SONNTAG, 13. März 2005, 23:05. - 23:45, Ö1


» I: radio comic #8: Der Psychiater
» II: Normhammerkonzert


Radio Comic #8: Der Psychiater

von Josef Klammer und Albert Pall
Stimme: Dirk Steermann


[ Deutsche Version ]

A freeway parking lot, an incident. Six people, who are all involved in the incident in various ways, each give a monologue of what happened in one of the Radio Comics episodes. Episode #8 revolves around a psychiatrist.

The differences in perception stem from differences in point of view and distance. The music is generated by acoustic stroboscopes in random sequence, borrowed from "sound effects for movies and videos." Sound fragments shifted in a defined structure produce pauses, pitches, timbers, and dynamics that are free of all compositional commentary.


von Reinhardt Honold und Rens Veltman
Technik: Michael Mangweth


[ Deutsche Version ]

"... we're starting a sensitization campaign for the sense of hearing in urban architecture. With this installation, which we call Normhammerkonzert, we use the brewery and its urban environment as an orchestra and presume it has feelings, the ability to exercise critical thought, a sense of responsibility, and a desire for the future. What audiences will hear is a ceremonious music.“
(Reinhardt Honold and Rens Veltman, 2004)

In early 2005, the aut. (architektur und tirol) was inaugurated with the normhammerkonzert, an installation by the architect Reinhardt Honold and the artist Rens Veltman. The new aut. architektur und tirol moved into the newly adapted former Adambräu brewery in Innsbruck and has since housed the Architekturforum Tirol and the Archiv für Baukunst.

The sound recordings of the on-site installation served as the basis for the rhythmic radio version. Based on a compositional concept, Honold and Veltman sought out places in the building where they could set up computer-operated subsonic noise generators. These devices are usually used for building acoustic measurements.

Concrete building components, metal doors, iron stairways, wooden floors, glass panes, furniture, etc. supply the percussive source material of the installation. Together with noises and sounds recorded in the urban environment, there is also complex sound material emerging directly from the site – the building itself thus becomes a musical instrument.