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2022_PreservingtheEphemeral_Schelbert

 
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2022_PreservingtheEphemeral_Schelbert

Alban Schelbert

      Set title
      • 2022_PreservingtheEphemeral_Schelbert
      Project title in German
      • Die Bewahrung des Vergänglichen
      Project title in English
      • Preserving the ephemeral
      Subtitle
      • Creative principles to archive multichannel sound-installations
      Author
      Description
      • Through my work within the format of multichannel sound-installations, I always felt the need to preserve ephemeral works in a recorded form for archiving purposes and to showcase my work to curators, art institutions, and the general public. The attempt to preserve ephemeral sonic work raises two questions: How do I translate a multichannel audio-work into a recorded form without losing the spatial properties? And how do I make such audio-work accessible without immense technical equipment? This paper will examine different spatial audio recording and reproduction techniques to obtain a sufficient method that can preserve and playback ephemeral work with a spatial component.
        The conversion of multichannel sound-installations into a recorded form also raised questions related to sound and media art theory, i.e. how does the recorded version relate to the original version – is it still the same piece of work? Preceded by a case study on archiving ephemeral sonic work, I explore in the last segment of this thesis three creative principles of preserving ephemeral work based on my eight channel sound-installation Candid III. These three different methods will be examined and evaluated with regard to their abilities to accurately capture the spatial properties of Candid III. My research in experimenting with binaural formats aims toward making sonically immersive work more easily and authentically accessible. Further, it could also be of use in the context of cultural institutions that are confronted with similar problems when dealing with ephemeral sonic works containing spatial
        components.
      Description in English
      • Through my work within the format of multichannel sound-installations, I always felt the need to
        preserve ephemeral works in a recorded form for archiving purposes and to showcase my work to
        curators, art institutions, and the general public. The attempt to preserve ephemeral sonic work raises
        two questions: How do I translate a multichannel audio-work into a recorded form without losing the
        spatial properties? And how do I make such audio-work accessible without immense technical
        equipment? This paper will examine different spatial audio recording and reproduction techniques to
        obtain a sufficient method that can preserve and playback ephemeral work with a spatial component.
        The conversion of multichannel sound-installations into a recorded form also raised questions related
        to sound and media art theory, i.e. how does the recorded version relate to the original version – is it
        still the same piece of work? Preceded by a case study on archiving ephemeral sonic work, I explore in
        the last segment of this thesis three creative principles of preserving ephemeral work based on my eight
        channel sound-installation Candid III. These three different methods will be examined and evaluated
        with regard to their abilities to accurately capture the spatial properties of Candid III. My research in
        experimenting with binaural formats aims toward making sonically immersive work more easily and
        authentically accessible. Further, it could also be of use in the context of cultural institutions that are
        confronted with similar problems when dealing with ephemeral sonic works containing spatial
        components.
      Genre / discipline
      type
      Institutional affiliation
      Date
      • 21.05.2022
      Lecturer / head of project
      • Daniel Hug

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          • Abstract — MA Sound Design Thesis Alban Schelbert 2022 — Preserving the ephemeral

            Picture: Abstract — MA Sound Design Thesis Alban Schelbert 2022 — Preserving the ephemeral

            Name that can easily go onto 2 lines

            Author that can easily go onto 2 lines as well

            Subtitle
            • Creative principles to archive multichannel sound-installations
            Author
            Date
            • 21.05.2022
            Keywords
            Description
            • Through my work within the format of multichannel sound-installations, I always felt the need to
              preserve ephemeral works in a recorded form for archiving purposes and to showcase my work to
              curators, art institutions, and the general public. The attempt to preserve ephemeral sonic work raises
              two questions: How do I translate a multichannel audio-work into a recorded form without losing the
              spatial properties? And how do I make such audio-work accessible without immense technical
              equipment? This paper will examine different spatial audio recording and reproduction techniques to
              obtain a sufficient method that can preserve and playback ephemeral work with a spatial component.
              The conversion of multichannel sound-installations into a recorded form also raised questions related
              to sound and media art theory, i.e. how does the recorded version relate to the original version – is it
              still the same piece of work? Preceded by a case study on archiving ephemeral sonic work, I explore in
              the last segment of this thesis three creative principles of preserving ephemeral work based on my eight
              channel sound-installation Candid III. These three different methods will be examined and evaluated
              with regard to their abilities to accurately capture the spatial properties of Candid III. My research in
              experimenting with binaural formats aims toward making sonically immersive work more easily and
              authentically accessible. Further, it could also be of use in the context of cultural institutions that are
              confronted with similar problems when dealing with ephemeral sonic works containing spatial
              components.
            Copyright holder
            • Zürcher Hochschule der Künste
            type
            Study path
            Project title in German
            • Abstract — Das präservieren des Ephemeren
            Lecturer / head of project
            • Daniel Hug
            Imported on
            21.05.2022
            Parent sets
            1

            • MA Sound Design Thesis 2022 — Alban Schelbert — Preserving the ephemeral

              Picture: MA Sound Design Thesis 2022 — Alban Schelbert — Preserving the ephemeral

              Name that can easily go onto 2 lines

              Author that can easily go onto 2 lines as well

              Subtitle
              • Creative principles to archive multichannel sound-installations
              Author
              Date
              • 21.05.2022
              Keywords
              Description
              • Through my work within the format of multichannel sound-installations, I always felt the need to
                preserve ephemeral works in a recorded form for archiving purposes and to showcase my work to
                curators, art institutions, and the general public. The attempt to preserve ephemeral sonic work raises
                two questions: How do I translate a multichannel audio-work into a recorded form without losing the
                spatial properties? And how do I make such audio-work accessible without immense technical
                equipment? This paper will examine different spatial audio recording and reproduction techniques to
                obtain a sufficient method that can preserve and playback ephemeral work with a spatial component.
                The conversion of multichannel sound-installations into a recorded form also raised questions related
                to sound and media art theory, i.e. how does the recorded version relate to the original version – is it
                still the same piece of work? Preceded by a case study on archiving ephemeral sonic work, I explore in
                the last segment of this thesis three creative principles of preserving ephemeral work based on my eight
                channel sound-installation Candid III. These three different methods will be examined and evaluated
                with regard to their abilities to accurately capture the spatial properties of Candid III. My research in
                experimenting with binaural formats aims toward making sonically immersive work more easily and
                authentically accessible. Further, it could also be of use in the context of cultural institutions that are
                confronted with similar problems when dealing with ephemeral sonic works containing spatial
                components.
              Copyright holder
              • Zürcher Hochschule der Künste
              Institutional affiliation
              type
              Study path
              Project title in German
              • Das Präservieren des Ephemeren
              Lecturer / head of project
              • Daniel Hug
              Imported on
              21.05.2022
              Parent sets
              1

              • Setup für binaurales Recording Experiment

                Picture: Setup für binaurales Recording Experiment

                Name that can easily go onto 2 lines

                Author that can easily go onto 2 lines as well

                Author
                Copyright holder
                • Zürcher Hochschule der Künste
                There are no metadata related to this context.
                Imported on
                01.09.2022
                Parent sets
                1

                • Candid III Presentation

                  Name that can easily go onto 2 lines

                  Author that can easily go onto 2 lines as well

                  Author
                  Date
                  • 22.06.2022
                  Keywords
                  Description
                  • Candid III:
                    Eine binaurale akusmatische Performance, ähnlich einem altertümlichen Tribunal oder einem Mantrazirkel, welche die menschliche Stimme von ihrem Körper löst. Diese Arbeit hinterfragt die vermeintliche Integrität der Stimme, die sich in genauso vielen Formen zeigen kann wie es Körper gibt: Als gesprochenes Gedicht, gemurmelter Choral oder gesungenes Falsett. Die Stimme wird zerlegt, neu zusammengefügt und verzerrt. Sie alterniert zwischen verschiedenen Zuständen der Entfremdung.
                    Candid III: Ein akusmatisches Triptychon mit Beiträgen von Hanne Lippard, Kim-Lillian Strebel and Tenzin Yeshe Gyaltag.


                    (E)

                    Candid III:
                    A binaural sonic performance, acting similar to an ancient tribunal or a mantra-circle that disembodies the human voice. An exploration of the seemingly sincere characteristics of a voice which can appear in as many different forms as there are different bodies; a spoken poem, a murmurous chant or a sung falsetto. The voice is reassembled, disassembled and distorted, alternating between different levels of alienation.
                    Candid III: An acousmatic triptych featuring Hanne Lippard, Kim-Lillian Strebel and Tenzin Yeshe Gyaltag.
                  Copyright holder
                  • Zürcher Hochschule der Künste
                  Institutional affiliation
                  type
                  Study path
                  Project title in German
                  • Candid III
                  Imported on
                  06.09.2022
                  Parent sets
                  1
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