"I want freedom, the right to self-expression, everybody's right to
beautiful, radiant things."
"Ein bisschen Staunen"
(...) Mich interessiert eher, eine Form zu verwenden, die etwas
über ihre eigene Substanz aussagt.
Hat das etwas mit einem Staunen über Materialität zu tun?
Ja. Damit kann ich mich gleich identifizieren. Weil wir immer
von Material umgeben sind und das als gänzlich selbstverständlich
erleben und nicht mehr bewusst. Ein bisschen Staunen über
Materialität - das soll es bewirken. Andererseits besteht das ganze Leben, die
Natur daraus, physisch nicht vereinnahmt zu werden. Das Lebensprinzip
ist ein Rausarbeiten aus dem Materiellen. Es verwendet Material, und
die erstaunlichsten Formen kommen zustande.
Falterinterview mit Hartmut Skerbisch, geführt von Thomas Wolkinger,
Resonating Sculpture in the series Playing the
Reni Hofmüller, Jogi Hofmüller, Christian Lammer, Patrick
Strasser, et al.
October 4th, 2012, 6.30pm - 7.30pm local time Graz (or: UTC 4.30pm -
at Lichtschwert, Opernring, Graz
October 7th, 2012, 11.03pm Ö1 Kunstradio
Click here for uploading audio files for Resonating Sculpture
successfull QSOs, active on 4.10.2012, http://hofos.at/rs/
Beschreibung in deutscher Sprache
Playing the Building is based on the idea that every object has
its own oscillations which only have to be audible; usually metalic
structures on buildings, or the building itself, like at the small
water power plant in Unterzeiring, in the north of Styria.
In Resonating Sculpture research of materiality stays with the
question what objects can be used for additionally to their original
use. The change or appropriation happens temporarily in the function and not in
the shape (or Gestalt). The sculpture transforms into an antenna for
sending and receiving electromagnetic waves. The shape defines, how
these waves can travel.
A composition is sent on a journey definded by the sculpture as
antenna, will be hread/received on most different places in the world,
possibly changed and then sent back. The composition sent out on the
4th of october uses the electromagnetic waves present during the
performance time. The material sent back will be used to compose a new
piece that will be broadcast in Kunstradio Ö1, ORF (Austrian
state radio). The whole piece is not reproduceble as it happens under
the influence of the current weather situtaion, including the
The material of the sculpture
Each material has its own specific quality of oscillation, and this
defines the character of the transmitted sound.
The weather - on the transmitter side as well as on the reciever side
- influences the composition; rain, clouds, wind play along.
Time, more precisely: daytime
The ionosphere is the space of reflection in which the waves move.
The solar radiation defines the constituency of the ionosphere, this
means the quantity of ions and therefore the propagation conditions
and the socalled critical frequency, f0. This state of the atmosphere
therefore defines where certain waves get reflected and consequently
can be received again on earth.
The ionosphere has a daily cycle; for the time of the concert we
expect to experience the socalled greyline effect when the upper bands
start closing and the lower bands are not open yet. Therefore the best
propagation conditions will be found in the 40m band (approx. 7MHz).
In the close surroundings in Graz the best will be to use a UKW-band;
there it will be possible to connect also to several relais stations,
and thereby expand the receiving capacity in the neighborhood.
The satellite setup will be equipped with antennas in the 2m and 70cm
band. In these bands a lot of ham radio and science satellites are
around, so that we can expect some interesting receiving materials
We are also going to use Echolink, to connect a ham radio station with
the internet, in order to get in touch with even more ham radio people.
The composition works with electromagnetic waves, that are here
anyways, present, aboard.
Antennas and receivers make it possible to hear these waves,
interferences, oscillations. These devices are the babelfish, the
intergalactic translator into another frequency spectrum.
In radio contacts these waves are, what you do _not_ want, they are
disturbances, overlappings, noise. The are not mistakes, but stil they
are not, what ones tries to achieve. Only with my decision to use
these sounds that exist already, without my doing, and to send them
our on the carries signal, makes them the core transmission. "Only"
the strength, the intensity of this sound make the difference to the
It is the by-product, ot the shadow, that transforms to the center.
In this case, I am therefore not focusing on the mistake, the error,
although in error, mistake and failure there is much to be found.
"It is failure that guides evolution; perfection offers no incentive
for improvement." Colson Whitehead (1999)
This time it is about the surrounding, the context. It is about the
suspension of the dichotomy of success and failure. The whole is
interesting. It is not the earth on the one side and the universe on
the other, "out there". As Carl Sagan said, "We are made of star stuff."
It is about the interference.
The receiving antenna does not differenciate between artificially
generated electromagnetic waves produced by humans and those found in
nature. It picks up and passes on, has its own small part in the
change of sound due to its materiality and its interaction with its
environment. So the history of origins plays no role, both types have
repercusions in the presence. That is the raw material of the piece
The used free software quisk enables me to choose via mouse click, with
the movement, between different filters that each have their own
technical and therefore sound quality. The inner structure of the
software is - differing from reality - built in steps. Different
because it fragments the floating frequencies into single parts.
Different positions, somehow in a way perspectives on the existing
waves. So the piece is built on the change of position. The
composition's character in steps is due to the used tool.
The performance on the 4th of October will be realized with the
sounds and noises I chose.
With the recordings and answers I get from ham radio people around the
world, I will create the composition for the live radio show at
Kunstradio Ö1 ORF on 7th of October 2012.
Reni Hofmüller, Graz, Summer 2012
It is not irritating to be where one is. It is only irritating to
think, one would like to be somewhere else. John Cage, Silence. (S.
22/S.24, Suhrkamp, translated by Ernst Jandl to German, re-translated
to English by Reni Hofmüller)