hello summer

I developed a Supercollider extension that can be used to develop Novation Launchpad based interfaces following similar design patterns as in GUI development.</p>

It can be found on github.</a></p>

blippoo

2019-05-23T00:00:00+00:00

In 2019 I made a post with a digital implementation of Rob Hordijk Blippoo Box on sccode</a> attached wih the following description:</p>

"This is a implementation of the blippoo box as it is documented in the article "The Blippoo Box: A Chaotic Electronic Music Instrument, Bent by Design" by Rob Hordijk. i saw on Richard Scotts blippoo box some parameters that are not documented as such in the document so i added them... thats why it has more parameters. I put a Limiter onto the output to make sure it doesn't get too loud.
unfortunately i didn't know how to make the distortion inside the filter that rob describes.
have fun"</p>

someone put it into norns</a>, so now some people actually play with it</a>.</p>

half-animal synthesizer 2

2018-12-01T00:00:00+00:00

In the last year I programmed a new version of the half-animal synthesizer</a>.</p>

</iframe> </div>

To be honest its performed in the same way as my old instrument this is how it looks like:</p>

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RudeLimiter

2018-09-11T00:00:00+00:00

I programmed a plugin which I think is helpful to mix music.</p>

The aim of the plug in is the following. A sound which should be in the front of a mix (which i call dominant) should be unaffected by further further additions of sounds. The aim is that a sound which is added does not introduce amplitude spikes. This is done by modulating the amplitude of the sounds that should be added to the mix by the dominant sound.</p>

The faust code of the plugin is the following:</p>

process(input,sidechain) = input*(1-(sidechain*sidechain));
</code></pre>
(you can use the faust online compiler</a> to generate a v2 or vst plugin if you like.)</p>
The previous code can be used to create a plug in with two input channels and one output channel. The first (left) inputs is modulated by the signal from the second (right) input.</p>
To illustrate how it functions I created the following plots.</p>
</p>
In the previous plot we see</p>
Channel 1: Sound A, a bass drum sound.</p>
Channel 2: Sound B, a noisy percussion sound.</p>
Channel 3: Sound A+B</p>
Channel 4: 1-A*A which is the modulation signal</p>
Channel 5:Sound B as it is affected when sound A is used as side-chain (B*(1-A*A))</p>
Channel 6: A mix of the original sound A and the modulated sound B</p>
As you can see in the difference between channel 3 and 6 that in the case of channel 6 the amplitude is not overshooting. The volume of sound B is reduced by the wave of sound A, so that sound B fills the space in-between the peaks of sound A.</p>
In the following plot I show how the modulation signal is constructed on the example of sound A from the previous plot:</p>
</p>
Channel 1: Sound A</p>
Channel 2: absolute of sound A</p>
Channel 3: sound A multiplied by sound A</p>
Channel 4: 1 - (A * A)</p>
Channel 4 is the modulation signal as it is created in the plugin.</p>
I also created a variation of this plugin in which the sum of the dominant signal and and the modulated signal are added:</p>
process(dominant,secondary) = (((1-(dominant*dominant))*secondary)+dominant);
</code></pre>
This is how I will use the effect.</p>



Conceptualizing Experimentation in Experimental Music in Light of Experimental System
2017-11-06T00:00:00+00:00
Abstract</p>
Experimental music has been engaging more vivid discussions in recent years. The question from which my research originates is — how can a specific experimental practice in experimental music be described? To develop this question into a more specific and solid research, I decided to discuss selected works of experimental music and corresponding discussions by the musicians in light of the specific conception of experimentation by Hans-Jörg Rheinberger. Rheinberger conceptualizes scientific experimentation as experimental system. The core question of this dissertation is therefore as follows: In what ways is the discussion of the practices of experimentation in experimental music in light of experimental system insightful? This discussion is important because it tests whether the valorization of experimental music can be related to something specifically experimental.</p>
Studies on experimental music, most of which focus on social historical conditions where particular musical scenes emerged, are insufficient in working out a specific experimental practice. Various publications about the tools and techniques of experimental music offer insight into the variety of practices, but they do not build on a specific conception of experimentation. Experimental music is claimed to be valued for its position as cultural force, for its development of means of production or means of expression, or simply because it is considered valuable music. Nevertheless, the discourses of experimental music, with its various proposals about the value of experimental music, do not define how the value is associated with a specific experimental practice.</p>
This dissertation intends to shift the angle. I discuss the practice and interpretation of experimental music as an experimental practice, which happens to happen in the field of music. The major argument in this dissertation is to make this shift of angle clear and show the value of such a shift. By shifting the focus from experimental music studies to the study of experimentation, I suggest that experimental music should be re-approached with the assumption that musicians enact experimentation in experimental music. I take experimentation — and not the aesthetic conditions of music — as the center of my study of experimental music in this dissertation.</p>
Unlike the discourse of experimental music, the discourse of scientific experiments conceptualizes experimentation in a way that allows the description of the models of experimentation. In the discourse of science studies and philosophy of science, the role of experimentation is discussed vividly. While the exact role of experimentation in scientific research is disputed, it is generally accepted that experimentation has a valuable role in the scientific endeavor. I take Rheinberger’s conception of experimental system as a description of the productivity of scientific experimentation.</p>
Such approach is motivated by the idea that the research on scientific experimentation gives insight into practices of experimentation, which can also be applied on experimentation in music. Even so he develops the concept in line with scientific research in Biology, the concept he has developed does not depend on a specific conception of scientific research. I therefore suggest that it is possible to describe experimentation in music in light of Rheinberger’s conception of experimental system.</p>
The idea that experiments are valuable because their epistemic productivity, as Rheinberger proposes for scientific experimentation, can also be traced in the discourse of experimental music. The writings and interviews of the musicians about their own work form the source materials for my discussion of experimentation in music. I discuss two cases where the musicians, namely John Cage, and Lejaren A. Hiller and Leonard M. Isaacson, have written about their ideas on their work and one musician, David Tudor, who did not write about his ideas, but has made some statements about his music in interviews. I choose to discuss Cage and Hiller because of their discussion of experimentation in music in their writings. The third case study allows me to look at what can be interpreted from the experimental practice, on which limited information from the position of the musicians is available. The first two cases imply a tension between my interpretation of the works and their representation of their works. The third case, on the other hand, allows me to show how a more specific interpretation of a musician’s practice can be made when the musicians practice is read in light of experimental system.</p>
My research attempts to show that the valorization of the practice of experimentation as potentially epistemically productive is helpful to critically reflect the musicians’ interpretation of their works. It shows that detailed knowledge of the practice of musicians is necessary to follow their interpretation of their own music. The structural conditions for an epistemically productive experimental practice, as described by Rheinberger in his conception of experimental system, can be applied on music as long as their non-scientific frame of interpretation is accepted.</p>
Link to Dissertation</a></p>


gravitaphon
2016-10-03T00:00:00+00:00
</p>
Large as a cupboard, heavy as a human, delicate as a clockwork - the GRAVITAPHON. A new musical instrument.</p>
On the empty stage two persons are pushing, dragging, balancing a huge box. The surface of the black cuboid shines in the spotlight. The heavy object tilts slowly forward. A soft ringing will sound. At first more like a bell, then stronger. It’s origin is inside of the box. The more the object tends, the more pressing the sound becomes. Suddenly it falls silent and a low noise raises – soft summer rain falls over the room. The cuboid touches the ground gently.</p>
GRAVITAPHON A new musical instrument. It can only be played with an enormous amount of effort. Tilting, shifting motions and degrees of rotation are the parameters that determine, which acoustic sound will be heard. GRAVITAPHON is the development of a score, which is suited to the playing style of the instrument. GRAVITAPHON is the development of a playing style, a mixture of strength, choreography and craftsmanship. Physical exhaustion is a central component of the composition and the instrument is always unpredictable ...</p>
A production of Grammel+Hochherz+Sagardía coproduced by LOFFT – DAS THEATER. With support of Stadt Leipzig, Kulturamt and Kunststiftung NRW.</p>
trailer:</p>

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teaser:</p>

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complete performance:</p>

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sounded constructed (inside)
2015-12-20T00:00:00+00:00
During the performance I will build a wood-metal-wire construction. The construction connects the world of amplified sound and the world of spatial objects. The construction should be integrated into both of these worlds. They might be not compatible; the world of sound is thought to be structured by its own temporality, whereas the world of objects as defined by distances. What form of integration appears, when the movements of constructing an object form the development of sound, of what as sounded when constructed.</p>

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sounded constructed [outside]
2015-09-01T00:00:00+00:00
</p>
During the performance I will build a wood-metal-wire construction. The construction connects the world of amplified sound and the world of spatial objects. The construction should be integrated into both of these worlds. They might be not compatible, the world of sound is thought to be structured by its own temporality, whereas the world of objects as defined by distances. What form of integration appears, when the movements of constructing an object form the development of sound, of sound constructed.</p>

  
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natural-languages
2015-01-30T00:00:00+00:00
by Wilmer Chan and O. Hochherz</p>

  
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(3 Recordings by O. Hochherz and Wilmer Chan)</p>
The project "Natural Languages" explores improvisation through imitations of environmental sounds with computer synthesis and acoustic instrument. O. Hochherz plays with synthetic sounds that emulate screams, shouts and songs of the animal world. Wilmer Chan creates organic ambient sounds with extended playing techniques on the double bass.</p>
We reference the natural atmosphere and its aural structure and transform the ideas into musical materials. The interaction between double bass and synthesizer produce different mixtures, chimera between animals and instruments, hybrids between automatism of body movements and electronic algorithms. The sounds are condensed into sonic environments, which we produce in different spatial and acoustic situations, an imagined “wildlife scenario”.</p>
O. Hochherz programmed a synthesizer which simulates half-animals. Half-animals are deliberate created occurrences, which resemble notions of nature. The instrument is the result of research into interfaces to control sounds through their relation to memories, things and sounding machines - a way to let the computer sing, to let machines mime animals. The sounds are a result of the chirping of feedback and the memory of the sounding of the environment, created by a blurry apparatus. This instrument allows a playing with the affection to things and animals: animal-voice-transmissions.</p>
With a double bass that is known to produce sonorous deep tones, Wilmer Chan focuses instead on the brittle, peculiar timbre from his instrument that often requires physical tension to produce. He transforms the functional bass of the rhythm section into a supporter of textures, timbres - producing sounds that blends into the atmosphere. With reference to a wide array of extended techniques, he investigates the gradual transformation between different timbres and sounds through repetitions and variations of gestures. His performance is structured by playing movements that react to the materiality of the instrument. The double bass develops into a living machine, an organic apparatus.</p>
Wilmer Chan solo improvisation:</p>

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Huangpu - with Soviet Pop
2014-10-30T00:00:00+00:00
1 track; 21’36”; listen & order</a></p>
O. Hochherz: Half-Animal Synthesizer

Li Qing 李青(Soviet Pop 苏维埃波普): PAIA 4700 System

Li Wei Si 李维斯(Soviet Pop 苏维埃波普): Microphone, Cola Can, Pedals

Recorded, Mixed and Mastered by O. Hochherz

Recorded at O. Hochherz`s Home in Shanghai, China, 2013</p>

  
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modular
2014-09-30T00:00:00+00:00
a modular synthesizer purely based on feedback.</p>

  
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cyclisation
2014-03-02T00:00:00+00:00
</p>
a piece about books about the impact of books in a previous work</a> i used a book</a> as a filter in a feedback system now i make another work with a book</p>

  
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a slower feedback more like books themself books are filters for other books not just dictionaries</a> more like poetry</a></p>

  
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but a book is not like the room i am sitting in</a> you are using it you are in front of it you transform it while you reading it</p>

  
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i am recording me reading a book i am listening to me touching the book i am playing the book i am seeing the book i am reading the book i am forgetting me listening i am listening to the book</p>

  
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i am using a recording of the voice of the author i feed it back into the book he wrote again and again i touch the book i bend the book while recording</p>

  
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i am getting fascinated by the materiality of the book fascinated of touching it it is nice how it changes the sounds when it is used as a filter books make sound become round and sound like vowels, a, o, and u each book has a small impact</p>

  
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i am searching in the content of the book, what is the book saying about feedback, and why is it related to me, feeding the sound of the content of the book into the book</p>

  
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my feedback system is only a system which uses the feedback as a generative moment like the feedback of pressures in an organ pipe which determines its frequency</p>

  
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it is actually that my system is the opposite of the cyberneticians dream of a feedback system. the feedback is under my control</p>
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cyberneticians think that feedback is the nature of control itself: “we must get rid of any notion that control is something imposed on a system from outside it has to build into it.”</a> (Stafford Beer) what a naive dream</p>
</p>
Stafford Beer, Platform for Change</a>, 1975</p>
published for the online exhibition Erreur d’impression. Publier à l’ère du numérique</em>, at jeu de paume espace virtuel</a>, of jeu de paume</a>, curated by Alessandro Ludovico</p>


amphibians
2013-12-27T00:00:00+00:00
Two wooden boards are made resonating with transducers. How they are positioned in space affects which frequencies they emit. They are arranged on the floor. Sometimes the rattle, sometimes they sing or hum.</p>
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During the performance two wooden plates will be moved through the space to play with the transformations of the resonance nodes by movements.</p>

  
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EVERY TING THING - with Jamie Drouin
2013-10-31T00:00:00+00:00
"I distinctly remember borrowing a stethoscope from my school’s science department when I was in grade five. I had imagined sticking the device up to all sorts of objects – trees, anthills, fences – and unlocking secret audio worlds within. With the exception of one subject, our dog, who had a particularly active digestion that day, most of my other experiences using the stethoscope where underwhelming, to say the least." - Jamie Drouin</p>
EVERY TING THING, which documents the first meeting between minimalist sound artists Jamie Drouin and O. Hochherz, could easily be a suitable replacement for the elusive experience mentioned above.</p>
published by infrequency editions</a></p>

  
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rooms to carry books through
2013-01-26T00:00:00+00:00
The setup I use consists of two parts an electronic instrument and ten speakers. The speakers are switchable they are used to distribute the sounds in the room. The instrument is a combination of piezoelectric contact microphones and piezoelectric speakers placed inside a book. The book is a resonator and a filter. The instrument is based on the feedback between piezo microphones and speakers. In order to play the instrument I press my hands on top of the book, thereby the conditions for the feedback change. </p>
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1000füssler</a></p>

  
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watching
2013-01-16T00:00:00+00:00
electro-acoustic composition, multichannel, 2010</p>
watching</em> displays a landscape consisting of half-animals. half-animals</em> are deliberate created occurrences, which resemble “nature”, or create a nature, or recreate “our” notion of nature. A result of a search that relates to the connections between memories, things and sounding machines. A conjunction of a mimesis of the animals and mimetic machines – to let the computer sing, to let the machines mime the animals. A result of the cheeping of a feedback and the memory of the sounding of the environment, created to be observed, created by a blurry apparatus. A game with the affection to things and animals: animal-voice-transmissions.</p>
stereo version:</p>
watching</em> zeigt eine Landschaft zusammengesetzt aus Halbtieren. Halbtiere</em> sind willentlich hervorgebrachte Erscheinungen, welche der Natur ähneln, welche selbst eine Natürlichkeit erzeugen und welche unsere Vorstellungen von Natürlichkeit nachbilden. Ein Produkt einer Suche nach den Verbindungen zwischen den Erinnerungen, den Dingen und den Klang-Maschinen. Eine Verknüpfung einer Mimesis der Tiere und mimetischen Maschinen – um den Computer zum singen zu bringen, um die Maschinen die Tiere mimen zu lassen. Ein Produkt des Fiepens eines Feedbacks und des Erinnerns an das Klingen und Rauschen der Umwelt, erzeugt um betrachtet zu werden, erzeugt aus verschleierten Maschinen. Ein Spiel mit unseren Affektionen zu den Dingen und Tieren: Tierstimmenübertragungen.</p>
installation, 16 speakers, computer, 2011</p>
watching</em> creates an artificial soundscape. half-animals populate it, mainly birds. watching nature</strong> was installed in the greenhouse for tropical crop plants of the German Institute for Tropical and Subtropical Agriculture</strong> in Kassel-Witzenhausen.</p>
watching</strong> erzeugt eine artifizielle akustische Umwelt, Halbtiere bevölkern diese. Zumeist Vögel. watching</strong> wurde im Gewächshaus für subtropische Nutzpflanzen des Deutschen Institutes für tropische und subtropische Landwirtschaft</strong> in Kassel-Witzenhausen gezeigt.</em></p>

  
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CD, stereo, 2013</p>
Sub Jam release the CD of watching in the kwanjin series.</a></p>
http://subjamlabel.bandcamp.com/album/watching</a></p>

  
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love noise
2012-10-06T00:00:00+00:00
performance, 2012</p>
In relation to the local noise scene of Shanghai I realised, that my joyful feeling while experience very loud and harsh sounds, should be expressed in some friendly gestures, like giving away flowers or doing something sweet.</p>
as released by fuzztapes: I Don't Like Westerners Doing Noise</a></p>

  
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ten feelers
2012-09-20T00:00:00+00:00
performance/installation, 2012, speakers, motors, cables and aluminium foil</p>
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The performance consists of the construction of the installation. The installation is based on simple and fragile electronic circuits. A cable is tight along the ceiling and aluminium foil is unreeled on the floor. They are connected to the two poles of a power supply. Speakers are attached to cables hanging from the ceiling, or placed on the aluminium foil. Cable attached to the speakers and motors allow contacts with the electrical circuit. this results in movements which interrupts the contacts so that sounds appear: crack, rustle and buzz. Continuously the structure is changed, contacts are lost, things tangled, speakers fall to the ground or burn out. Continuously the installation has to be fixed to remain functional. The question behind ten feelers is how simple can a electronic circuit be but still appear as alive.</p>
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untitled (for yard)
2012-09-15T00:00:00+00:00
installation, 2012, 9 stereo music boxes, 10 drawings</p>

  
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For the exhibition yard I did a sound installation based on the idea of the assemblage of sounds. The random constitution of groups by sounds. Groups of residence and bypassing sounds. The interaction which change them and make residence moving and bypassing sounds stand still. Groups create open spaces, which get closed and disappear again. Spaces where information gets exchanged and distributed from one space to another, ideas appear and associations are created.</p>
The Installation is based on "electronic" sounds, which get played back on nine playback devices. The devices get positioned in the space in groups of 2 to 4. The Sounds made by electronic means but they reassemble the sounds of animals, things or humans, they are sounds which activate an associative hearing.</p>
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AnimalNacht
2012-06-13T00:00:00+00:00
project, 2012/ongoing, with Ute Wassermann, Liz Allbee and Felicity Mangan</p>
Animal Nacht is the project of four artists exploring the imitation and playback of animal and environmental sounds through acoustic and electronic instruments, voice and field recordings. With their movement between the boundaries of synthetic and natural sounds, they explore the interplay of human, animal and electronic sound. With trumpet, conch, voice, birdcalls, synthesizer and field recordings different hybrids are produced. Their sounds are condensed into sound environments ("sonic environments") which they produce in different spatial and acoustic situations with the help of spatialization, an imagined "wildlife scenario".</p>
Liz Allbee creates with Trumpet and Conch animalic instrumental sound chimera. O. Hochherz creates with synthetic sounds associations of screams, shouts and songs of the animal world. Felicity Mangan plays in her live arrangements with CDs of recordings of Australian animals with the abstraction of fieldrecordings. Ute Wassermann masks her voice with bird-calls and palate-whistles and creates a hybrid voice-instrument with oscillating, trilling and swirling sounds.</p>

  
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AnimalNacht on soundcloud</a></p>


half animal
2012-03-02T00:00:00+00:00
workshop, 2012</p>
This workshop was held in Beijing in February/March 2012 in Beijing and the result was a musical performance at the “sally can't dance” Festival in Beijing.</p>
We where playing with the affection to things and animals. We let the instruments "sing", to let the instruments mime the animals - a mimesis of the world.</p>
Within the workshop I shared my ideas on environment and its associative qualities as source for musical structures. Through group improvisations, their discussion and critique we developed different ways to create a music which recreated a sonic environment. we discussed how musical structures relate to other (acoustic) structures in everyday life, how we can recreate structures from our environment in our music to create a new way of thinking about music. We searched for ways to create sounds which resemble "nature" or better recreate "our" notion of nature, which utilise memories of the sounding of the environment, as a conjunction of animals, things, humans and sounding machines. We discussed what it means to recreate an environment, which "exist" to be observed.</p>

  
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Shh
2011-11-04T00:00:00+00:00
trio, 2011, with Chris Heenan and Matija Schellander</p>
Shh is a trio of electronics, contrabass, and contrabass clarinet. The musicians of SHH have each developed a specific musical language on their instruments and use these developments to merge their respective sounds in the service of a quiet and focused group music.</p>
Chris Heenan, contrabass clarinet</p>
O. Hochherz, electronics</p>
Matija Schellander, contrabass</p>
Chris Heenan lives in Berlin and is an active composer/performer and organizer of experimental music. He performs on alto saxophone, contrabass clarinet, and analog synthesizer. Heenan has developed a formidable solo voice on his wind instruments, particularly with the contrabass clarinet where he uses extended techniques, often incorporating multiphonics with surprising results, to reveal the subtleties inherent to the instrument.</p>
Matija Schellander is an Austrian composer and improvising musician currently based in Vienna, mostly using double bass, modular synthesizer, and speakers: processing input, moving air output.</p>

  
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一、二、三、很多
2011-07-18T00:00:00+00:00
eins, zwei, drei, ganz viele</p>
The Sound of Nowhere</em>, Beijing, China, Installation, 2011</p>
</p>
The sound-installation consists of two portable music players facing each other, in between are three drawings: a frog, a temple block and a bird. They are placed on a table in a backyard of a old building in the center of Beijing. The building is used as a shared working space.</p>
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The Installation was created for the exhibition The Sound of Nowhere:</em></p>
The Sound of Nowhere is an art project to be embedded deep in the recesses of Dongcheng District, scattered in the vicinities of Andingmen</em> and Gulou</em>. This is an experiment with sound and geography, whereby artists and ‘sound laborers’ will for the duration of one week present workshops, lectures, installations and performances for various locations on the map—from art spaces, a theatre, restaurants to a hair salon. The projects will be traceable from a printed map that guides participants for short walks within a 20 minute radius to find and experience these works as interventions and exchanges with the surrounding public space. By working from a conceptual recognition of sound, we seek to locate and initiate certain resonances between this often overlooked sense and its relation to the noise of our daily urban environs.</p>
地点 location:</p>
白衫工作室 / Whiteshirt Design Studio 国子监街61号 / No.61 Guozijian Street 营业时间： 14点至18点30 opening times： 14:00 - 18:30</p>
http://www.soundofnowhere.info/</p>
奥拉夫·郝赫尔茨 O. HOCHHERZ (德国 DE) 《一、二、三、很多》 _One, Two, Three, Quite A Lot_地点 location: 白衫工作室 / Whiteshirt Design Studio 国子监街61号 / No.61 Guozijian</em> Street 营业时间： 14点至18点30 opening times： 14:00 - 18:30</h1>


about
2011-02-16T00:00:00+00:00
O. Hochherz is a sound artist, researcher, and IT-worker mostly performing with self build electronic instruments and computer programs.
Their work is shaped by their interest is in the conjunction of the instability, self-generation, and associative capacity of artificially produced sound -- sound made with self-made electronic instruments and computer-synthesizers.
Their work can take the shape of installation-performances, sound-installations, electro-acoustic compositions, works for CD, solo performances and collaborations with different musicians.</p>
„I didn't try to make an electronic device, which is controllable in the same way as a classical acoustic instrument, instead I work with the abstraction of the electronics.
In my playing I do not control a technical apparatus, but create an associative field.
The sounds have their own live.
The playing tries to keep them alive.“</p>
They presented their electronic compositions at different Festivals and installations could be realized in Germany, Taiwan and China.
They toured for performances throughout Central Europe and East Asia.
They received education at Folkwang Hochschule Essen in electronic composition, Humbold University Berlin in philosophy and computer science and at Bauhaus University Weimar in sound-art/media-art.
They hold a BFA and MFA in Mediengestaltung (Media-Art) and a wrote a PhD on experimental music.
Their research interest lies in the impact of technologies on artistic practices.</p>


speaking
2011-02-16T00:00:00+00:00
electro-acoustic composition, stereo, 2010</p>
speaking</em> is a small piece, a studie, a conversation between two loudspeakers. Two loudspeakers, each with two membranes. As if it would be four mouths. Four mouths with a fixed position in space.</p>
What happens when these mouths sound together?</p>
What happens when the spacial relation between the mouths is fixed and nevertheless the voices can not get identified, when it is unclear what each voice could be, could become or like to become?</p>

  
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speaking</em> ist eine kleines stück, eine studie. ein gespräch zwischen zwei lautsprechern. zwei lautspechern mit je zwei membranen. als wären es vier münder. vier münder mit festen positionen im raum.</p>
was passiert wenn diese münder zusammen klingen?</p>
was passiert wenn die räumliche beziehung zwischen den mündern festgelegt ist und trotz allem die stimmen nicht identifiziert werden können, wenn nicht klar ist, was jede stimme sein kann, werden kann oder werden will?</p>


contact
2010-10-15T00:00:00+00:00
hochherz (at) klingt (dot) org</p>


past events
2010-10-14T00:00:00+00:00
2025</p>
10.09.2025, Trio with Francis Heery and Klaus Janek, Zwitschermaschine, Berlin, Germany</p>
30.07.2025, AnimalNacht, Hošek Contemporary, Berlin, Germany</p>
25.05.2025, Duo with Sagardia, Künstlerhaus Lauenburg, Lauenburg, Germany</p>
16.05.2025, AnimalNacht, Friedhof St. Elisabeth II, Berlin, Germany</p>
19.03.2025, Solo, Experimentik #81, TiK, Berlin, Germany</p>
13.02.2025, Trio with Francis Heery and Klaus Janek, Holzwerkstatt Rainer Spehl, Berlin, Germany</p>
24.01.2025, Solo, Outer Pulsation #44, Jaintian Underpass, Taipei, Taiwan</p>
10.01.2025, Solo, 20alpha, Hong Kong, Hong Kong</p>
2024</p>
22.12.2024, Duo with Fang Yi, Cochlea-gigs no.74, Kaohsiung, Taiwan</p>
21.12.2024, Solo, Trio with Bill Hsu and James Fei, Lacking Sound Festival, C-LAB, Taipei, Taiwan</p>
05.10.2024, Duo with Francis Heery, NYT, Berlin, Germany</p>
06.08.2024, AnimalNacht, Kühlspot Social Club, Berlin, Germany</p>
02.07.2024, Duo with Olaf Rupp, Cafe Plume Central Committee, Berlin, Germany</p>
01.06.2024, Solo Drehteller, InterKULTURelles Haus Pankow, Berlin, Germany</p>
20.03.2024, Duo with Liz Allbee, Hošek Contemporary, Berlin, Germany</p>
22.02.2024, Duo with Sagardia, Kukumu, Berlin, Germany</p>
11.01.2024, Duo with Francis Heery, Petersburg Art Space, Berlin, Germany</p>
2023</p>
25.11.2023, Duo with Francis Heery, Duo with Sagardia, Cafe Plume, Berlin, Germany</p>
09.11.2023, Duo with Olaf Rupp, Das Ende, K77, Berlin, Germany</p>
25.10.2023, Duo with Francis Heery, Kühlspot Social Club, Berlin, Germany</p>
05.10.2023, Solo, Petersburg Art Space, Berlin, Germany</p>
08.07.2023, Duo with Sagardia, untergrün, Berlin, Germany</p>
2022</p>
21.01.2022, Duo with Lala Reich, Jiang Shan Yi Gai Suo, Hsinchu, Taiwan</p>
2021</p>
29.12.2021, Duo with Xiao Liu, Fu-lin Underpass, Taipei, Taiwan</p>
2020</p>
04.01.2020, Solo, Tingzhou Underpass, Taipei, Taiwan</p>
2019</p>
14.09.2019, Solo, 20alpha, Hong Kong, Hong Kong</p>
18.07.2019, Solo, Nanahari, Tokyo, Japan</p>
17.07.2019, Solo, Ftarri, Tokyo, Japan</p>
17.05.2019, Solo, KM28, Berlin, Germany</p>
07.02.2019, Natural Languages with Wilmer Chan, 34th Floor, Hong Kong, Hong Kong</p>
30.01.2019, Solo, Today x Future, Manila, Philippines</p>
25.01.2019, Duo with Lee Kwang Goh, Mou Tou, Kuala Lumpur, Malaysia</p>
23.01.2019, Solo, Play Studio, Malacca, Malaysia</p>
22.01.2019, Solo, RAW Art Space, Kuala Lumpur, Malaysia</p>
16.01.2019, Solo, De Commune, Bangkok, Thailand</p>
15.01.2019, Solo, Yoko cafe, Ho Chi Minh City, Vietnam</p>
13.01.2019, Solo, Cù Rú Bar, Ho Chi Minh City, Vietnam</p>
12.01.2019, Solo, Haritage Space, Hanoi, Vietnam</p>
05.01.2019, Solo, Miji, Beijing, China</p>
2018</p>
30.12,2018, Solo, Shanghai, China</p>
28.12.2018, Solo, Senko Issha, Taipei, Taiwan</p>
23.12.2018, Solo, Cochlea-gigs no.40, Kaohsiung, Taiwan</p>
21.12.2018, Solo, Lacking Sound Festival, Taipei, Taiwan</p>
19.12.2018, Solo, Dotolim, Seoul, South Korea</p>
15.12.2018, Duo With Takahiro Kawaguchi, OTOOTO, Tokyo, Japan</p>
08.12.2018, Solo, Bonjour, Kyoto, Japan</p>
17.11.2018, Natural Languages with Wilmer Chan, Tong Saam, Hong Kong, Hong Kong</p>
30.04.2018, Trio with Makoto Oshiro and Jasper Fung, tfvsjs.syut, Hong Kong, Hong Kong</p>
2017</p>
27.05.2017, With Shih-Yang Lee, Wilmer Chan, Ken Ueno, and Kung Chi Shing, New Territories, Hong Kong</p>
29.04.2017, Natural Languages with Wilmer Chan, McAulay Studio, Hong Kong, Hong Kong</p>
17.03.2017, Duo with I AM, Interspecies Musicking, Floating Project, Hong Kong, Hong Kong</p>
09.02.2017, Pak Yan Lau, Fang Yi Liu, and Wilmer Chan, tong saam, Kowloon, Hong Kong</p>
2016</p>
21.10.2016, Gravitaphon, Music Theater, premier, LOFFT - DAS THEATER, Leipzig, Germany</p>
31.07.2016, Solo, quiet cue, Berlin, Germany</p>
10.07.2016, AnimalNacht, StudioAcht, Berlin, Germany</p>
23.04.2016, Natural Languages with Wilmer Chan, iDTOWN, Shenzhen, China</p>
07.06.2016, Duo with Fang-yi Liu, Loophole, Berlin, Germany</p>
27.03.2016, Natural Languages with Wilmer Chan, tfvsjs.syut, Kowloon, Hong Kong</p>
10.01.2016, trio with Wilmer Chan and Fang-yi Liu, New Territories, Hong Kong</p>
05.01.2016, Natural Languages with Wilmer Chan, Focal Fair, Hong Kong, Hong Kong</p>
2015</p>
20.12.2015, Sounded Constructed (inside), Guling Street Avant-Garde Theatre, Taipei</p>
19.12.2015, Lacking Sound Festival</em>, Natural Languages with Wilmer Chan, Taipei, Taiwan</p>
17.12.2015, International Improv Festival II, with Hugues Vincent, Minyen Hsieh, and  Wilmer Chan, Jiang Shan Yi Gai Suo, Hsinchu, Taiwan</p>
13.12.2015, with 丁麗萍, 劉芳一, Hugues Vincent,  陳柏達 Neng Sheng Xing Factory, Tainan, Taiwan</p>
22.10.2015. Generator #40, Tierstimmenübertragungen, solo, Musikklub, Zürich, Swiss</p>
14.10.2015, solo, spectrum, Berlin, Germany</p>
15.08.2015, Sounded Constructed (outside), Observations from the open space, Divnogore, Russia</p>
16.07.2015, AnimalNacht, Geoff Stern Art Space, Berlin, Germany</p>
05.07.2015, PLANTS vs. ANIMALS (AnimalNacht, Christina Ertl  and a.melodie), Prinzessinnengärten, Berlin, Germany</p>
2014</p>
26.12.2014, 김자현, Seoul, South Korea</p>
20.12.2014, modular, somewhere, Tokyo, Japan</p>
20.12.2014, solo, swim, pool, Tokyo, Japan</p>
19.12.2014, solo, yuno museum, Osaka, Japan</p>
17.12.2014, solo, Bar Scivias, Nagoya, Japan</p>
14.12.2014, duo with Seijiro Murayama, Ftarri, Tokyo, Japan</p>
13.12.2014, with many people, soup, Tokyo Japan</p>
29.11.2014, with Choi Joonyong, Hong Chulki, Jin Sangtae, Ryu Hankil,Choi Sehee, Shin Jaehyun, Reaction Power Trio, and Rémi Klemensiewicz, Seoul, South Korea</p>
25.10.2014, NOISE to SIGNAL</em>, solo, HKICC, Kowloon, Hong Kong</p>
25.07.2014, The Languages of The Wind-Up Birds, trio with Erik Wong and Wilmer Chan, tong saam, Kowloon, Hong Kong</p>
17.07.2014, NOISE to SIGNAL</em>, solo, HKICC, Kowloon, Hong Kong</p>
16.06.2014, garden concert</em>, with Sagardia, Berlin, Germany</p>
07.06.2014, biegungen</em>, AnimalNacht, ausland, Berlin, Germany</p>
06.06.2014, duos</em>, with Seiji Morimoto and Nicolas Wiese, liebig 12, Berlin, Germany</p>
02.06.2014, labor sonor – transmit power #3, AnimalNacht, kule, Berlin, Germany</p>
27.04.2014, kill the silence</em>, with No One Pulse, HKICC, Kowloon, Hong Kong</p>
11.03.2014, erreur d'impression</em>, cyclisation, online installation, jeu de paume, Paris, France</p>
2013</p>
27.12.2013, No One River Flows</em>, amphibians, installation-performance, Kuandu Museum of Fine Arts, Taipei, Taiwan</p>
22.12.2013, Changee</em>, solo, also 紀柏豪，N:PRST, noise kitchen, Taipei, Taiwan</p>
30.11.2013, mex21</em>, conversations, installation, Künstlerhaus, Dortmund, Germany</p>
25.10.2013, dotolimpic 2013</em>, 10feelers, installation-performance, Mullae Art Space, South Korea</p>
13.10.2013, b6c</em>, Stacked rooms - Performance, together with Junky, XuCheng, Mojo, Yida He, Basement 6, Shanghai, China</p>
12.10.2013, make+</em>, V-Art Center, Shanghai, China</p>
14.09.2013, Kölner Musiknacht</em>, draussen, Feuerwache, Köln, Germany</p>
24.08.2013, 7ms</em>, solo and duo with Xu Cheng, also JIMU, BlueRoof Villa, Shanghai, China</p>
30.06.2013, animalnacht</em>, quiet cue, Berlin, Germany</p>
27.04.2013, Noise to Signal 0.10</em>, solo, Tim blechmann + Conny Zenk, Zhang You-Sheng, Fiona Lee, C.I.A, New Territories, Hong Kong</p>
22.04.2013 NoiShanghai</em>, solo, also Soviet Pop, Tim Blechmann + Conny Zenk, Shanghai, China</p>
10.03.2013, Noise to Signal 0.10</em>, duo with ..., also e:ch + Alok, Dj Sniff + sin:ned, C.I.A., New Territories, Hong Kong</p>
06.01.2013, haus konzert</em>, duo with Jamie Drouin, also Lucio Capece, home, Berlin, Germany</p>
2012</p>
15.12.2012, unERHÖRT</em>, duo with Christoph Irmer, Wuppertal, Germany</p>
29.09.2012, Noise to Signal</em>, solo, soundpocket, Kowloon, Hong Kong</p>
28.09.2012, Herbal International</em>, solo, Findars, Kuala Lumpur, Malaysia</p>
22.09.2012, Noise of Noise</em>, solo, Kandala records, Nanhai Gallery, Taipei, Taiwan</p>
21.09.2012, Lacking Sound Festival</em>, solo, noiseKitchen, Taipei, Taiwan</p>
20.09.2012, Ten Feelers</em>, installation, Ping Pong Art Space, Taipei, Taiwan</p>
15.09.2012, Yard</em>, installation, Tunghai University Art Gallery, Taichung, Taiwan</p>
09.09.2012, Summer Party</em>, solo, Studio 2224, Taipei, Taiwan</p>
24.8.2012, Reso</em>, duo with hui ye, also maimai, 696 live bar, Shanghai, China</p>
21.07.2012, Music Meeting</em>, duos and trios with Yan Jun and Jun-Y Ciao, Fungus Room, Shanghai, China</p>
07.07.2012, NOIShanghai L+</em>, solo, 696 Live, Shanghai, China</p>
06.06.2012, AnimalNacht</em>, Sowieso, Berlin, Germany</p>
03.06.2012, haus konzert</em>, solo duos and trios with Yan Jun, Hui Ye, Seiji Morimoto, anotherhome, Berlin, Germany</p>
26.05.2012, Taktfrei 2012</em>, duo with Yan Jun, also Jassem Hindi & Magda Mayas, LVSXY (Clayton Thomas & Clare Cooper), Axel Dörner, -able, Berlin, Germany</p>
25.05.2012, biegungen</em>, trio with Yan Jun and Hannes Lingens, also Christopher Williams, Felicity Mangan and Seiji Morimoto, ausland, Berlin, Germany</p>
09.04.2012, eXperimontag</em>, solo, Madame Claude, Berlin, Germany</p>
14.03.2012, noise</em>, solo, also ASTMA, Li Tieqiao, ZaJia, Beijing, China</p>
11.03.2012, dotolim</em>, duo with Hankil Ryu, also Jin Sangtae, Choi Joonyong and Otomo Yoshihide, dotolim, Seoul, Korea</p>
10.03.2012, Performance Maschine</em>, duo with Jin Sangtae, also L’ange with Otomo Yoshihide, Lowrise, Seoul, Korea</p>
09.03.2012, Music Meeting</em>, duos and trios with Xu Cheng and Jun-Y Ciao, Fungus Room, Shanghai, China</p>
07.03.2012, NOIShanghai</em>, solo, 696 Live, Shanghai, China</p>
04.03.2012, 2012 Sally Can’t Dance</em>, Ad Hoc Improv Committee: Yan Jun, O. Hochherz, Li Zenghui, Shi Yang, Iku Sakan, Yan Yulong, Zhang Shouwang, Vavabond, Li Qing, xp club, Beijing, China</p>
01.03.2012, Ad Hoc Improv Committee: Yan Jun, O. Hochherz, Li Zenghui, Shi Yang, Iku Sakan, Yan Yulong, Zhang Shouwang, Vavabond, Li Qing, The Pavillion, Beijing, China</p>
21.01.2012, PCI Birthday</em>, duo with Liz Allbee, home, Berlin, Germany</p>
12.01.2012, hearable</em>, trio with Matija Schellander, Chris Heenan, also Andrea Ermke, Marcello Busato, able, Berlin, Germany</p>
2011</p>
17.12.2011, biegungen</em>, cage test, together with Francesco Cavaliere, Felicity Mangan, Mat Pogo, Stefan Roigk, Ignaz Schick, Seiji Morimoto performing: Cartridge Music (1960) Fontana Mix (1958) Branches (1976) Telephones & Birds (1977) Song Books (1970) Radio Music (1956), Ausland, Berlin, Germany</p>
08.12.2011, schleusen</em> 25, "Improvisation mit Büchern (Bücher über Improvisation)" lecture performance trio with Mathias Maschat, Michael Renkel, Ausland, Berlin, Germany</p>
5.12.2011, mehr kanal #6</em>, solo, Zentrale Medienwerkstätte, Linz, Austria</p>
29.11.2011, velak gala #63</em>, solo, Brut im Konzerthaus, Wien, Austria</p>
28.11.2011, ostinato</em>, solo, also YANAGI duo and iq+1, České Budějovice, Czech Republic</p>
21.11.2011, trio with Chris Heenan, Matija Schellander, Blue Allert, Berlin, Germany</p>
18.11.2011, plants talk - art for greenhouses, installation, watching nature, ditsl, Witzenhausen, Germany</p>
08.11.2011, quartet and duos with Jamie Drouin, Seiji Morimoto, Nicolas Wiese, Altes Finanzamt, Berlin Germany</p>
12.09.2011, Labor Sonor</em>, solo, also Axel Dörner, Seijiro Murayama, Pierre Borel, Hannes Lingens, KuLe, Berlin, Germany</p>
09.09.2011, liquidshell,</em> screening of "permeable super real", iac Berlin, Berlin, Germany</p>
07.09.2011, fake field recordings</em> duo with Felicity Mangan ,also Kai Fagaschinski,</em> rac_ka</em>, ausland, Berlin, Germany</p>
31.07.2011, miss hecker</em>, duo and quartet with Liz Allbee, Anthea Caddy and Annette Krebs, Berlin, Germany</p>
09.06.2011, quiet cue</em>, duo with Robin Hayward, Berlin, Germany</p>
04.06.2011, trio with Christoph Irmer, Klaus Janek, Wendel, Berlin, Germany</p>
01.06.2011, For a big ensemble divided into small portions</em>, septet with Brendon Dougherty, Chris Heenan, Andy Graydon, Wouter Jaspers, Tristan Honsinger, Klaus Janek, Ausland, Berlin, Germany</p>
28.05.2011, solo, also Felicity Mangan & Seiji Morimoto, altes finanzamt, Berlin, Germany</p>
18.04.2011, fake field recordings</em>, duo with Felicity Mangan, Experimontag, Madame Claude, Berlin, Germany</p>
04.02.2011, _WEEKENDSOUND Session7,_solo, also  Cedrik Fermont, Yao Chung-Han, tamtamart, Berlin Germany</p>
23.01.2011, watching and speaking</em>, solo, also Robin Hayward, Seiji Morimoto, Berlin, Germany</p>
11.01.2011, watching and speaking</em>, Bauhaus University, Weimar, Germany</p>
2010</p>
11.12.2010, i’m using a chicken to measure it</em>, solo, also Christian Kesten, a exhibition of Pit Noack, Stefan Roigk, Heidrun Schramm, Oliver Schmidt und Nicolas Wiese, Hunchentoot, Berlin, Germany</p>
05.11.2010, WEEKENDSOUND Session1</em>, duo with Yan Jun, also Cedrik Fermont, Tamtam8, Berlin, Germany</p>
04.11.2010, Quiet Cue</em>, duo with Yan Jun, also Aspec(T),  Staalplaat, Berlin, Germany</p>
01.11.2010, Experimontag</em>, duo with Yan Jun, Madame Claude, Berlin, Germany</p>
24.09.2010, SuperCollider Symposium</em>, Kleiner Wasserspeicher, Berlin, Germany</p>
08.09.2010, Echtzeit Musik Festival</em>, solo, also Clare Cooper, Valerio Tricoli, Ausland, Berlin, Germany</p>
10.06.2010, Quiet Cue</em>, duo with Felicity Mangan, Fake Fieldrecordings, Staalplaat, Berlin, Germany</p>
29.05.2010, Zwischen Zwei Zentren</em>,solo, also Marcel Dickhage, Moritz Fehr, Stefanie Pretna, Cathleen Schuster Nicolas Weiser, El Fog, Peter Prautzsch, Atelierhof Kreuzberg, Berlin, Germany</p>
04.05.2010, pm</em>, duo with Lee Kwang Goh, Antje Oeklesund, Berlin, Germany</p>
01.05.2010, Sonntags Salon</em>, duo and trio with Lee Kwang Goh, Seiji Morimoto, Miss Hecker, Berlin, Germany</p>
17.04.2010, unERHÖRT</em>, duo with Christoph Irmer, Wuppertal, Germany</p>
13.04.2010, Buffet and Music</em>, duo with Shin’Ichi Isohata, KinoLabor82w, Berlin, Germany</p>
05.04.2010, Experimontag</em>, solo, Madame Claude, Berlin, Germany</p>
07.02.2010, Reso</em>, solo and duo with Mai Mai, also Xu Chen, Da Xiao, Yuyintang, Shanghai, China</p>
30.01.2010, ≤50cm³</em>, trio with Mai Mai, Xu Chen, company 33, Shanghai, China</p>
08.01.2010, Sub Jam Tour</em>, together with Jun Yuan, Justin Sebastian, Yan Jun, Li Daiguo, Wu Na, Li Zenghui, 2colegas, Beijing, China</p>
06.01.2010, Sub Jam Tour</em>, together with Jun Yuan, Justin Sebastian, Li Tieqiao, Li Zenghui, Jianghu Bar, Beijing, China</p>
05.01.2010, Sub Jam Tour</em>, together with Jun Yuan + Yan Jun + Cardiac Murmur, D22, Beijing, China</p>
01.01.2010, reso + noishanghai</em>, together with Jun Yuan + Xu Chen, Hangzhou, China</p>
2009</p>
24.12.2009, Sound Art Festival</em>, together with Jun Yuan, Wu Na, Shanghai Himalayan Art Museum, Shanghai, China</p>
20.12.2009, Heterotopias</em>, together with Justin Sebastian, Maimai, Tau Ji, Jun Yuan, Xu Chen, Suzhou, China</p>
19.12.2009, True Color Museum</em>, together with Justin Sebastian, Maimai, Tau Ji, Jun Yuan, Xu Chen, Suzhou, China</p>
12.12.2009, Switch ON mini festival</em>, together with D.G. Moore, Goh Lee Kwang, Klpac, Kuala Lumpur, Malaysia</p>
6.12.2009, Choppa Series</em>, together with D.G. Moore, Night And Day, Singapore</p>
4.12.2009, Dawnag</em>, together with Dickson Dee, Culture Highland, Shenzhen, China</p>
26.11.2009, MusicImprovisationSeries</em>, together with Stian Westerhus, Tim Olive, Ken Okami, Common Cafe, Osaka, Japan</p>
20.11.2009, together with Ka4u, Ikko, Ken Okami, Shin Bi, Kyoto, Japan</p>
17.11.2009, Tokyo Keizai University, Tokyo, Japan</p>
15.11.2009, Metal Hole Cool Down 2</em>, together with O.Blaat, Phirip, Ken Okami, Takahiro Kawaguchi + Kanta Horio + Makoto Oshiro, Loop Line, Tokyo, Japan</p>
21.10.2009, International Electroacoustic Music Week</em>, together with Jun Yuan, Shanghai, Conservatory Of Music, Shanghai, Shanghai, China</p>
18.10.2009, Noishanghai XXXI</em>, together with C.U.M.T/Teratology/Torturing Nurse, Live Bar, Shanghai, China</p>
19.9.2009, Noishanghai XXIX, together with</em> Junky, Live Bar, Shanghai, China</p>
27.8.2009, company</em>, together with MTDM Ben Houge junky Mai Mai, Subway, Shanghai, China</p>
22.8.2009, eai</em>, together with Junyuan, Jan Yun, Wu Na, Beijing, China</p>
21.8.2009, eai</em>, together with Junyuan, Jan Yun, Beijing, China</p>
25.7.2009, tablesitting</em>, together with Ryu Han kil, Hong Chulki, Jin sangtae, Choi Joonzong, Joe Foster, Kevin Parks, Takahiro Kawaguchi, Kogawa Tetsuo, Bowie, Seoul, Korea</p>
23.05.2009, Reso</em>, together with Junyuan, O Art Space, Shanghai, China</p>
17.04.2009, dotolim concert series</em>, together with Sangtae Jin, Hankil Ryu, Dotolim, Seoul</p>
07.02.2009, Electronic Church</em>, together with Marcel Türkowski, Berlin</p>
02.02.2009, Experimontag</em>, together with Seiji Morimoto, Madame Claude, Berlin</p>
24.01.2009, blinzelbar</em>, together with Alexander Schubert, Heiner Metzger, H7- Club für aktuelle Musik, Hamburg, Germany</p>
20.01.2009, Velak-Gala</em>, together with Tim Blechmann, Brut Im Konzerthaus,Vienna, Austria</p>
18.01.2009, jazz kissa</em>, C17, Vienna, Austria</p>
15.01.2009, O Tannenbaum</em>, Berlin, Germany</p>
2008</p>
19.09.2008, Salon Bruit</em>, pm: together with Lee Kwang Goh, Lichtblick Kino, Berlin, Germany</p>
17.09.2008, pm</em>, together with Lee Kwang Goh, Electronic Church, Berlin, Germany</p>
15.09.2008, pm</em>, together with Lee Kwang Goh, Albertos Ukebana, Berlin, Germany</p>
16.08.2008, where is the edge now, yeah?</em>, Shintaro Miyazaki,Hyph, James Edmonds + Marcel Türkowsky, Nicolas Weiser, Electronic Church, Berlin, Germany</p>
11.07.2008, Mani-Fest</em>, Weimar, Germany</p>
30.04.2008, Electronic Church</em>, Berlin, Germany</p>
29.03.2008, pm</em>, together with Lee Kwang Goh, Luise, Leipzig, Germany</p>
22.03.2008, pm</em>, together with Lee Kwang Goh, Electronic Church, Berlin, Germany</p>
01.03.2008, Linux Audio Conference</em>, Closing Concert, Stadtgarten, Cologne, Germany</p>
11.01.2008, Seam</em>, Hochschule für Musik, Weimar, Germany</p>
2007</p>
sound-installation vice/versa, Singuhr Hörgalerie, Kleinerwasserspeicher, Berlin, Germany</p>
18.11.2007, Computing Music 5</em>, alte Feuerwache, Cologne, Germany</p>
22.06.2007, Next Generation</em>, ZKM, Karlsruhe, Germany</p>
04.05.2007, pm</em>, together with Lee Kwang Goh, Forsters, Berlin, Germany</p>
06.04.2007, Naivsuper Night</em>, Electronic Church, Berlin, Germany</p>
28.01.2007, Seam</em>, Hochschule für Musik, Weimar, Germany</p>
27.01.2007, Seam</em>, Hochschule für Musik, Weimar, Germany</p>
2006</p>
27.04.2006, Linux Audio Conference</em>, ZKM, Karlsruhe, Germany</p>
14.10.2006, Naivsuper Night</em>, Gelegenheiten, Berlin, Germany</p>
2005</p>
07.07.05, icem</em>, Folkwang Musikschule, Essen, Germany</p>
Art In The Air</em>, International Festival Of Audio Art, Struts Gallery, New Brunswick Canada</p>
2004</p>
icem</em>, Folkwang Hochschule, Essen, Germany</p>
2003</p>
icem</em>, Folkwang Hochschule, Essen</p>


fake field recordings
2010-09-20T00:00:00+00:00
is a project of felicity mangan</a> and o. hochherz</p>
 </p>
Together they create a sound-scape of displaced sounds.</p>
A cut-up of recordings of animals, blurred with computer generated birds and frogs, crickets. The computer looses its technologicalism and the animals get denaturalised.</p>
How to confuse nature?</p>
An ecology has to cope with this indistinguishably of technology and nature and at the same time with the wish to abstract and to displace, to create distinctions at different points in time.</p>
 </p>
live at biegungen at ausland:</p>
live at quiet cue:</p>
</p>
 </p>
live at madame claude:</p>
</p>

    </iframe>
</div>
recorded by fredrik svensk at madame claude 2011</p>


tropoi
2010-09-09T00:00:00+00:00
2010, kwanjin</a></p>
tropoi</em> is a composition for CD. I combined and transformed recordings of my book instrument</a>.</p>
Most of the sounds of electronic instruments create assoziations of electronic devices, but sometimes some of the sounds might remind one of something else, something one might have heard before.</p>

  
  </iframe>
</div>

</p>
tropoi</em> the plural of trope. but trope doesn’t make much sense, when it’s singular. it’s a musical figure, a structure within composition, a rhetoric strategy, an element in an ontology without universals. a mode to say, there isn’t one, and there is even no idea. it’s not what it is like and it’s more than that. tropoi is tropes and not.</p>
for listening in a home environment.

will merge with the sound of your city-flat.</p>
**艺人：**奥拉夫·豪赫兹

**标题：**修辞

**长度：**52分28秒

**发行日期：**2010年9月

**编号：**kwanyin 034

**设计：**阮千瑞

介绍：</strong>

为在家居环境中聆听而做。

它将在你公寓原有的声音环境中浮现。</p>


« hé, vous, là-bas ! »
2010-05-01T00:00:00+00:00
2010, free software series</a>, cd</p>
During my stay in Shanghai 2009 I composed this piece of transformed field recordings. Next to my flat at the Shan Jin Lu I made recordings of my neighbourhood. I changed the waveform of the recordings to sinetones. Further I fragmented the sounds by deleting a lot of the sounds. Many of the sounds which are the basis of the compositions are sounds which catch ones attention because there are actually calls of people, animals, devices and vehicles.</p>

  
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permeable super real
2010-02-17T00:00:00+00:00
sounddesign for the film permeable super real of Elke Marhöfer</a>.</p>
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2009/10 I was  realising the film permeable super real together with Elke Marhöfer</a>. We where travelling to Xinjie to make recordings of the culturally transformed landscape. The sound and the image where recorded mostly independent. Both of us where searching what creates the place atmosphere. Later in the post-production we where combining and composing the sound with the image. The sound extends the frame of the image and has its own points of focus.</p>


book 01
2009-11-14T00:00:00+00:00
ogg/flac, 2009, moka bar</a>, recorded in shanghai, september 2009</p>
A improvisation with my book instrument</a>.</p>
download link: o. hochherz - book 01 (flac, ogg)</a></p>
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Review by Richard Pinell:</p>
Book 01</em> is the title of the download, which is available from Tim Blechmann’s Moka bar net label here</a>. Regular readers might remember how taken I was with Blechmann’s duo work with Hochherz, one example of which can be downloaded from the same link above. This release contains a single twenty-three minute long track recorded using piezo contact mics and a book. Which book I am not sure, but that doesn’t matter. The music then is very quiet, consisting mainly of small squeaks and splutters of sound that very very gradually grow in volume and intensity as the piece progresses, but even at their height require the volume dial turned up to make much sense of them. Otherwise we hear a continual background hiss which reveals itself to be more detailed than pure white noise if you hike the volume right up, and occasional pops and clicks that may or may not be intentional.</p>
It is the question of intent vs accident or incident that interest me in this release. As a straight piece of music it is fine, a nice little study in small sounds, particularly good to listen to if someone is hoovering downstairs at the same time, as happened for one of my listens this morning. The way the small sounds disappear into the every day background, or the way sounds from outside the CD player seem to appear in the music is particularly interesting on this release. Only bringing the volume right up brings some clarification to this. How much of what we hear though is deliberate? As the music consists of little more than hisses and splutters early on, a few random pops appear at a higher volume.  Are these deliberate? Or just the result of working with a vaguely precarious method of making sounds?  Does any of this matter? Would a particularly loud pop sound out of place and be deemed unacceptable?</p>
Sorry for all the questions. I am not so sure that this is a particularly conceptually driven release, it does after all stand up as interesting detailed music in its own right, but I do find myself wondering about these things. Should I be analysing every little scratch and tremble in the music. Do they matter? The relationship of the book to the whole  thing intrigues me as well. perhaps because I began reading the Noise and Capitalism book today as well, a work that seems to relate to this music in more than one way, even if only in my head. As it is free, I’m interested in others’ thoughts on this release, let me know if you give it a listen.</p>


shanghai subway
2009-09-29T00:00:00+00:00
together with MTDM, Junky, Mai Mai</p>
While I stayed in Shanghai I worked together with the artist group company. A group of artists and musicians from Shanghai which organises events in public and private spaces.</p>
One of the events was a performance in the subway of Shanghai. Different artists performed noise music. A music which does not refer to traditional musical structures, but to plurality of all possible sounds. During the performance we spread a booklet which is written around excerpts of the text “the art of noises” by the futurist Luigi Russolo.</p>
For the performance I used a sound recorder and two microphones to create a feedback. The train movement made the microphones swing. This changed the feedback sounds. Sounds moved up and down and merged with the squeaking subway train.</p>
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dotolim20090814
2009-08-14T00:00:00+00:00
ogg/mp3, 2009, klingt.org</a></p>

  
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In the summer 2009 I visited Seoul, and met Sangtae Jin</a> to record an improvisation together:</p>
http://jokebux.klingt.org/gro.tgnilk/mp3s/2612/index.html</a></p>


trying to listen but
2009-07-07T00:00:00+00:00
2009, desetxea 179</a></del></p>
trying to listen but http://mattin.havesomemusic.com//olaf_hochherz-ttlb@Desetxea.ogg</del></p>
this recording is not a piece I made. I was sitting in my apartment, trying to listen to a "record". a processed recording which was published on cd and later put on-line by the author. but I was thinking that the relation between active and passive has to be mixed up further. the idea of an audience which is actively listening is not enough. but still music makes no sense for an audience just like that. the aim of the listener must still be to develop forms of usage.</p>
i was listening to: May 2006 Radu Malfatti / Mattin: Going Fragile CD Formed Records (USA)</p>
mattin: "is recording your listening an active way of listening, or is it trying to pose new questions, regarding authorship, and the context in which one listens to music?".</p>
recording my listening is an active way of not listening, and it is trying to pose the context in which one is in music. this music made me entertain myself by playing with cups next to my ears/microphones. maybe a poor form of usage.</p>
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ornithology
2009-06-12T00:00:00+00:00
2009, theme park</a></p>

  
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Review by Richard Pinnell:</p>
Tonight I have been listening to a CD that falls somewhere between the opposing poles of really intriguing and completely pointless. Which one it sits closest to will be a matter of personal opinion. For me it jumps between the two, though I have to admit I find myself admiring the idea behind it. Ornithology is the title of a CD on the Theme Park label by O. Hochherz, the Berlin based Laptop / electronics musician I have written about here before. If the title seems a bit odd, then the track titles, such as (white-throated) clupper, (red) indeobird and (blue-billed) quealea read more like a birdspotters guide book than a CD track listing. However the real surprise comes when you play the CD- It is made up of nineteen tracks of small electronic sounds that are made to resemble the calls of assorted imaginary birds. Unless you already know what you are listening to, unless you listen really quite closely you would be forgiven for thinking that you are hearing some kind of National Geographic audio catalogue of birdcalls. And that’s it – the tracks each sound like a different bird, some more convincing than others, some really very convincing indeed. The question we are left asking though, is why?</p>
But let’s step back a moment first and think about what we are listening to here. There are no birds on this CD, or at least I don’t think there are. The titles of the birds that make up the track titles don’t seem to exist, and their presumably imaginary sounds are created entirely electronically here. Now, most people would consider birdsong to be beautiful, perhaps not great music, but certainly an enjoyable sound to be surrounded by. So if these tracks sound exactly like birdcalls, what would happen if we tried to forget that we know what a bird is and how it sounds and took the tracks here on face value, as just pieces of organised sound. Would we think about them in the same way? Would they feel as relaxing / beautiful as birdsong is supposed to feel? Then, even if we are to acknowledge that these pieces sound like birdsong, should we not still respond to them in the same way we might a field recording of assorted birds? Certainly I doubt I would have much time for a CD of recorded birdcalls, so why have I played this CDr three times tonight and not been annoyed or bored as I might if these sounds had come directly from one of our feathered friends? Is it merely the fact that I know these are fake birds, that I might be able to spot irregularities in the production of the sounds, that the human input into them is indelible, that makes this project quite interesting, even if it doesn’t make for particularly enthralling music?</p>
I guess that in many ways there is little difference between this CD and a Greatest Hits compilation of Roger Whittaker’s wildlife impressions, which is in itself something of a nightmare possibility, so why is this CDr intriguing when released on a familiar label as a piece of “artistic” music? Hochherz offers nothing anywhere about the music other than the track titles. So we are left to project our own ideas, thoughts about the CDr, why it exists, what the message behind it could be, if indeed there is one at all. I suspect that Hochherz might be questioning how we hear sounds when we are aware of their context and their origins. Do we listen differently to field recordings of birds than we do to precisely made electronic manipulations, even if they sound almost identical? If so, why do we? Why does this extra knowledge, or the involvement of human beings change our response?</p>
Whether any of this really matters much, whether these questions are worth asking is up to each of us to decide, and I suspect that how we answer will also colour how much interest we each have in this CD. While I find it musically uninteresting, I was certainly lead to ask a lot of questions by it, the answers to which I am not sure I know. That in itself gives the CD some value for me, though its not one likely to come back down off the shelf in a hurry unless the turn into my forties suddenly makes me feel the urge to go virtual twitching at the weekends…</p>


power wood quality
2009-05-04T00:00:00+00:00
duo, 2009, with Jun-Y Ciao</p>
The duo power wood quality is a collaboration with Jun-Y Ciao a Shanghai based Artist and Musician. in this duo which often got expanded with other musicians (Jan Yun, Wu Na, Xu Chen, Mai Mai, Justin etc...) to bigger ensembles, I developed my improvisation with my half-animal synthesizer. The name is the wrong translation of “electronic (and) wood instrument (duo)”.  </p>


half-animal synthesizer
2009-03-04T00:00:00+00:00
instrument, 2009-...</p>
half-animals are deliberate created occurrences, which resemble “nature”, or create a nature, or recreate “our” notion of nature. A result of a search that relates to the connections between memories, things and sounding machines. A conjunction of a mimesis of the animals and mimetic machines – to let the computer sing, to let the machines mime the animals. A result of the cheeping of a feedback and the memory of the sounding of the environment, created to be observed, created by a blurry apparatus. A playing with the affection to things and animals: animal-voice-transmissions.</p>

  
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live actions
2009-03-01T00:00:00+00:00
cd, 2009, pm (lee kwang goh & o. hochherz), herbal live actions Reviews:</strong></p>
I played a disc called Live</strong> Actions</strong> – Berlin</strong></em> by the duo of Goh Lee Kwang and O. Hochherz, using the group name PM. On this release, four tracks recorded at three different live concerts capture GLK (as we know him by now!) playing mixer feedback and Hochherz (of whom I am completely unfamiliar) playing piezo. Assuming piezo is shorthand for piezoelectric, one then further assumes that Hochherz somehow uses the process of converting manual movement into electric sound. Whatever they do, they make a kind of dirty, gritty electronic sound so similar to that made by GLK that I cannot tell them apart here. Live</strong> Actions</strong> – Berlin</strong></em> started nicely, some good use of white space between low volume splurges of noise. After a while though the sounds change very little, and it is just the tension (anger even?) held within these bursts of sound that hold the interest as the two musicians fold them around each other. The harsh unforgiving qualities of the sounds here do begin to test the listener after a while though. Shorn of the visual aspect of the gigs these recordings were taken from the interplay here is tough to relate to as its never certain who is making what noise. - Richard Pinnell, thewatchfulear.com</a></p>
Behind PM are Goh Lee Kwang (mixer feedback) and O. Hochherz (piezo). I remember reviewing a rather obscure 3"CDR by them, but this one is actually quite nice. Four pieces, recorded in three different places in Berlin, with only few days in between (so you can tour a city!) of an endless stream of feedback like sounds and small crackles and big noise. It emerges on the borders of improvised music, electro-acoustic, microsound as well as noise. I know this sounds like a strange mixture, but it works well here. A great work, a strong leap forward. Frans De Waard - Vital Weekly 663</p>


hoffnungsträger
2009-01-12T00:00:00+00:00
electro-acoustic composition, stereo, 2009</p>
„Hopecarriers</em>“ are small beings of lower duration. They appear and disappear. They follow each other. Sometimes they appear in clouds, dispersed in a landscape. They are similar to each other, perhaps. They create gestures, rhythms, clouds that are stratified and fragmented. They form an associative field. Practically, they are results of contingent, structural operations on sound recordings and the selection of specific constellations. They meet in two levels of production, the machinery of creation and the machine of selection. Two machines, with their own contingencies, but their own determination of the music.</p>
But why does they need a pseudodeterministic context? In the form of lines, which were selected arbitrary and present some small physical phenomena. Frequencies as lines. Lines as the rhythms  pulsating. A line which passes through a harmonic sound. A fluctuating restlessness. A line which shifts close to the „hopecarriers</em>“ and away. Does this context create a form? A form which has not the goal to define a development or to control contrasts. A form which only enables us to detect something.</p>
What is there in this case? The context of the linear sound opens up possibilities to interpret sounds in a spatial way. Gestures appear be to continued behind the horizon. They are liberated from their own consistent appearance in the field of vision. This makes the associative field possible, since it is no longer reduced to its given representatives.</p>

  
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Hoffnungsträger</em> sind kleine Wesen von geringer Dauer. Sie tauchen auf und verschwinden. Sie folgen aufeinander. Manchmal erscheinen sie in Haufen, verteilt in einer Landschaft. Möglicherweise ähneln sie einander. Sie bilden Gesten, Rhythmen, Wolken, sind geschichtet und zerstückelt. Sie bilden ein assoziatives Feld. Praktisch sind sie Resultate kontingenter, struktureller Operationen auf Klangaufnahmen und der Auswahl besonderer Konstellationen. Es treffen sich in ihnen zwei Ebenen der Produktion: die Maschine der Erzeugung und die Maschine der Wahl, zwei Maschinen, welche je ihre eigenen Kontingenzen aufweisen, und daher die Musik auf auf ihre Weise determinieren. Sie existieren im Kontext von pseudo deterministischen Linien.</p>
Aber wieso benötigen diese Hoffnungsträger</em> diesen Kontext? Ausgewählte Linien, welche kleine physikalische Phänomene präsentieren. Frequenzen als Linien. Linien als Rhythmen  pulsieren. Eine Linie, welche einen harmonischen Klang durchläuft. Eine schwankende Unruhe. Eine Linie, welche sich den Hoffnungsträgern annähert und sich wieder entfernt. Schafft dieser Kontext eine Form? Eine Form, welche sich nicht dadurch definiert eine Entwicklung zu konstruieren oder Kontraste zu kontrollieren. Eine Form, welche ermöglicht, dass man etwas erkennen kann, die einem ermöglicht Klänge als etwas zu hören.</p>
Was gibt es also? Der lineare Klang erzeugt den Kontext als Form, eröffnet Möglichkeiten, die Klänge in eine räumliche Weise zu interpretieren. Gesten scheinen sich hinter dem Horizont fortzusetzen. Sie sind von ihrer eigenen kohärenten Erscheinung im Blickfeld befreit. Dies ermöglicht das assoziative Feld, da es nicht mehr auf seine gegebenen Repräsentanten reduziert werden kann.</p>


b’s
2008-10-12T00:00:00+00:00
elektroakustische Komposition, stereo, 2008</p>

  
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cassavetee…
2007-10-12T00:00:00+00:00
2007, sound/video:</p>
a study in the construction of syncronised sound and the transformation of a film scene by looping it.</p>

  
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pm
2007-05-04T00:00:00+00:00
duo with lee kwang goh</a></p>
studio recording:</p>

  
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live at miss hecker: </p>


book
2006-09-27T00:00:00+00:00
instrument, 2006</p>
In his book „Hear and Now, Thoughts on Improvised Music“ Nicolas Wilson highlights three new aspects of electronic music: The amplification of formerly hardly audible sounds, the ability to sound of one’s own accord and the possibility to reproduce recorded music. I think however, that on top of this the playing of musical instruments has changed due to electronics and the fact that the sounds can be controlled in different ways and on various levels.</p>
In 2006 I developed my instrument in such a fashion that it allows me a rather playful approach regarding the control of sounds. I didn't try to make an electronic device, which is controllable in the same way as a classical acoustic instrument, instead I tried to work with the abstraction of the electronics. The instrument is based on the feedback between Piezo microphones and speakers. They are all placed inside a book. In order to play the instrument I press my hands on top of the book. Thereby the conditions for the feedback change.</p>
In this project I am mostly interested in the question of how the playing relates to the material. How does the instrument define the music? And in which ways these preconditions can be approached? I think certain possibilities of interaction arise due to the fact that the instrument faces me with its own particular properties. The shift in the improvisational practice toward a reaction to the sounds of the instrument itself opens up a new area of freedom. One could say that the interaction doesn’t only happen between musicians and the audience but also with the instrument and its concrete behaviour. In the same way one listens to co-musicians, one is listening to one’s own sounds and the ways they sound in space. I am particularly interested in those aspects, which are mistakenly considered “passive”. It’s the listening and the experience of things that disclose an improvisational practice to me. The aim is not to control a technical aperture but to create an associative field. The sounds have their own live. The playing tries to keep them alive.</p>
projects with the book:</p>
book01</a></p>
rooms to carry books through</a></p>
live at labor sonor: 
  
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live at altes finanzamt: 
  
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live at tamtamart:</p>
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pets
2006-04-06T00:00:00+00:00
2006, naivsuper</a></p>
text by Elke Marhöfer</p>
PETS</a> are 5 pieces of a CD or the attempt to describe a sound-based form of life. Stuck inside a niche between "nature" and "culture", acoustic inhabitants of "nature-culture-land", hairy little things made out of dust, wandering around without reason and suddenly drop dead completely unexpected. They have to be pushed, but sometimes move by themselves, they can speak sometimes fast and sometimes rather slow and then again cuddle up in silence pretending not to be here.</p>
They could also be sound creatures from the world of microrobotics, who speak to us without communicating, glitching transistor noises in between loudspeakers - no more - no less.</p>
The sounds come to life with the help of a self-written software which technically analyse very basic material just like voices or eating noises. But not what the computer hears is interesting - it is the structure that they read and filter out.</p>
There is movement between the basic material and its representation by the computer - sounds in motion. A broken relation between the computer and the sound material develops.</p>
It becomes vital that from this method of sound production, sounds and sequences originate which have their own rules. Language appears as pure sound, free from grammar and content. Or in other words: PETS could be an answer to the question - What´s the sound of the things and objects in our surrounding once they emancipate themselves from their functionality?</p>

  
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four of the pieces are compositions from between 2004 and 2006:</p>
2004, omo

2006, draussen

2006, winter

2005, halt nachher</p>


warum prozess
2005-10-12T00:00:00+00:00
elektroakustische Komposition, mono, 2005</p>
why progress?</em> The piece is made out of approximately 44 layers, each includes between one and twenty morsel. Each morsel is between 0.5 an 14 seconds long. There are approximately 400 morsels. the piece begins with the morsel having the lowest averaged energy and ends with the morsel having the hightest averaged energy.</p>
I think there is only one problem.</p>
How does it look like when the community of the morsel is a undefined unknoted slited flick. Is an embodiment always a directed gathering? Here are the morsel organised in a direktion without an aim, without identifing and verifing the aim. Is there meaning without embodiment and delineation of an aim? When there is shape, isn't this totalitarian? Anyhow there is something folded cut in this one creschendo.</p>

  
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warum prozess?</em> das stueck besteht aus circa 44 schichten, die jeweils aus ein bis zwanzig happen bestehen. ein happen ist zwischen circa 0.5 und circa 14 sekunden lang. es gibt insgesammt circa 400 happen. das stueck beginnt mit den happen die durchschnittlich wenig schallenergie aufweisen und endet mit den happen die die durchschnittlich hoechste schallenergie aufweisen.</p>
eigentlich gibt es hier nur ein problem</p>
was ist wenn sich das zusammensein der happen als unbestimmter, entknoteter, zerschnittener oder noch nicht verknoteter streifen, in einem raum ausgestaltet? bezieht sich ausgestaltung immer auf ein gerichtete zusammensein? hier haben die happen eine richtung ohne jenes etwas, worauf sie zielen, ohne das ziel zu identifizieren oder zu verifizieren. gibt es, ohne darstellung und ausgestaltung, dessen worauf jene happen zielen, noch sinn? sobald der sinn gestalt annimmt, ist er dann nicht schon totalitaer? dennoch gibt es da etwas gefaltetetes, geschnittenes und gestueckeltes in diesem einen creschendo.</p>


splist/shwobl
2004-01-12T00:00:00+00:00
For my compositional work, I have developed the SuperCollider library SPList for sample processing. SPList is a class which offers lists of wavesets and methods for their manipulation. The data can be structured by grouping, restructured by sorting, modulated by transposition and level change. Combining these three types of operation makes it possible to shape sound within different scales of time, from microsound up to entire pieces of music.</p>
I put SPList onto github</a> please download from there.</p>
download:</p>
SPList2018</a> (some fixes to keep it working with sc3.9.3 on linux at least)</p>
Paper presented at LAC 2008</a>:</p>
SPList, a wavesetsynthesis library and its usage in the composition</em> draussen.</p>
Paper Download</a></p>