Zeitraum Formulations

The sound environment Zeitraum exists in form of several formulations. The work’s primary manifestation as installation (*) is also considered to be a formulation, although it remains inaccessible through this exposition. All formulations point in their particular ways at the work. The more formulations one engages with, the clearer the work is expected to appear in one’s imagination. Although every formulation carries the potential to address the essence of the work, any experience of it is expected to benefit from engaging with several formulations. The seven formulations making up this exposition afford an enactive exploration inspiring imagination and reflection as much as the primary formulation does.

Each formulation is exposed on a separate page, in its own space, as all of them are understood as freestanding manifestations of the work. Going from one to the next implies enacting a change of perspective. All formulations are directly accessible from the main menu of this exposition or through the following guided tour.

◊ Auralisation

Three representative listening positions and their (static) acoustic perspectives may be engaged with. In a top view of the installation the loudspeakers are depicted as black dots and the listening positions as drop shapes. The sweet spot is marked in grey. Clicking on the drop shapes starts and stops the playback. The dimensions of the space are 32 by 16 meters.


(*) Zeitraum marks the end point in a series of case studies I conducted in the course of the project ◊ The Choreography of Sound (funded by the Austrian Science Fund FWF, PEEK AR41). Zeitraum has been premiered as installation at Mind the Gap! in the György Ligeti Hall of the House of Music and Music Theatre at the University of Music and Performing Arts Graz/Austria. Zeitraum received a ◊ Honorary Mention from the ◊ Prix Ars Electronica 2015 in the category Digital Musics and Sound Art.


◊ Program note

The kind of text that may introduce the audience to the installation or may advertise the work to curators.

◊ Short story

The sound artist as dilettante writer tries to portray the experience an audience member may have in the installation.

◊ Invited Essay

The essay Groove Operator by the Swedish visual artist ◊ Jan Svenungsson about his work Jacques Vaché in Graz and Zeitraum as well as the context of their first presentation at Mind the Gap!

◊ Score

Two versions of the SuperCollider program defining the temporal and sonic meta-structure of the work. The second version is temporally more precise but conceptually less general.

◊ Diagram

An interactive diagram combining visualisation and sonification to navigate the perceptual and conceptual space of the work. The page contains a detailed description of this formulation.

◊ Walkthrough

A visit of the installation recorded with a head-mounted camera and binaural microphones. To be experienced best with headphones.