Annika Hachmeister and Frieder Behrens show with the Telemin how to build an innovative musical instrument with a simple telescopic rod and a few sensors. This opens up new performative concepts and insights into digital sound design. For musicians* the Telemin as an interface offers the opportunity to overcome barriers to digital instruments.
The professional groups of sound, lighting and event technology are not the focus of music research – and even less so are the women who work in these professions. Annika Hachmeister’s bachelor thesis on this topic is currently available in the area of ‘Research’ – current scientific papers
The ((audio))-team has created a playlist. For all occasions and the whole family!
The sound installations ‘Call For Action*’ and ‘Connection is made…’ interact with the mobile devices of their viewers* and thereby illuminate different aspects of the relationship between the human being and his or her means of media communication. This is achieved, among other things, by looking back into monophonic times and by revealing the silent operations of the mobile device (see videos).
It rattles, whistles and drums. What is clear is that this artifact is about making yourself heard. The protest machine is equipped with everyday objects – such as pots and pans – which unfold loud qualities here. For the first demonstration in the lecture hall corridor (see video), the whole thing was staged with a surveillance camera and monitor, in order to also address the control of public space.
In the research area of the llaudioll.de website current scientific work is available for viewing and downloading. Newly arrived are bachelor and master theses with the following focal points: Postcolonial perspectives on music trends; streaming and curated playlists; the effects of the restructuring of music on the net; sound design in the e-automotive industry.
by Magdalena Lanman Niese
“We believe that we are able to totally control the sound and structure of music with the help of digital technology and its possibilities. One may think we can control musical structures (…). But this control is not manageable. The musical artefact which is created goes beyond the digital because it is not constricted (…).”