• Peter Weibel

    Das magische Auge | 1969

    ‘The Magic Eye’ ( together with Valie EXPORT)

    ‘A real sound picture, the sounding screen! The first autogenerative sound screen in the world. In The Magic Eye the sound is created by the screen. The brightness oscillations are not provided by the soundtrack but by the film itself or by the audience or by the hall light etc. The screen is prepared with a number of photo cells and directly converts the light oscillations into audio-frequency vibrations. For each film in each moment there is its special sound.’ (P. Weibel, 1970)  

    Expanded Movie, autogenerative sound screen, premiere at Galerie Junge Generation, Vienna, Photo: Peter Hajek

    Primary sensory cross-modalities: VISION, AUDIO, KINAESTHETICS


  • Foto: Birgit & Peter Kainz

    Peter Weibel

    Data Music | 2016

    Based on digital logic, I constructed an interactive installation. The set-up comprises a music stand shaped as an empty frame with five staves. These five staves consist of five horizontal strings building a kind of abstract geometrical guitar (in a cubist way). The strings are attached to a computer in which several musical compositions are stored, e.g. famous rock riffs. Loudspeakers are furthermore connected to the computer.
    This set-up enables the visitor to pull these five strings, which are the »notation« and the »instrument« at the same time, whereby she/he becomes the »composer«, »interpreter«, and »performer« of the music. As the music is stored physically as data in the computer, i.e. pre-programmed, we could say that the visitor performs music through an interface (music stand), which is data programmed by an algorithm.
    In addition, the performance of the player and of the visitor respectively is recorded by a kinect camera and projected onto a screen, or alternatively displayed by a monitor. As the images of the performance are purely data, the configuration of the visual data can easily be influenced by the configuration of the acoustic data. Sound and image are synchronized with each other. Thus, whenever the visitor is in front of the music stand, he sees himself projected or displayed in a normal, mirror-like way. The very moment the visitor starts performing with the music stand, his image becomes distorted and appears as a flow of visualized acoustic data.
    (Text: Peter Weibel)

    Commissioned by DIGITAL SYNESTHESIA

    Software development: Nikolaus Völzow
    Sound design and interface design: Derek Hauffen

    Primary cross-sensory modalities: TOUCH, AUDIO, VISION

  • Peter Weibel

    The Origin of Noise − The Noise of the Origin | 2013

    3D-noise concert (in cooperation w/ Ludger Brümmer, Götz Dipper, Manfred Hauffen, Bernd Lintermann, Nikolaus Völzow, Manuel Weber and Akemi Takeya)

    Primary sensory cross-modalities: VISION, AUDIO, KINAESTHETICS