Ina Thomann

Austria °1986
affiliation: Institute of Electronic Music and Acoustics, Graz, Austria
en

I am an electroacoustic composer and sound artist currently based in Graz, Austria. I studied Computer Music and Sound Art at the University of Art in Graz and am now pursuing a Doctorate at the Center for Artistic Research, focusing on “long durational compositions in the field of performative sound installations.” My compositions and projects are rooted in a strong conceptual and research-driven approach. I primarily work with self-programmed sounds and noises, field recordings, and self-built instruments, exploring their potential in innovative and immersive ways. My works and sound installations have been presented and exhibited internationally, including Detroit, Krakow, Stockholm, Vienna, Graz and other locations worldwide. Since 2023, I have been focusing my artistic practice on long-durational compositions. My aim is to explore the potential of this compositional form, the performative gray area between concert and sound installation in which I can operate, and how the perception of the composition maybe changes over time.

https://world-of-lino-leum.com/

research

research expositions

  • between the minutes (2025) author(s): Ina Thomann published in: HUB - Journal of Research in Art, Design and Society
    This essay examines the subjective perception of time during the performance of long musical forms from the perspective of the performer. The starting point is the composition "Haltezeit", which works specifically with the stretching of time. Two improvisational performances without an audience will be used to explore how the perception of time changes in the course of performances lasting several hours and how this influences improvisational behavior. Practical experience is combined with concepts from the fields of philosophy, performance studies and musical improvisation research. The artistic experiments show that physical states such as tiredness or tension as well as external disturbances significantly influence the subjective perception of duration. While inner restlessness led to an extended experience of time and more frequent improvisational interventions, calmness and concentration favored a condensed, meditative experience of time with less frequent changes. Artistic practice thus becomes an experiential space for a qualitative perception of time beyond measurable structures. The essay sees itself as an open research gesture that invites us to perceive time more consciously as a flowing continuum in a performative context.
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