about me

project proposal

Hypothesis of the algorithmic frame for the sensor and sound layers. HH's and David's systems are coupled here as "organically differentiated" sub-systems. The video component needs further definition.

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List of technical components used in the installation.

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Hanns Holger Rutz

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Hanns Holger Rutz (b. 1977) is a sound artist, composer/performer, researcher and software developer in digital art. Since 2013, he works as researcher at the Institute of Electronic Music and Acoustics (IEM) in Graz, where he currently leads the FWF-funded artistic research project Algorithms that Matter (Almat). He holds a PhD in computer music from Plymouth University, UK. His work centres around sound and installation art, often extending sound with other media such as digital still or moving image, text or physical objects. Other areas include live improvisation and electroacoustic music. In all media and formats, the development and research on software and algorithms plays an important role. The central theme in the recent works is the materiality of writing processes, and how compositional processes can be rendered perceivable in the display of art. Hanns Holger Rutz lives and works in Graz, Austria.

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meta: true
date: Jun-2018
author: hhr
project: koerper
event: Thresholds
keywords: []


As me and David are more absorbed due to the organisation of the workshop, will will probably reduce our presence in the exposition to one object that we both work on, which is part of a new series that we are currently developing: Körper (Body/ies). This project has a dedicated exposition: Link.

In Körper, we are interested in understanding how the algorithmic can relate to the corporeal. Can aspects of the corporeal be abstracted from the particular human or animal body? What constitutes this "generalised" body? Is body a reading by an observer or something "manifest" emanating from "a body"? Does it make sense to talk about an algorithmic body if there is no physical motion in space?

{function: proposal, keywords: [algorithmic, corporeal, body, space]}


The hull of "module A" is a metal cage (an old fish trap), in which the sensors and actuators are installed. At the base of the hull, located on a wall side, a small video monitor is embedded.

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Red, slightly translucent wires form part of the visual appearance.

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"Presence" of other bodies is determined through interferences in the signals of five pairs of ultra-sound sensors.

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The physical body is transposed to a sonic body, using five small "ocellated" speakers pointing into various directions.

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