During the Biedermeier period, Hermann von Helmholtz had the first electrically stimulated additive synthesiser built according to his designs. This not only established his theory, which created the acoustic, physical and mathematical prerequisites for electronic music production right up to the present day, but also - according to Sonntag - anticipated the Sound of the pioneers of electronic music: Karlheinz Stockhausen's sine-tone-mixing-reverberating Study 2, which has its technical roots in radio and in the exploration of synthetic speech generation, predates the analog-synthetic soundscapes of the Floyds and Tangerine Dream or the electronic beats and sequences of Kraftwerk.
2001: "It is true, though, that in the days when I constructed my first aluminum computer apparatus, I did so with an aesthetic intention, since its output was music rather than the analog and digital chip sort of thing" and even more, Friedrich Kittler's DIY practice shapes the sound of his Information Materialist Media Theory.
The attempt is to short-circuit parts of Kittler's seemingly delirious soldering work with the sonic reenactment of Helmholz's physiological laboratory.
uoaei -HELMHOLTZ VOOCAAL : KITTLERS FORMANT– a sound installation and at the same time the echo and the apparative traces of a discursive interconnection of central theoretical motifs from Hermann von Helmholtz’s On The Sensation of Tone (1862) and from Friedrich Kittler's Discours Networks 1800/1900, based on their experimental aperitive and sounding evidence.
In co-operation with Galerie Georg Nothelfer, N-solab, Hermann von Helmholtz-Zentrum für Kulturtechnik and the Friedrich-Kittler-Gesellschaft
Opening in the TA T: Thursday, September 12, 6 - 11 pm Opening hours in the TA T: September 13 and 14, 2 - 6 pm Exhibition in the Tieranatomisches Theater (TA T) In the "Anatomie- und Hörsaal" of the TA T Humboldt-Universität zu Berlin Campus Nord Haus 3 Philips. 13 10115 Berlin
