Dreiband
 
Sound installation for the Turmsaal of the Parochialkirche, Berlin This installation is about the combination of an "authentic" sound situation with added abstracted sound layers / "virtual" spaces, involving composing and sound space. The base is a four channel sound recording of a carambolage billard game. This sound space, consisting of the usual playing sounds (clicking and rolling of the balls, queue sounds, breathing / motions of the players around the table, coffee house atmosphere) is acoustically "faked" in the tower room by means of four loudspeakers, which are situated under a billard table standing in the middle of the room. At the same time other sound layers are synchronized with the gambling sounds and are projected into the tower room by means of four more loudspeakers. Especially the clicking of the billard balls will trigger (sync track) other sounds.

players:
1. Café Sperl, Vienna: Bernhard Gál und Christof Cargnelli
2. Billiard-Center, Berlin: Bernhard Gál
 
         
 
1-4    4 speekers (directed inside)
A-D    4 speekers (directed outside, under the billiard table)

"Hinaus:: In den, Wald"
 
Sound installation for the former vestry of the Parochialkirche, Berlin The literary work of Adolf Wölfli (! OE ist Umlaut O !) gives much motivation for sound interpretation: I am interested in the continuous breaks in Wölfli«s "phantastic-realistic" travel descriptions and above all in those inserted language structures (listings, poems, songs, etc.) in which language sound and language rhythm become independant, and where the texts of Wölfli can only be receipted on an aesthetic-abstract level.

In my compositoric work I would like to try to translate Wölfli«s language transformations, abstractions and creations into my own sound language by means of digital composing software. Further points of reference are Adolf Wölfli«s arbitrary punctuation and orthography, the rhythmic-repetitive character of his listings and testaments and Wölfli«s megalomania in general. Wölfli«s being always on the run, I tried to express in an added recording, which is based on my own walking, running and breathing "out in the woods".

Different pieces of text are interwoven on several layers - from totally raw material to strongly modified elemnts. Elements of sound, language rhythm, language melody or associations of content can be the focusing points of my "alternating". Language swings between functional clearness and abstraction of sound, but also between conscious and unconscious apperceptions. The different language layers are projected into space with four loudspeakers - involved are breaks which vary the installation«s density of what is happening. The succesion of the several chapters is partly controled by random. So the elements of the sound installation present themselves in combinations which are always different.

The sound installation takes place in the former vestry, a windowless room in the Parochialkirche. The room is totally dark, the evolving listening situation can therefore also be seen as transfering Wölfli«s unconsciousness into space.

speaking voices: Stella Kao, Bernhard Gál

RGB
 
Sound installation for the bellroom of the Parochialkirche, Berlin In "RGB" the interdependant relation of light, sound and space based on the three primary colours red, green and blue is the theme. This space concept originally was developed for the Kunstverein "Alte Schmiede" in Vienna and was revised for the bellroom of the Parochialkirche. "RGB" is based on two parallel ongoing layers of apperception whose parts change periodically and therefore create nine space constellations of sound and vision. On the first layer light and sound are experienced as concrete properties of the objects installed in the room (electric heater, aquarium and fan). The objects are connected with the colours red, green and blue. By means of computer monitoring they are alternatively activated, the resulting sounds of the objects are amplified by microphones and projected into the room. At the same time three "abstract" states of apperception are created on a second layer. Each colour (red, green, blue) here corresponds with a side of the room and with an abstract space composition ("red", "green", "blue").

    
These are projected into the belltower with loudspeakers which are positioned in the room«s corners. This results in a total of nine different situations of light and sound defining the installation space respectively the apperception space for three to five minutes each.

audio technical preparation of the objects: Martin Murauer