1.2. Most important results and a brief description of their significance
Aims were more than achieved. Fundamental experiments used either vIKO or IKO with various sounds, static or moving beamforming effects, and several layers of beams under the influence of precedence and grouping. They provided comprehensive insights into the IKO’s auditory effects, their dependency on sound and spatial geometry or reflector arrangements [SFZ19, WZFH17, WF18].
Correspondingly, models of distance and direction perception [ZFWZ16, WF18] were conceived, understanding of how moving-beam trajectories map to auditory event trajectories acquired [WF18], and the hierarchical construction of auditory sculptures, their classification, and sculptural quality grading [SFZ19, WSFZH17].
The technology was made commercial in a collaboration with the company Sonible GmbH, with the product/instrument IKO by IEM and Sonible. It was used in an international call for
compositions for IKO (2015), several workshops (2016, 2x2017), various concerts, and intensive workshops (2015,2x2017,4x2018). Disciplines of the project involved electroacoustic music, psychoacoustic experimentation, acoustic/audio technology. Musicology was involved in discussions of the final symposium of the OSIL project and in the preparation of comparative workshops in 2018 and 2019.
The team members prepared and selected artistic material for the IKO to be extensively
explored in our research. But not only Gerriet K. Sharma from the team composed complex works for the IKO. These art-based research results of auditory sculptural features were shared with international guests and scholars who could benefit from the IKO and the OSIL project (Antonia Mannhartsberger, Paul Wolff, Ana Dall’Ara-Majek, Angela McArthur, Giulia Vismara, Mesud Zaimovic, Jan Urbiks, Stefan Riedel, Gut’s’n’faders). Those composers could work on and present their own pieces for the IKO in concert. Most of them starting out with workshops/courses held by Gerriet Sharma, e.g. as Edgar-Varese guest professor (master class “Spatial Practices”) at TU Berlin, at two 3-Day Ambisonic Symposia in 2017, or two international workshops at TU/UdK Berlin and HAW Hamburg, or local briefings at IEM.
Two artists in residence at IEM specifically worked on pieces with the IKO (Dugal McKinnon, Angela McArthur), and Natasha L. Barrett composed a piece for IKO as a guest in 2018 and 2019.
The applied result and developed means of sculptural expression were interesting enough that renowned institutions such as Universität der Künste Berlin, SIM Berlin, Next generation festival and InSonic-Symposia ZKM Karlsruhe, HAW Hamburg, Helmholtz-Zentrum Berlin, Technische Hochschule Köln, Izlog festival Zagreb, Musikprotokoll/Steirischer Herbst, SMC Hamburg, NYCEMF New York, Tonmeistertagung, hosted concerts, mostly in music festivals or conferences.
We expect that the auditory sculptures [SFZ19] and body-space relations [WSFZH17] contribute new means of verbalizing and understanding various auditory effects that are utilized in electroacoustic and acousmatic music, in general. Most obviously this was presented in a lecture by Gerriet K. Sharma, Frank Schultz, and Stefan Weinzierl (Hybrid Lab TU/UdK-Berlin 2018), and Sharma and Schultz in Hamburg, klingtgut in 2018. The newly developed descriptions of spatio-morphologies allow for a deeper discussion and aesthetics discussions in a comparative receptionist or creative and artistic ways.