Choose Your Own Adventure: Practical Spatialization
A final project public concert

ZKM Kubus
29 July 2026
19 Uhr

Sweeping sounds, expanded concepts, occasional performative elements combine into a multi-faceted concert evening. 16 students in the HfM IWMI Practical Spatialization masters class present their final projects. Join us for an eclectic mix focused on spatialized sound as instrument.

Mitreißende Klänge, erweiterte Konzepte und gelegentliche performative Elemente verschmelzen zu einem facettenreichen Konzertabend. 16 Studierende der Masterklasse „Praktische Verräumlichung“ an der HfM IWMI präsentieren ihre Abschlussprojekte. Seien Sie dabei und erleben Sie eine vielseitige Mischung, bei der der verräumlichte Klang als Instrument im Mittelpunkt steht.

Artists

Adrian Reichardt
Anton Braun
Till Bechtloff
Edward Berndt Felix Horn
Alexander Vozian
Francisco Duran
Hannes Gottschall
Jasper Kempf
Joanna Friedrich-Sroka
Mathis Menrath
Niko Reitzig
Niklas Achauer
Thomas Kaesser
Tobias Kölker
David Tanner

Program

Part 1

19:00 - 20:00

Warm-Up-Stretching with Bach and French Horn - Niko Reitzig

A single French horn, guided live by an in-ear click track, records one chorale voice at a time — soprano, alto, tenor, bass — from a J.S. Bach Choral. Each new take is immediately time-stretched into tempo-shifted copies of itself, a self-generated "choir" that rejoins the previously recorded voices, all converging on the chorale's fermata and holding together before the next voice enters. Across five rounds the texture accumulates, voice by voice, spatially dispersed and rotated through a dome of loudspeakers.

Forms without Content - Jasper Kempf

As an element of analytical Psychology, Archetypes can be seen as structural templates that get filled with culturally and personally specific material. Even if they seem to shape our instinctive response to subjective experiences, they don't necessarily appear in a specific form or image, but rather as an original pattern or template. This piece invites us to explore the images that come up within us while listening, observing associations, images and memories. Why do certain frequencies make you feel in a certain way? Are they linked to your personal experience or even come from something deeper within us?

_00 - Anton Braun

_00 draws on the biological principle of "krypsis", translating its kinetic structures into sonic events. Sound objects shift their identities, adapt to their surroundings, imitate one another, and dissolve into larger formations. Spatial movement, psychoacoustic phenomena, and continuous transformation blur the distinction between recognition and ambiguity. As materials circulate through space, familiar gestures fragment, reappear, and reorganize into an evolving network of relationships.

Applause Study I - Adrian Reichardt

Applause Study I is a short piece that builds on my ongoing research into the physical modeling of applause, with a particular focus on programming its collective behavioural dynamics.

Fugue for Contrabassi - Alexander Vozian

An acousmatic study using room coordinates as parameters to compose a fugue.

grinding liminal - Felix Horn

Born from the simple desire to have fun, grinding liminal emerged as an oral history and an audio collage of game console startup sounds. It reflects on the cultural memory embedded in these sonic rituals and asks:

When a console can no longer play media, is it still a console—or simply another computer?

Klang-Doom-Scrolling - Thomas Kaesser

I don't even remember what I'm looking for anymore. Doesn't matter. The next swipe might fix it, and if it doesn't... there's always the one after that.

Case Number: Lulú - Francisco Duran

This spatialized electroacoustic fixed media piece follows the emotional and psychological trajectory of an individual who was illegally detained and deported by ICE.

Its foundation is the recorded testimony of the detainee, who recounts the experience trough a poetic lense, recalling specific snapshots of their detention and the significance they had in their memory of the event.

Surrounding this narrative is an immersive multichannel soundscape that amplifies the emotional weight of his words. Using spatial movement, texture, and environmental sound to evoke confinement, uncertainty, displacement, and loss of control. Transforming a personal testimony into a shared sonic space for a reflection on the abuse of migrants, state violence, and human dignity.

Break

20:00 - 20:15

Part 2

20:15 - 21:15

We're Not Getting Younger - Hannes Gottschall

An interactive melancholic music piece, spatialized for ZKM_Klangdom. Use your touchtronic rectangular machinery to jam along and remember the days you were younger. There may be a message hidden in here somewhere about how spending your valuable time on a screen makes you not pay attention to the wonders of the world around you, or it's just some chill music, I don't know. An homage to Jim Guthrie's "And We Got Older" from Sword & Sworcery LP. [frogs lake night spot 5.wav by KrystianPawlowski -- License: Attribution 4.0]

Inside the Set - Edward Berndt

Based on coordinates calculated within the Mandelbrot set, Inside the Set uses its mathematical structure as the foundation for sound synthesis and spatialization. Presented as an audiovisual live performance, the work develops through the performer's real-time interaction with the generative process, transforming the set into an abstract sonic environment.

The Base - Mathis Menrath

The Base explores how an entire sound world can emerge from a single source. The title refers to the fundamental material of the composition: every sound used in the piece is created exclusively from white noise. Through processes such as filtering, shaping, and transformation, this simple sonic foundation evolves into a wide range of textures, rhythms, and timbres, demonstrating the versatility of a seemingly random signal. The work invites the listener to experience how complexity and musical expression can arise from one basic element, making white noise both the starting point and the structural basis of the composition.

SMPPLNG - Till Bechtloff

To legally use a sample, an artist must an artist must must acquire legal permission from the copyright holder, a potentially lengthy and lenglengleng and complex process known as clearance. Sampling without permission can breach of copyright of the original sound recording, of the the the of the composition and lyrics, and of the performances.

letter from minnesota - Tobias Kölker

A letter from Minnesota describes the events that took place there in January 2026. Accompanied by an orchestral version of the song "In This Shirt" by The Irrepressibles, the words of the letter express the fear and anger caused by the injustice that was suffered. At the same time, they bear witness to the solidarity among people in moments of despair and offer hope for the future.

Sources: FOX Local News, CNN Worldwide, BBC Earth: A breathtaking swarm of 100 million butterflies, PBS Nature: Watch a breathtaking monarch butterfly swarm

a sinking ship - David Tanner

A fixed media drone and noise piece.

Command Not Found - Joanna Friedrich-Sroka

Command Not Found is a solo performance for voice and gesture, in which live vocal sound is processed and spatialized through gestural recognition and hand-tracking mappings — an exploration of gesture as a form of communication, an attempt to speak to the computer clearly enough that it will execute what's asked of it.

A Waste of Time - Niklas Achauer

This is a waste of time. It means nothing, genuinely. It is going somewhere, though nowhere worth going. There is a button, should you require the sensation of a decision. It is over there, doing what buttons do.