Synopsis
At the beginning of the 1990s, with the advent of powerful and affordable computers, a new art form emerged that is only vaguely described by the term "acoustic art". What its many manifestations had in common was that the new digital sound editing systems were used, which enormously simplified and democratised all the procedures previously used in radio studios. Everything could now be mixed, edited and processed with relatively little effort. This production deals with these new possibilities - in particular with the example of "Acoustic Art in Radio" - and above all poses the question of the harmony of these new compositional procedures. How does a composer, a radio poet or audio artist decide which materials fit together, what sounds together and what doesn't? Harmony in this question does not mean the relationship of pitches, but the sound space of expanded sound materials, noises, voices, archival or synthetically generated sounds. In the end, I tried to apply the demands of New Music, of Helmut Lachenmann, to the more pop-influenced artists of acoustic art, which necessarily led to misunderstandings.With Ammer Andreas, Goebbels Heiner, Burckhardt Martin, Schmölling Johannes, Rüfer Rüdiger, Saariaho Kaija, Schnebel Dieter, Riedl Josef Anton, Geerken Hartmut, Scheerbart Paul, Henry Pierre, Rühm Gerhard, Fontana Bill, Wishart Trevor, Amirkhanian Charles, Rhode Ekhard, Yoon Grace, Barlow Clarence, Daske Martin, Cage John, Scherstjanoi Valeri, Fuchs Limpe, among others.
