Between the profound quiet of space and the thunderous noise of daily life is a zone of the unheard. Our sense of hearing links us constantly to these spheres of 'our' time, sometimes narrow, sometimes bottomless, but always opening and full of life.

As an acoustic artist, I begin somewhere with a sound and mix a palette of tones from all over the world to shape instruments, sculptures, architecture, vibrating arches of sound, pillars of stand-ing oscillations in fields of time and place.

I burrow through the noise-garbage of our civilisation, break through the sound barrier of technological isolation, and open up space and time around me.

Sound sculptures float like buoys in the tides of the seas of noise. On open land, sound building sites are created for tunnelling under the flow of urban noise and permitting combinations to develop, sound by sound.

Gradually coherent synchronised territories are assembling that are further connected with each other via data networks. From sound observatories work is in progress for the tuning of the global acoustic sphere for extensive flights of sound through space and time.

Intercultural sound bridges link isolated social acoustic islands to produce a stream of sound, which - held together at the speed of light - opens up one acoustic horizon after another.

Between the roar of blood and the whir of nerves, a window opens up for hearing, as a permanent link with the outer layers of life stretched around our planet like a thin and vulnerable skin.

And at the beginning of this journey through space and time there is always a simple sound, a breath, a scratch, a click, a nothing.

1st voice: NAVIGATION (announcing)

elastic space machine

micro-network for on-line sound transformations, narrow-casting, interactive sonic architectures with further networking potential comprising a just about manageable battery of equipment based on develop-it-yourself cassette machinery, delay arrays, transparent matrix mixers and highly mobile dual directional plexiglas speakers.

SONIC TOWER:

a vertical cable structure filling the full height of the space, with at least six speaker boards radiating in various directions; minimum height 5 m, optimum 12-15 m or 20-30 m.

SONIC ORBITS:

circular speaker configurations with, say, three super-imposed levels. depth of sound field 15-50 m.
the plexiglas speakers combine particularly well with existing loudspeaker systems, such as PA, fold-back monitors, or conventional speakers on stands.

fast-changing spatial distribution of various sound sources; gliding spatial movements achieved through changes in volume, vectorial amplification (the same sound at different intensities in different reproduction systems);
especially suitable for the multi-layered behaviour of direct and indirect sound components.
the spatial constellation and the architecture of the spaces involved produce a quite specific dynamic spectrum of potential spatial presence: from maximum localization (a quasi point source) to maximum diffusion (like a hovering sound sphere).

the original sound signal is assigned to six channels, which can be used to delay the signals in-dependently of each other and on-line.
delay clusters of up to approx. 50ms create spatial pictures of compact spaces. time cells of up to approx. 250ms open up virtual flights of spaces that can be given extension and direction. time chains of up to 1.2s produce rhythmic spatial movements for sharply articulated sounds and widening fields of space-time for gliding sounds.

light sensors are used so that the network instrument responds to shadow movements in the immediate surroundings.
together with various other signals, these control signals influence the ongoing sonic stream, and are also fed into a "digitrap" (a 36-channel switch box) to switch electro-magnets, step motors, light circuits, hydraulic valves, etc.
the local product of such media feedback loops is fed into com-patible data streams in the higher-level data network via modem, telephone line and isdn.

if a telematic link is maintained for several days, it is possible to let transparent, multidimensional, accessible media architectures grow. alternating data streams are also conceivable. the media tides thus created have a cyclical influence on the potential horizon of perception.

a continuous and relatively stable network, several time zones in depth, will give access to new perspectives in time and space. large-scale synchronized coherent environments based on media feedback could develop, sonic cities capable of relating the planetary deep-time perspective of a continuous 24-hour day to the corresponding electromagnetic space.

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