capa-
as the artist’s and the recipient’s imagination through Edited by marcus Maeder bility to display dynamic visuals in three dimensions.
acoustic sensations creates a space for association NOVA consists of 25 000 luminescent spheres, which
which brings into relation our knowledge about the can be activated one by one, which are equipped by
real world and the simulation of the possible. Under 12 light emitting diodes each. The display can show
the influence of our perception’s expansion brought two-dimensional images as well as three-dimensional
about by media technology, the conception of reali- abstract content.
ty begins to change. Space simulations created by
artists, be it in films, in installations or musical works, The NOVA of ETH Zurich served as a platform for art
create „hyper-natural“, surreal spaces of experience and science displaying algorithms from a variety of
that are filled with strange sound objects, impossible scientific departments of the ETH Zurich (Swiss Fe-
or remote spaces, sounding artificial life forms – they deral Institute of Technology).
create mental landscapes which become part of our
environment. This approach comes close to a long A prototype of the system was been installed from
held dream of surrealists. Leading surrealist thinker 2005 until 2012 on the ceiling of Zurich‘s main train
André Breton wrote in his first surrealist manifesto back station, and the console was located at the group
in 1924: “I believe in the future resolution of these two meeting point at the centre of the hall, where Maeder‘s
states – outwardly so contradictory – which are dream sonifications and music accompanying the scientific
and reality, into a sort of absolute reality, a surreality, animations and visualizations of all departments of the
so to speak. I am aiming for its conquest, certain that I ETH have been broadcasted.
myself shall not attain it, but too indifferent to my death
not to calculate the joys of such possession.“ www.nova.ethz.ch
Editor: Marcus Maeder, Institute for Computer Music A video simulation:
and Sound Technology, Zurich University of the Arts www.domizil.ch/ETH_Boomsma_Concentration_1.
(ZHdK) mov
Publisher: Transcript Verlag, Bielefeld
Authors: Daniel Bisig, Sabine Gebhardt Fink, Marcus
Maeder, Yves Netzhammer, Martin Neukom, Mathias
Oechslin and Nils Röller
Publication: July 2010
www.transcript-verlag.de/ts1313/ts1313.php
Transcript VerlagDie Wunschmaschinen The play is performed in acousmatic form (a loudspe-
(The Desiring-Machines) aker performance/installation) using Ambisonics tech-
Surround Play/Live Installation, 2008 nology, a special surround sound system that can
––– create three-dimensional spatial audio.
Based on Anti-Oedipus: Capitalism and Schizophre-
nia I by Gilles Deleuze and Félix Guattari. Cast: Antonin Direction, Music: Marcus Maeder. A production of the
Artaud, Hélène Barat, Ivan Chtcheglov, Guy Débord, Institute for Computer Music and Sound Technology,
Eliza, Sigmund Freud. Music based on Kraftwerk, Vel- Zurich University of the Arts, Music Department. Spe-
vet Underground, Nick Cave and Richard Wagner. akers: Sascha Gersak, Pilu Lydlow, Dagmar Gabriel,
Edward Piccin, Yves Raeber, Oleg Lips, Helmut Schü-
The desiring-machines schner, Jörg Reichlin. Casting, Locations, Assistant
Director: Bettina Disler. Production Manager: Simon
In the aftermath of 1968, the desiring-machines em- Könz. Recording Technology: Silvan Gretener, Tobias
bodied the unconscious in a world fundamentally af- Stritt. Programming: Jan Schacher, Philippe Kocher.
fected by technology for the philosopher Gilles Deleu- Ambisonic Technology: Peter Färber. Composition
ze and the psychiatrist Félix Guattari. An unconscious, Studio Support: Johannes Schuett.
which is not seen as a theatre of symbolic represen-
tations – criticism belonged to psychoanalysis – but www.wunschmaschinen.net
more politically understood, as a productive factory. http://zhdkrecords.zhdk.ch
The productive, reality-producing desires are desi-
ring-machines; they are our desires in the interaction Presentations:
with the world. The desiring-machines are a critical
affair: the market, the media and politics know how to Kunstraum Walcheturm, Zurich, 19.04.2008
use the desiring-productions; in its delimitation, psy- –––
chiatry treats them as illness. The machines splutter, 40 Jahre 1968, Frankfurt, 23.07.2008
overheat, break down, and, again and again, break –––
up into new structures of a schizophrenic, capitalist Cabaret Voltaire, Zurich, 18.03.2009
society, without ever having realised themselves.
One who sets off on his own in order to liberate his
desiring-machines is the Schizo. We roam with him
through the psychogeography of a city where he en-
counters others who have, in their social and creative
delineation and delimitation, themselves become re-
volution: eccentrics, schizophrenics, artists and wri-
ters – existences on the thin line between passion and
pathology.
Presentation/installation detail of „Die Wunschmaschinen“ (The Desiring-Machines), a surround play and live installation, 2008.ds Davos Soundscape: Landmark of a sound segment, Davos 2007 Map of .ds Davos Soundscape
.ds – davos soundscape trist Félix Guattari – have addressed the territoriality area within a loudspeaker setup, which gives the best
A topographical composition by Jan Schacher and of sound and music in an extremely inspiring way. listening result the “sweet spot”. By taking this con-
Marcus Maeder for the Davos Festival Their approach to the concept of the ritornello is cept into the landscape our “sweet spots” become
2007 quite unique. The term ritornello is known from ba- the centers of topographical, acoustic and musical
––– roque music: it denotes the part of a rondo that re- circles. We define and compose the sonic territory
The experience and composition of .ds – davos turns periodically, like a refrain during the course of specifically in relationship to the characteristics pre-
soundscape emerges from the movement, pere- the piece. Deleuze und Guattari consider the ritornello sent in such a zone. The starting points and basic
grination and strolling of the listeners throughout the in an extended sense as the sound(track) or melody materials for the sound of an area are located on the-
landscape of Davos and surroundings. Ten micro- or acoustic signature that defines a natural territory. se spots. Fascinated by the specific natural sound
computers equipped with GPS were available for rent Humans and animals produce this kind of ritornello. A ambience of a place, for instance the murmuring of
at the Davos Tourist Office. Together with the device child that sings a song in the dark does this to block a brook or the geographical properties of a stretch of
the visitor received a map (see image p. 13) with the out its fear, to create through song a stabilizing centre forest we might be inspired to compose a romantic
proposed routes and a diagram showing the locations in the “chaos” of the unknown and to establish a safe motif of melody-loop.
of sound fragments. These sound-zones or so-called territory. Birds establish through their repeated song
“sweet spots” were placed in the landscape with a pattern their territory and thus build an acoustic barrier .ds davos soundscape creates a composition and
surveyor’s stake painted in a fluorescent color to mark around it. The ritornello is territorial or localized and sonic landscape from a number of sound territories
the area where a piece of music or sound is located according to Deleuze and Guattari even the keys and and overlapping sonic circles. By moving through the
and to simplify the acoustic “treasure hunt”; Google rhythms in music are territorial and influenced by their zones and areas the visitors create their own open
Earth has been an invaluable tool and composition aid regional provenance. composition. The routes proposed on the .ds map
for .ds – davos soundscape. can be followed in any direction and may be expe-
Sounds form territorial structures and from this fact rienced in shorter sections. The totality of the zones
.ds davos soundscape is based upon two concepts. originates the term ‘soundscape’: a sonic landscape. emphasizes the eclectic and sometimes contradictory
The first – The Open Work – stems from Umberto Eco A sonic landscape consists of acoustic environments character of Davos’s landscape: Davos Dorf and Platz
and is the title of one of the most influential writings that can be traversed. They overlap, are defined and present an urban face, the zones of Schatzalp and
about contemporary aesthetics. The text, which da- shift in relationship to each other. Sonic environments Weissfluhjoch show their alpine character, whereas
tes to the year 1962, defines an open work as one can be entered, traversed and left: this constitutes the path around the lake and along the Landwasser
that doesn’t intent to convey a definite meaning to the territories – according to Deleuze and Guattari the river to the woods cemetery are idyllic and on a stroll
be comprehended by the audience. The creation of defining of a territory is the act, the action which in- in the Kurpark and along the high promenade a more
the work of art is much rather an act into which the fluences sounds and environments and territorializes cultivated experience ensues. By following the routes
perceiving individual is directly involved by assigning them by using their specific characteristics. When and zones in an personal manner, varying chronolo-
the work a personal meaning. In .ds davos soundsca- the sonic and acoustic factors and components of gies and superpositions of our sounds emerge and
pe we intend to intensify this relationship insofar as an environment cease being functional and acquire a non-linear soundtrack to a movement through the
we establish a composition in the landscape whose an expressive quality they generate a territory. In .ds landscape is produced.
temporal structure and sonic attributes are generated davos soundscape we shape the sonic environments
by the presence and movement of the public in a real by marking them acoustically and giving geographical www.davosoundscape.ch
territory. elements a musical shape.
In their seminal book A Thousand Plateaus the two We plant a number of sound zones or acoustic mar-
authors – philosopher Gilles Deleuze and psychia- kings in Davos’ landscape. Sound engineers call the
Left: Sound segments at Davos lake, Davos. Right: Visitor with microcomputer and headphonesSelected exhibtions and projects pe Research WSL, Birmensdorf Radio play for Swiss Broadcasting Corporation SRF Foundation of the music label domizil, with Bernd
––– 2: Tenderenda der Phantast by Hugo Ball with Bernd Schurer
2017 trees: Downy Oak 2 – Schurer and Marc Matter.
Baum/Klang/Kunst/Mensch, an exhibition of the Al- –––
treelab pen Adria University, Klagenfurt, with Ch. Kubisch, B. Music for theatre: Migrantenstadl – Tim Zulauf,
Ars Electronica Festival, Linz Traubeck, W. Ritsch Fabriktheater, Zurich, with Bernd Schurer
BOZAR Palais des Beaux-Arts, Bruxelles
––– 2012 2003
AmazonFACE: Espirito da floresta/Forest spirit trees: Downy Oak – Exhibition, Workshop, Symposi- Participation at Electronic Music Archive, an exhibition
Inter-American Development Bank, Wahington DC; um. swissnex San Francisco curated by Gianni Jetzer and Norbert Möslang (Voice
Embassy of Brazil, Washington DC 2011 Crack), Kunsthalle St. Gallen
The Left-Hand Path – An interactive audio play,
2016 in collaboration with ORF Kunstradio. Zurich: Shed- 2002
trees: Pinus sylvestris – Stereo version halle/Old botanical garden. Graz: Musikprotokoll im Music and sound design for the national exhibition
Klimagarten 2085, Old Botanical Garden, Zurich Steirischen Herbst Expo.02, Expoagricole, Murten
2001
2015 2010 Music for theatre: Die Stelle im Park – Tim Zulauf,
trees: Pinus sylvestris – Stereo version Curating of the Milieux Sonores Exhibition, Kunstraum Theater am Neumarkt, Zurich
UN Climate Change Conference COP 21, Paris Walcheturm, Zurich/swissnex San Francisco
––– 1998
Bakar/Kraljevica 2008 Co-founding of the k3000 Medialab in Zurich together
Musikprotokoll im Steirischen Herbst Die Wunschmaschinen – Surround play/Installation with musicians, artists and designers
Joanneum im Lesliehof, Graz after Deleuze and Guattari‘s Anti Oedipus: Presenta- –––
––– tions at Kunstraum Walcheturm, Zurich (premiere) and We Are Somewhere Else Already – Swiss Institute,
trees: Pinus sylvestris – Stereo version the „40 years 1968“ festivities, Frankfurt New York: Group exhibition and presentation
ESC Medien Kunst Labor, Graz Viper Festival, Lucerne: Das metaphysische Kabinett,
––– 2007 with Felix Kubin, Amus Tietchens. a. o.
trees: Pinus sylvestris – Stereo version Davos Soundscape – Topographical composition for –––
Clarke House, Bombay the Davos Festival 2007, together with Jan Schacher ISEA Festival, Manchester: Revolting®
––– Participation and presentation
2014 2005
trees: Pinus sylvestris – Stereo version Recurrence Plot – Audio installation at Helmhaus Zü- 1997
SoundReasons Festival, Outset India, New Delhi rich, Stipendia exhibition Hörnetz 2 [listening network]: Contemporary radio
––– work and counter-information, Shedhalle, Zurich: Or-
trees: Pinus sylvestris – Spatial audio version 2004 ganization of workshops and conferences
Creative City, Zurich University of the Arts Transient Travels – World New Music Days 2004,
––– Switzerland; composition and installation with Jasch, 1996
trees: Pinus sylvestris – Stereo version COH, AGF, Hecker and Ilios Co-founding of Kombirama, an independent art spa-
Swiss Federal Institute for Forest, Snow and Landsca- ce.
Recurrence Plot, Helmhaus Zürich, 2005Selected live performances ––– –––
Electron Festival, Geneva Club 1955, Warsaw – with Schurer, Steinbruchel,
2016 Günter Müller
20 years domizil, Silent Green, Berlin/Kunstraum 2008
Walcheturm, Zurich MMKamp 2008, Dubrovnik, 2004
––– Horse Hospital, London
2015 Die Wunschmaschinen, Surround Radio Play, –––
Mehrspur Club, Zurich Malsehn, Kino, Frankfurt, „40 Years 1968“ World New Music Days 2004, Zurich
Biennal of Independent Art Spaces, Geneva Synthèse Festival 2008, Bourges, France Gare du Nord, Basel
Contribution to the concert of CIME Suisse –––
2014 ––– La Suisse Festival, Regents Studio, London
SoundReasons Festival, New Delhi, India Die Wunschmaschinen, Surround Radio Play, –––
––– Premiere, Kunstraum Walcheturm, Zurich Club Transmediale, Construction Sonor, Berlin
HEAD, Geneva
2007 2003
2013 Dorkbots Tokyo, Yokohama, Japan, –––
@PTT, Geneva with The Interactive Swarm Orchestra Ausland, Berlin
––– –––
2012 Hotel Schatzalp, Davos Festival 2007 – Electrograph Festival, Athens – with Bernd Schurer,
The Lodge, Zurich, with Michael Northam and Deer with Jan Schacher Marc Behrens, Dieb 13 a. o.
Happy Place –––
––– SonicDays, Fri-Art, Fribourg, with Schurer, 2002
Nova and Music, Zurich Main Train Station, with Steinbrüchel, Fennesz, DAT Politics a. o. Domizil vs. Antifrost Tour – with Bernd Schurer,
Steinbrüchel, Biosphere a. o. ––– Steinbruchel, Jason Kahn, Ilios, Coti
„Tenderenda der Phantast“, Cabaret Voltaire –––
2010 Ear we are Festival, Bienne - with Teleform,
Présences Electroniques, Geneva 2006 Stephan Wittwer, Barre Phillips a. o.
with Monolake, Leila, Biosphere a. o. Cuba, Münster – with Schurer and Frank –––
––– Niehusman Substrat, Zurich
Cabaret Voltaire, Zurich ––– –––
with Asmus Tietchens, Biosphere a. o. EEI Festival, Labin, Croatia Boa, Lucerne - with Dat Politics
––– ––– –––
MOS ESPA, Geneva Walcheturm, Zurich, with Jasch (Visuals) and Rote Fabrik, Zurich - with Coil
Ryoichi Kurokawa –––
2009 Expo.02, SonarSound, Neuchatel, with Teleform
domizil USA Tour: Sonic Circuits Festival, 2005 –––
Washington; SFAI, San Francisco; LACE, Unsound Festival, Krakow – with Schurer, Le Crime, Lille - with Teleform, Steinbruchel
Los Angeles; swissnex ,San Francisco Steinbruchel, Günter Müller Batofar, ...cherche la Suisse Festival, Paris
domizil US tour: Marcus Maeder live at LACE, Los Angeles, 2009Discography Bees & Honey, Andrey Kiritchenko, CD, Zeromoon Prizes/Grants Publications Contact
(Remix)
2016 2017 Maeder, M. (Ed.) 2017. „Kunst Wissenschaft Natur. domizil
non-human, CD, domizil 46 2002 STARTS Prize of the European Comission and Prix Zur Ästhetik und Epistemologie der künstlerisch-wis- Marcus Maeder
Quiconque, CD, domizil 17 Ars Electronica - Honorary Mention for ‚treelab‘ senschaftlichen Naturbeobachtung, Bielefeld: Tran- Schoeneggstrasse 5
2015 script Verlag. CH-8004 Zürich
progeny, CD, domizil 41 2001 2016 T/F +41 (0)44 241 59 52
Poisonhats, CD, Arts Centre Dublin (Compilation) City of Zurich, grant for arts and cultural mediation - Maeder, M. 2016. „trees: Pinus sylvestris“. Journal for maeder@domizil.ch
2013 20 years domizil Artistic Research JAR, edition 11, www.jar-online.net
topographie sinusoïdale, CD, domizil 38 2000
Substrat, CD, Stattmusik (Compilation) 2010 Maeder, M. Zweifel, R. 2016. „trees: An artistic-scien- Websites
2010 ––– MediaProject: The Left-Hand Path, Sitemapping, tific observation system“, proceedings SMC/SMAC
annex, Mini CD, domizil 35 Institut für Feinmotorik: Verschiedene, CD, IFFM Bundesamt für Kultur Conference 2016, Hamburg, Germany www.marcusmaeder.net
(Compilation) www.domizil.ch Marcus Maeder
2009 2009 Maeder, M. 2014. „Ambient culture: Coping musically http://blog.zhdk.ch/marcusmaeder
subsegmental, CD, domizil 32 1999 Composition comission by the Swiss Arts Council with the environment“, proceedings ICMC/SMC Con- www.avataradio.net Marcus Maeder studied Fine Arts at the University of
solipsistic_motion, 12’’, domizil 10 Pro Helvetia ference, Athens, 2014 www.thelefthandpath.net Applied Sciences and Arts of Lucerne and Philoso-
2008 www.wunschmaschinen.net phy at the University of Hagen. He is currently working
Die Wunschmaschinen, DVD, domizil 30/ZHdK 2006 Maeder, M. 2014. „Der Klang der Bäume“, in: Chris- www.davosoundscape.ch on his PhD thesis in Environmental Systems Science
Records Composition comission by the Swiss Arts Council toph Flamm: Baum/Mensch/Klang/Kunst, Ritter Ver- www.transienttravels.net at ETH Zurich. Maeder runs the music label domizil,
Pro Helvetia lag, 2014 www.kombirama.ch which he co-founded in 1996 with Bernd Schurer. He
2007 www.k3000.ch has worked as an editor and producer for the Swiss
This ship in trouble, Mini CD, domizil 24 1995 Maeder, M. and Zweifel, R. 2013. Downy Oak: Ren- radio station DRS and has been working as a curator
Studio grant of the Binz 39 Foundation in dering Ecophysiological Processes In Plants Audible. and research associate at the Institute for Computer
2005 Scoul/Switzerland Proceedings SMC/SMAC 2013, Stockholm, Swe- Music and Sound Technology since 2005. His artistic
Opera Calling, CD (Compilation) den. work focuses mainly on sound and media art, electro-
nic music and the artistic and media extensions of the
2004 Maeder, M., Schacher, J. 2011. „The left Hand path“, term. As an author, Maeder has written on a number
Transient Travels, VA, CD, domizil 23 (Compilation) in: Connect. Kunst zwischen Medien und Wirklichkeit, of topics in the fields of sound art and artistic rese-
Nürnberg: Verlag für moderne Kunst, 2011 arch.
2003
domizil vs. Antifrost live, - Live CD, domizil 19 (Com- Maeder, M. 2010. „Elektronische Musik, Kunst, Pop-
pilation) und Subkultur – in der Schweiz und anderswo“. In:
––– Bruno Spoerri: Musik aus dem Nichts – Elektronische
Club Transmediale, CD, Data Error (Compilation) Musik in der Schweiz. Zürich: Chronos Verlag, 2010
–––
La Suisse, CD, SME (Compilation) Maeder, M. (Ed.) 2010. Milieux Sonores - Klangliche
––– Milieus. Klang, Raum und Virtualität. Bielefeld: Tran-
script Verlag«Beeindruckt»: Burkhalter besucht «Milieux sonores» in ... http://www.tagesschau.sf.tv/Nachrichten/Archiv/2010/11/...
http://www.vitalweekly.net/podcast.xml
Kultur MARCUS MAEDER - ANNEX (3"CD by Domizil)
Press
Phytoacoustics – Listening To Trees | Neural http://neural.it/2015/02/phytoacoustics-listening-to-trees/ Nachrichten abonnieren
Wissen
47
Sonntag, 9. November 2014 / Nr. 45 Zentralschweiz am Sonntag
Earlier today I was not at home, but in a friends house waiting for something. The weather was
hot, and I lay down on his couch. In my bag was 'Annex' by Marcus Maeder, and I decided to
«Beeindruckt»: Burkhalter besucht «Milieux play it. Around the house there was a lot of activity of people constructing a new house on one
Die Bäume wachsen hören Kinderhusten:
Auch Placebo hilft
sonores» in San Francisco side (or perhaps putting an annex to it?) and on the other side motorized objects doing
gardening work. Maeder's music wasn't very loud on, but it merged wonderful with the sounds
NATUR Geräusche im Baum daeb. Husten kann kleine Kinder
Montag, 1. November 2010, 1:40 Uhr, Aktualisiert 07:16 Uhr coming from outside, even with all the windows closed. I fell asleep. Later on, now, I am at
sollen verraten, wie er wächst
und deren Eltern schnell um den
Schlaf bringen. In einer Studie des home again, listening again to 'Annex' in a more quiet surrounding of early evening (windows
und wie er auf Sonnenschein, Penn State College of Medicine in
Critical digital culture and media arts · Since 1993
Bundesrat Didier Burkhalter hat im Rahmen seines USA-Besuchs in San open). I am to understand that this work is an extension (for that is what an 'annex' is, in an
Philadelphia wurde ein Drittel der
Francisco die Schweizer Ausstellung «Milieux sonores» besucht. Die
Kälte, Trockenheit und weitere 120 Kinder im Alter von 2 bis 47
architectural sense) of 'Subsegmental' (see Vital Weekly 702). I am not sure if Maeder draws
Klanginstallationen, die Anfang letzten Jahres in Zürich gezeigt wurden, gefielen
Einflüsse reagiert. Ein Biologe SUBSCRIBE TO NEURAL AUDIO ART EMUSIC EXPERIMENTAL FIELD RECORDINGS
from the same sounds as on 'Subsegmental', but he uses 'very short sound segments
und ein Klangkünstler suchen KALEIDOSKOP dem Kulturminister sehr gut. Burkhalter sei von der Ausstellung «sehr
Phytoacoustics – Listening To Trees reproduced at such low speed as to stretch out and form vast soundscapes' - I couldn't have this
einen neuen Zugang zur Natur. beeindruckt» gewesen, sagte sein Sprecher Jean-Marc Crevoisier.
any better myself. The four pieces (sixteen minutes in total) emerge on the near silence,
especially 'Plateau' is very quiet, much alike the eleven pieces on 'Subsegmental'. Perhaps
Monaten mit Agavensirup behan-
MARTINA HUBER delt, der ärztlich empfohlenen Al- Trees have voices, but
without many differences between this one and that one, but its simply beautiful stuff. Maybe
wissen@luzernerzeitung.ch ternative zu Honig. An die zweite
they are mostly
Ein Knacken in unregelmässigen Ab-
ständen, nicht immer gleich hoch, nicht
Gruppe wurde ein karamellfarbenes
Placebo mit Traubenaroma ausge-
geben. In der dritten Gruppe wurden inaudible. For several
Marcus Maeder
its too -early
Die Wunschmaschinen
to play this music and I should wait -until
electronic music...
full darkness has http://ww
set in, but its tranquility
immer gleich laut: Das Geräusch, mit
dem sich der Botaniker Roman Zweifel
die Eltern gebeten, den Husten ihrer
Kinder zu ertragen. Erwartungsge- decades scientists have is simply great as it is. (FdW)
seit mehr als einem Jahrzehnt beschäf-
tigt, klingt ein bisschen wie Popcorn, das
mäss besserten sich Husten, Schnup-
fen und der Schlaf des Kindes (und been studying the Address: http://www.domizil.ch
in der heissen Pfanne aufplatzt. Mit der Eltern) in der dritten Gruppe
Hitze hat es denn auch zu tun, und mit
CURRENT ISSUE BACK ISSUES am langsamsten. Die Therapie mit acoustic emissions of
Trockenheit: Es entsteht nämlich, wenn dem Agavensirup erwies sich in
in einem Baum plötzlich die feinen FIND NEURAL IN STORES allen Endpunkten als überlegen. Die plants in order to gain
Wasserfäden abreissen, die dicht unter Forscher konnten aber feststellen,
seiner Rinde von den Wurzeln bis in die dass das Placebo dem Naturheil- insights into plant
Blätter führen – sei dies, weil das Wasser mittel praktisch ebenbürtig war.
bei starker Sonneneinstrahlung schneller physiology. A paper
verdunstet, als es aus den Wurzeln nach-
fliessen kann, oder weil im Boden nicht NEURAL ARCHIVE Historische Drucke published by Milburn and
genügend Nässe vorhanden ist, die der
Baum in seine Blätter befördern könnte.
The Neural Archive is a repository of publications neu frei zugänglich Johnson in 1966 on the
Bereits in den 1960er-Jahren haben For-
collected by us during the years. Browse our
schende das Phänomen beschrieben,
collection here.
idw. Über 100 000 von den rund conduction of sap
das seither in der Fachwelt als «Kavi- 300 000 im Verzeichnis der im deut-
tation» bekannt ist. describes
schen Sprachraum a erschienenen
method that the researchers developed to measure a 12" activism art biotech book bookshop CD cd+ cd-rom code copyright dvd floppy disk hacking hacktivism interactive literature ma
Roman Zweifel arbeitet an der Eid- Plants, Androids and Operators: A P… Drucke des 17. Jahrhunderts sind psychogeography radio religion robot science software sound sound art surveillance theatre tv video videogame visual abstract ac
genössischen Forschungsanstalt für phenomenon
digitalisiert. bedeuten- “cavitation”, a kind of embolism occurring in a
Damit stehentermed circuit bending deep drone electro electronic dance electronica ethnic experimental field recording field recordings folktronica fr
Wald, Schnee und Landschaft und Author de Teile unseres kulturellen Erbes microsound minimal minimal techno noise plagiarism playlist post rock prepared piano rave sound
möchte mit Hilfe dieser und weiterer
Geräusche besser verstehen, welche
Clemens Apprich, plant’s
mit Werken aus vascular
Philosophie, system
zin, Recht und Theologie oder her-
Medi- when it becomes dehydrated. The researchers
Josephine Berry
Prozesse innerhalb eines Baumes ab-
laufen, wie genau er Wasser und Nähr-
Slater, Anthony Iles, attached
ausragende severed
literarische Werke leafs
Opitz, Gryphius oder Grimmels-
von of a plant to the needle of a record player and . SOUND . ENGLISH
Oliver Lerone
stoffe transportiert, wie er wächst, wie
er atmet. Und auch, wie er auf seine Schultz observed
hausen how theonline
jedem Interessierten
frei unter www.vd17.de zur Verfü-
leafs, while gradually drying up and desiccating, audio art . experimental . CONTACT
Umwelt reagiert, auf Schwankungen im Year gung. Die Transformation der in
would produce acoustic clicks that the record player was able to
Wetter, auf Veränderungen des Klimas.
«Im Wallis beobachten wir in den letz-
2014
Publisher/Label
deutschen Bibliotheken aufbewahr-
ten Drucke in digitale Form schafft
amplify. While these scientists employed an instrument designed for
Marcus Maeder - Die Wunschmaschinen . FEED RSS N
ten Jahrzehnten, dass Waldföhren ver- die Grundlage für neue Forschungs-
mehrt absterben und teilweise von Mute Books fragen. DVD - Domizil . FIND in neu
the reproduction of music to study the acoustic emissions of plants,
Flaumeichen verdrängt werden», sagt
er. Laut Zweifel haben zwar bereits ver-
Country Since the mid-nineties, the experiments of Marcus Maeder permeated the
schiedene Studien gezeigt, dass dies eine UK more recently Marcus Maeder has approached this field from the Kombirama of Zurich with a certain conceptual freshness, which was both
Reaktion der Bäume auf das Klima ist,
das in den letzten 30 Jahren wärmer opposite end, using scientific measurement tools to create works of
ANZEIGE «Sehr beeindruckt» von Schweizer Kunst-Ausstellung in San Francisco: Bundesrat Didier Burkhalter. seminal and intuitive. It was at this time - for the first time - that the term "digital
und trockener geworden ist. «Wissen-
sound art. Maeder is leading the research project “Trees: Rendering reuters/archiv culture" found its application. They were the same years in which Bernd Schurer
schaftlich sind aber viele Details noch
nicht genügend verstanden.» founded Domizil Music, which now, after more than a decade, is home to this . PRINTED
World Projects: Global Information … Ecophysiological Processes Audible” at the Institute for Computer
Geflüster im Ultraschallbereich interesting project inspired by the Anti-Oedipus by Gilles Deleuze and Felix
Im Hitzesommer 2003 hat der For- Author Music and Sound Technology in Zurich. Having gathered audio Guattari. Based on this essay, filled with premonitions on the schizophrenic
scher an Bäumen im Wallis erstmals
selbst Kavitationsgeräusche gemessen.
Markus Krajewski
Year
HERZLICH
recordings and environmental data from several forest areas and Der kalifornische Gastauftritt der Schau wurde von der Mehr zum Thema process at the heart of capitalism, Maeder sketched an oblique radio play, skillfully extricated from
Sehr starke sogar – aber gehört hat er
2014 WILLKOMMEN Kulturstiftung Pro Helvetia in Zusammenarbeit mit dem distinctive musical elements and "actorial" narratives (where the characters take the form of Artaud,
sie damals noch nicht, denn sie sind in species of trees, the material obtained is presented within a series of «Milieux sonores» in
LIEBE Wissenschaftskonsulat swissnex ermöglicht.
spatialOKTOBER-
einem so hohen Frequenzbereich, dass Publisher/Label Freud, Ivan Chtcheglov and Guy Débord). A very brilliant cast - it seems - but difficult to keep together.
das menschliche Ohr sie nicht wahr- University of sound installations that employ a matrix of custom-built San Francisco As if this were not enough there are also musical tributes added, ranging from Kraftwerk to Velvet
nehmen kann. So hat er die feinen Minnesota Press
Tonkünstler Marcus Maeder hat in Salgesch VS eine Föhre mit jeder Menge
BABYS
omnidirectional loudspeakers. The loudspeakers are suspended in the
Schwingungen, die er mir Ultraschall-
Werke über Klangräume Underground, from Nick Cave to Richard Wagner. A greater lack of constraint seems to add something to
sensoren an der Baumoberfläche mass, Technik bestückt, um den Baumgeräuschen auf Country
die Spur zu kommen.
als Zahlenreihen und Kurven auf dem USA Bild Roman Zweifel shape
Wir freuen uns ofüber
a die
cube formed by 9 columns of 4 speakers each. Using virtual
58 Babys, the sonorizations here, thanks to an eccentric synthetic "cabaret", confined in a pathological consume of
Computer ausgewertet. Dort hat er sie die im Monat Oktober bei uns Artikel bewerten drum machines and hypnotic choruses that take shape in cyber-existential "ballads."
auch in Beziehung gesetzt mit klassi- imaging techniques field recordings of climate conditions are projected
in der Klinik das Licht der Welt
erblickten. Wir dürfen vorstellen: Zu sehen sind Werke der Teams Daniel Bisig/Jan Subscribe 1
schen Messwerten wie Temperatur, technologie der Zürcher Hochschule der akustisch in Bäumen festhalten lassen. erlebt: «Wenn Regentropfen auf die Aurelio Cianciotta
Sonneneinstrahlung, Luft- und Boden- Künste. Schon beim ersten Treffen merk- Andererseits ist es auch ein künstleri- unterschiedlich dicken Äste des Baumes outside
Giulietta Rosalba,ofEmma,
the Petar,
boundaries of the installation, while recordings of the Schacher/Martin Neukom, Yves Netzhammer/Bernd Schurer, only 30.90
feuchtigkeit, Saftfluss und Baumdurch- ten die beiden, dass sie sich ideal er- sches: nämlich die wissenschaftlichen aufschlagen, klingt dieser wie ein Xylo- Luan Michel, Loris, Luca, Anja,
messer – denn die Baumklänge ohne gänzten, und sie stellten ein gemein- Daten durch Klanginstallationen einer phon.» Auch sonst seien im letzten Jahr acoustic
Salma, emissions
Antonija, Hanna, Nino, of trees are reproduced within the installation on Jeroen Strijbos/Rob van Rijwsijk sowie Jason Kahn, Felix
ihren Kontext zu interpretieren, sei un- sames Projekt auf die Beine. breiten Öffentlichkeit zugänglich ma- einmalige Naturaufnahmen geglückt. Francis Patrice, Mila Valerie,
Profos und lokalen Kunstschaffenden. Posted at 10:08 AM - Nov 18/2009 Current Issu
möglich. Im Sommer 2011 führten sie an einem chen. «Ein Baum ist keine tote Materie, Etwa der Flügelschlag einer landenden
MICROPOSTS
individual
Jona, Dian, Lorik, Lea speaker
Alva, columns. Physiological data gathered from the Artikel teilen
Kavitationsgeräusche habe er bereits exponierten Südhang im Wallis erste sondern ein sehr lebendiges Wesen, das Wespe, das Knabbern eines Käfers oder
damals zweifelsfrei identifizieren kön- Messreihen an Waldföhren und Flaum- stark auf seine Umwelt reagiert. Das die Schritte einer Blattlaus, die einem
Alex Benjamin, Gian, Kim,
forest environment and from the trees is used to articulate the email this | + facebook | + twitter | TrackBacks (0)
nen, weil sie verglichen mit anderen eichen durch, mit empfindlicheren Sen- sollen die Leute in einer musikalischen Elefant gleich über den Sensor stampf-
Mateo, Sarah,
Noel Maxi, Amira,
Jendrik,
. DEL.ICIO.
Baumgeräuschen ziemlich laut seien. soren und mit Technik, welche die Umsetzung der ökophysiologischen Pro- te. Kickended by Silvio playback
Lorin, Viktor Ivo, parameters of the audio recordings, so that parameters such «Milieux sonores» besteht aus Klangräumen, unter anderem Facebook
Mailine Selime,
del.icio
10CAsNsjY0MDAy1TUzMTS1sAQABiyiRA8AAAA=
Doch bei anderen, Geräusche tausend- zesse selbst erleben», sagt Maeder. In die Klanginstallationen, die Maeder
Lorusso is online as the recorded temperature affect the loudness of the installation.
Elma, Alina
10CFXKoQ6AMAxF0S-i6ev2upVJMrcgCB5D0Py_guAQV5zkjtEo-rX0de9bg6px8gzWaCAl1BvdJew1lKbIMxKDAeL3HwVUupWUWNWrRwm5z-sBimReM2YAAAA=
des gefeierten Schweizer Computerkünstlers Yves Twitter
leiseren Geräuschen fach verstärkt und in So haben Zweifel und Maeder im bisher entwickelt hat, sind diese Ge-
« Robert Hampson - Vectors | Main | Gintas K - Lovely Banalities »
stiess Zweifel tech- einen hörbaren Be- Herbst 2013 eine Walliser Waldföhre mit räusche bisher nicht eingeflossen. Zu
database artwork Netzhhammer. Er hat zusammen mit Bernd Schurer E-Mail Is it raining
nisch an Grenzen: «Wir haben viele reich transponiert. jeder Menge Technik ausgestattet und hören gibt es vielmehr Baumgeräusche, Visitors are presented with an auditory experience in which the
Liebe Eltern, wir gratulieren
«Das Baumgeflüster Die Resultate waren 13 FEB
archiving
seither Baumklänge aufgezeichnet sowie begleitet the Kickstarted
von Klängen, die eine musika- herzlich und wünschen alles Gute. «Mutmassliche Windlasten» entworfen, eine Installation aus toothpaste
ist extrem leise, und Geräusche gefunden, viel versprechend: zahlreiche weitere Daten, die eine Inter- lische Umsetzung verschiedener Mess- combination of both recognizable and previously unheard sounds Share
es gibt auch Störge- die wir noch nicht Anfangs waren die pretation erlauben sollen. «Wir haben daten campaigns that got not
darstellen. Beispielsweise ist die Geburtswelt Klinik St. Anna einem Tisch, offenen Schubladen und klingenden Säulen, Tastes Like
St. Anna-Strasse 32
räusche, die es über- erklären können.» Kavitationsgeräusche viele Geräusche gefunden, die wir noch Luftfeuchtigkeit einem gedämpften Was-
nicht erklären können», sagt Zweifel. serrauschen nachempfunden, This
even a single penny. create
6006 Luzern a sonic representation of natural processes, attempting to die den Inhalt der Schubladen vertonen.
tönen können. Das ist
R O M A N Z W E I F E L ,
nur tagsüber zu hö- die Bo-
T 041 208 32 32 Gefällt mir
Nils Völke
um ein Vielfaches
anspruchsvoller zu B I O LO G E
ren. Doch während
der mehrere Wochen
Etwa eine Art Knistern, das regelmässig denfeuchtigkeit ist eine Art tiefes Sum-
auftaucht. Oder ein Knacken, den Ka- men, und sobald Sonnenstrahlen of
competitive aesthetics auf
convey the complexity of specific ecological systems through
hirslandenbaby.ch
- Variation
messen als Klima-
daten wie Tempera-
andauernden Tro-
ckenperiode knarrten
vitationsgeräuschen zum Verwechseln die Äste fallen,
failure has setzen
beenStreicher
ableein.
ähnlich, das aber nur vereinzelt und Ganze wird ergänzt von Bildern, damit
toDas correlations between processed environmental data and recordings of
KOMPETENZ, DIE VERTRAUEN SCHAFFT.
Hand anlegen - auf Touchscreens VARIATION
tur, Sonneneinstrahlung oder Luftfeuch- und knacksten die Föhren immer länger attract
mitten in der Nacht auftritt – also dann, man intuitivthe attention
versteht, dass mit ofdem acoustic phenomena. Matteo Marangoni
tigkeit.» So habe er 2008 in einer wissen- auch in die Nacht hinein. Laut Zweifel wenn der Baum laut gängiger Theorie Tageslicht auch der Ton einsetzt und Pruned: W
schaftlichen Publikation auch Geräusche ein Hinweis darauf, dass die Trockenheit ruht und kein Wasser in die Blätter dass major national
der Baum am stärksten knackst, In den «Vier Nebenräumen» von Felix Profos und Silvan swarm is an
interpretiert, die sich später als Mess- ihnen je länger, desto mehr zusetzte und hinaufzieht. wenn die Sonne kräftig auf seine Äste
newspapers (from M
Maarrccu
uss M
Maaeed
deerr lliivvee aatt tth
hee LLood
dggee//Z
Zuurriicch
h –– eexxcceerrp
ptt
fehler herausgestellt hätten. «Da wusste sie immer länger brauchten, um sich zu scheint. Laut Zweifel waren the
Mitglieder Gretener lässt sich mittels zwei Trackballs durch whose move
ich: Wenn ich das seriös weiterverfolgen regenerieren für den kommenden Tag. Regen übertönt alles einer japanischen Delegation von der
will, brauche ich Hilfe.»
British “The Guardian” to
Zum Trockenstress der Bäume werden Klangkomposition so begeistert, dass sie Geräuschlandschaften navigieren. Hand anlegen - diesmal collective of
Prozesse hörbar machen
Auf gleicher Wellenlänge
die neusten Daten allerdings nur wenig am liebsten eine CD davon mit nach
auf Touchscreens - lässt sich auch in «Flow Space» von
Ein Jahr später starteten sie gemein- Aufschluss geben: Zu verregnet war der Hause genommen hätten. Pruned: G
Und diese Hilfe liess nicht lange auf sam das Projekt «Trees: ökophysiolo- Sommer 2014. «Aufschlagende Regen- Daniel Bisig, Martin Neukom und Jan Schacher vom Institut
sich warten: Durch Medienberichte auf gische Prozesse hörbar machen», das tropfen sind so laut, dass sie sämtliche mobile
das Thema aufmerksam geworden, vom Schweizerischen Nationalfonds Geräusche aus dem Innern des Baumes für Computermusik und Soundtechnologie an der Zürcher
GPS Coyote
nahm im Jahr 2009 Marcus Maeder zu
Zweifel Kontakt auf, Klangkünstler und
finanziert wird. Das Ziel ist einerseits
ein wissenschaftliches: nämlich durch 1 von 3
übertönen», sagt Maeder. Deshalb sollen
die Messungen noch mindestens ein www... 03.06.15 07:52 Hochschule der Künste.
wissenschaftlicher Mitarbeiter am Ins- Langzeitmessungen erkunden, ob sich Jahr fortgesetzt werden. Der Klangkünst- Reinhören: Geräusche einer Waldföhre. Street Art
titut für Computermusik und Klang- Phänomene des Klimawandels auch ler hat Störgeräusche aber auch positiv www.luzernerzeitung.ch/bonus
life..." | Flic
Die Ausstellung gastiert noch bis zum 19. November in der
humor art m
Gray Foundation for the Arts (GAFFTA) in San Francisco.
Street Art St
Sticker onto
(sda/halp)
ethernet o
improvisat
Ethernet Orc
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