Exhibition / 52-Hour-Lab
Bernhardt Herbordt, Melanie Mohren
Promise, Practice, Protocol—
Performing Future Presences

Are You Meaning Company
The Ten People No. 3

Matthias Böttger
Garden Without Us

Corinne May Botz
Haunted Houses

Marcelo Cardoso Gama
Unvisible Singing III: A Souvenir

Jonathan Garfinkel
Manufactured Soundscapes

Javier Hinojosa
Emphemeral Traps

Eunjung Hwang
Creature Feature Animation

Alicja Karska, Aleksandra Went
From the Cycle

Daniel Kötter, Begum Erciyas
5 Falsche Versprechen

Pei-Wen Liu, Tobias Hoffmann

Marcell Mars
What Is Smart? What Is Stupid?

Matthias Aron Megyeri

Kaiwan Mehta
Species of Traces
An Archaeology of Journeys
of Exact Portraits of Identifiable
Existing Originals

Kerstin Meyer
What Am I Doing Here?
An Exchange Between Artists
and Professionals
of International Development

Damir Očko
Steps over the Frozen Lake

Mike Osborne
Near Monochromes

Bernardo Oyarzún
Reality Set

Dubravka Sekulić
Future Presences

Alexander Sigman
detritus | reconstructions

Katarzyna Sowula
Where Is the Truth
about the Past?

José Carlos Teixeira
Between Clarity & Fog

The New Schicksalsgemeinschaft
(Jan Altmann/Zoran Terzic/Daragh Reeves)
ZEN & SPLATTER (Laundry Chinoise)

Photo Gallery

Pei-Wen Liu, Tobias Hoffmann

Pei-Wen Liu, Tobias Hoffmann, syzygy

“cello” closed-up

The central character is a little ultrasonic robot named “cello.” The physical distances between “cello” and the spectators are detected and used for remapping the sonic environment inside the robot’s house. The circuit corresponds to the acoustic memory of four streaming nodes at the Akademie Schloss Solitude. Between the 14th and the 24th of May, 2009, these four nodes in “cello’s” house streamed real-time recordings of passersby to four speakers that emitted this generative music of the building itself as a resonator. After the 24th of May, one no longer hears real-time happenings from these zones, instead a very fresh and rather short-term memory of “cello” and triggered speech extracted from mis-readings of the book, The Soundscape: Our Sonic Environment and the Tuning of the World, by R. Murray Schafer from 1997.

Pei-Wen Liu, Tobias Hoffmann, syzygy

“cello’s” house from backside

Pei-Wen Liu, Tobias Hoffmann, syzygy

View from inside of “cello’s” house face to the door

Pei-Wen Liu, Tobias Hoffmann, syzygy


was first realized at the Cite Internationale des Art, Paris in 2007 before it was realized the second time at Akademie Schloss Solitude, Stuttgart in 2009.


PureData for audio processing and control signaling
JAVA applet for Open Sound Control signaling
Arduino IDE for sensor’s communication


Ultrasonic Sensor for distance detecting
1 Arduino microchip
1 Audio computer
1 Streaming computer
2 Multichannel sound interfaces
6 Speakers
4 Microphones

Pei-Wen Liu, Tobias Hoffmann, syzygy

Main interface indicated separator’s position and extracted words that reacted

Pei-Wen Liu, Tobias Hoffmann, syzygy

“Cello’s” pictography: 14, 16, 21, 22, and 24 months

Referential Media

This piece is the final mix-down of eight simultaneous recording tracks without post-production, using a three-floor building as resonator in which various live recordings from the Unterer Hirschgang, Foyer, first floor, and occasional soundings of the second floor sculpt an acoustic environment. Originally exhibited as a reactive installation at Unterer Hirschgang of Akademie Schloss Solitude between May 14th and July 4th, 2009, the recording date is shown as the track title. The title indicates the true time when the recording begins. The content itself is a division of absolute time that occurred at the above-mentioned location. This was an experiment in attempting to merge several interconnected spaces through sound. The original sequences contained:

Track 1 & 2

Weeder (microphone’s position: foyer towards courtyard)
Resonance of tracks 5 and 6 (speaker’s position: left and right end of the foyer)

Track 3 & 4

Passenger’s movements (microphone position: first floor’s stairway pointing down to basement)
Resonators of tracks 7 and 8 (speaker’s position: centre of first floor)

Track 5 & 6

Mis-reading words excerpted from the book The Soundscape; female voice: Kerstin Meyer, male voice: Tobias Scholz; each specific chapter of the book and its word triggered by the spectator’s distance to the central character in the Unterer Hirschgang

Track 7 & 8

Generative computer music of electronic birds triggered by spectator’s position inside the installation in the Unterer Hirschgang


Pattern 1

Pattern 2

It is important to stream each individual track separately, as well as the mix-down, to recreate the space of the sound happenings.

Further information about the project is available at this website:


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