pieces for loudspeakers. no live performers. no score. no theater. nothing to look at. present is only the sound projectionist, who ideally is as invisible as possible. they do not replace the performer. they are a translator, an interpreter, translating the pre-existing audio material into an experience in a unique architectural space. they are an artist as operator, or technician, somebody pierre schaeffer would have been proud of. related to concrète approaches for composing and organizing sound.

general term for the activity of working jointly with others towards a shared goal. the goal can be blurry, yet each individual that's part of the collaboration contributes something towards the result. there are different levels of dividing the work, different forms of work, different levels of investment by participants, different hierarchies, organizational structures, credit distortions, favoritism and power dynamics. MODULAR COLLABORATION is one of the many forms of collaborations. team effort can rely on greater resources and in more decentralized forms of collaboration the idea of the Genius Author is weakened - probably a reason why in the art world collaborative efforts are less sellable desireable.

an approach to sound, based on using and altering specific, recorded, concrete audio material. manipulation is limited. in the tradition of the musique conrète the concrete sonic material is the starting point of the compositional activities. the work unfolds from there - not from a master-method or grande idea or score determining the structure of the piece. unfolding, not imposing. most often resulting in ACOUSMATIC compositions. through manipulation of the concrete material different degrees of source regonition are achieved. [durchdringung des materials wie das formen und kneten des tons.]

SITUATIONs in which neumann's leading role was curator or organizer. he sees these endeavors part of his artistic practice, or as part of his artistic research. perforated fields.

a PERFORMANCE or RECORDING is structured as an experiment. the outcome is not predetermined. the focus is on the PROCESS, not on the result. there is no failure: the word experimental is apt, providing it is understood not as descriptive of an act to be later judged in terms of success or failure, but simply as of an act the outcome of which is unknown. (cage, silence, 1961, p. 13)

made for a specific place, room, context, work adjusts to space, space determines the work or influences heavily, creating a unique SITUATION

SPATIAL arrangement, long duration

a sound work for more than 2 loudspeakers in various arrangements, spatialization of sound is important part of compositional process

the act of performing a ceremony, play, piece of music, presented before an audience, LIVE event

a series of actions and operations, LIVE, never fully predictable

SOUNDFIELD is the name for the multi-dimensional composed space in combination with the found listening space. in soundfield composition sounds are projected into the architectural three-dimensional space in which the sounds resonate and reverberate. through resonance, reverberation and other effects various characteristics of the physical space are being emphasized, articulated, transformed, fluidified, fictionalized and experienced from within by the listeners. sound, listener and architecture are woven together. the physicality and materiality of sound itself is foregrounded and varied over time. sound becomes the sculptural gestalt, yet always in service of the lived listening experience and to make space felt. the loudspeakers are ideally hidden, or at least shifted into the background.

the formal spatial arrangement / layout is an integral part of the piece, allowing different perspectives depending on the position of the viewer