Immersive Sounds
What has long been a central theme in the film and games industry is also becoming increasingly interesting for the concert and music theatre sector: Immersive sound concepts. The history of such concepts does not just begin with technical developments such as the Fantasound system from Walt Disney Studios in 1940, Pierre Schaeffer and Pierre Henry, Le Corbusier’s Philips Pavilion in 1958, Iannis Xenakis and Karlheinz Stockhausen or wave field synthesis and Dolby Atmos. In fact, spatial sound concepts have been anchored in global music history in a wide variety of forms and formats for centuries.
Over the next few years, the new DTzM series “Immersive Sounds” will be dedicated to current technical/digital developments in art and music as well as architectural/analogue spatial sound concepts in order to explore new potentials for accessibility and creativity and to expand listening habits. At the same time, the fascination and potential of immersive concepts, as well as necessary and problematic distances, will be critically analysed and discussed. In the first edition 2023/24, projects by Alexander Schubert, Analivia Cordeiro, Marcus Schmickler, Brigitta Muntendorf, Brian Eno, Eliane Radigue, Georg Friedrich Haas, Ryoji Ikeda and Chaya Czernowin will be presented in international collaborations with Ars Electronica, IRCAM Paris, Venice Biennale, ZKM Karlsruhe and ZIMMT Leipzig, among others.
Current projects can be found here, the archive of the series “Immersive Sounds” via this LINK.
