PDCON:Concerts/Thomas Grill: Difference between revisions

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==Points of View==
==Points of View (2010/2011)==
Artist: Thomas Grill
Artist: [http://grrrr.org Thomas Grill]


Electroacoustic composition in five movements, total duration 18′.
Electroacoustic composition in five movements, total duration 18′.
16 discrete channels, adaptable to various loudspeaker configurations.
16 discrete audio channels.


The “Points of View” feature sound materials that hardly show relations to natural-sounding objects.Nor do the composed acoustic spaces originate from familiar contexts. The spaces enwrap, open up windows, form edges and surfaces. Sounds develop therein, unfold their existences and interact with each other. The listener cannot escape from taking his/her position within this sonic field, exposed to an architecture of sounds and their intrinsic mechanisms. Once almost familiar, and then again totally alien.  
The "Points of View" feature sound materials that hardly show relations to natural-sounding objects. Nor do the composed acoustic spaces originate from familiar contexts. The spaces enwrap, open up windows, form edges and surfaces. Sounds develop therein, unfold their existences and interact with each other. The listener cannot escape from taking his/her position within this sonic field, exposed to an architecture of sounds and their intrinsic mechanisms. Once almost familiar, and then again totally alien.  


 
*http://grrrr.org/points_of_view
*http://grrrr.org/2011/03/29/points_of_view/


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{{Template:PdCon11}}

Revision as of 10:34, 18 July 2011

Points of View (2010/2011)

Artist: Thomas Grill

Electroacoustic composition in five movements, total duration 18′. 16 discrete audio channels.

The "Points of View" feature sound materials that hardly show relations to natural-sounding objects. Nor do the composed acoustic spaces originate from familiar contexts. The spaces enwrap, open up windows, form edges and surfaces. Sounds develop therein, unfold their existences and interact with each other. The listener cannot escape from taking his/her position within this sonic field, exposed to an architecture of sounds and their intrinsic mechanisms. Once almost familiar, and then again totally alien.


Kreativfonds Bauhaus-Univeristät WeimarElectronic Arts Blog für digitale SpielkulturThe Mozilla FoundationAllied Vision TechnologiesFreistaat ThüringenBauhaus-Universität WeimarHochschule für Musik Franz Liszt WeimarFraunhofer Institute for Digital Media Technology IDMTStadt WeimarKlassik Stiftung WeimarNKFaculty of MediaStudio for electro-acoustic MusicKulturTragWerk e.V.Elektronisches Studio der TU BerlinMaschinenraum Hackerspace WeimarRadio Lotte WeimarSponsors and partners of the 4th internationals Pure Data Convention in Weimar 2011

4th international Pure Data Convention 2011 Weimar ~ Berlin