The LIGHT CLOUD is a large scale sound and light installation located at the new Merck Innovation Center in Darmstadt, Germany. Our contribution to this special project was to create an interactive and generative 3D sound environment that consists of more than 80 unique soundscapes.

The main layout and design of the Light Cloud is inspired by the various physical and emotional states of a living organism. Each audiovisual composition reflects one character-trait of this artificial being: Anger, Fear or Love, for example.
During the day the installation rearranges our sound compositions according to it’s state of mind so that on each visit the space feels completely different.The visitors experience interactively a broad set of self-evolving scenarios that range from playful musical compositions up to complex sound experiments.

Moreover, the 3D audio system we've designed and integrated in the ceiling and the mirrors of the room, allowed us to control flying sound objects throughout the space to unfold sound worlds that are constantly in motion.

In collaboration with the NDR Elbphilharmonie Orchestra and Markenfilm SPACE we made climate change audible through an update of Antonio Vivaldi‘s famous violin concertos The Four Seasons, using algorithms based on climate data.

Scientific data from research institutes, environmental agencies and universities were applied to the original score of the Four Seasons.
The harmonic structure decays, spring and summer become intermixed, instrumental bird voices fall silent. The new image of The Four Seasons, the FOR SEASONS is not easy listening and is deprived of its original musical proportions and balance.

I AM NOT A ROBOT is a large-scale interactive 3D-Sound installation that engages visitors in the acoustic narrative of an intelligence that comes to life.

By creating sounds in a playful environment, visitors take on the role of humans controlling machines until the staged entity finally comes to life. The visitors lose their active role and become witnesses of the birth of a new entity. This transformation symbolizes the emergence of artificially intelligent systems that are trained by data of human behaviour. The narrative is based on the basic idea that machine systems, analogous to life forms, continually differentiate, develop and thus attain a consciousness at some point.

We developed and executed this “virtual to reality” audio concept as the soundtrack to the installation COLLIDE, which was displayed in the Dolby Gallery in San Francisco, CA, as a collaboration with the visual-coding studio onformative.

We wrote an open musical composition for three cellists, using a modified version of the visuals to conduct the score. Each cellist saw only a section of the film through VR goggles and had to react to the “visual timbre” while playing the composition. We then composed the final soundtrack based on the recording.
The final 3D-Mix on Dolby Atmos (54 speakers in addition to 17 subs) at Dolby Laboratories made it possible to spatially link events in the film with the individual dynamics of the cello recordings.

At three stations in the Futurium, visitors can playfully engage with the topic of human-machine interaction in the context of a future music production.
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All three stations deal with differentforms of interactions and musical aspects. Visitors can compose a track, conduct a band or improvise on an AI powered instrument.

Especially the improvisation station underscores this topic with the use of neural networks. Based on piano genie and ai duet (Magenta) visitors can play like a professional pianist on only 8 keys; for themselves or in duet with an ai.

FJORD & BÆLT is an open research lab in Kerteminde, Denmark, that investigates the local marine ecosystems of the Great Belt. For the underwater tunnel exhibition developed by Art+Com Studios, we created a multichannel soundscape composition reflecting on the natural forces that influence underwater life.

The structure of our composition is based on environmental data recorded close to the research station in 2016. For the piece we translated different variables, like the moon phase or sea level pressure into musical structures and forms.The length of the composition is four hours, it passes through all recorded data of 2016 and sonifies the entire year in an acoustic time lapse, where a day lasts 40 seconds, a month 20 minutes.

For the MUSEUM OF FUTUREENERGIES (main pavilion of the World’s EXPO 2017 in Kazakhstan) Kunzberg curated, designed and produced an extensive and imaginative exhibition about future forms of energy production. Numerous exhibits, immersive video walls and interactive video games illustrate the generation and usage of kinetic, biomass, wind and solar energy.

We contributed the Acoustic Scenography for the whole exhibition, spanning across 10.000 square-meters and four floors. A journey through diverse organic soundscapes and musical pieces helps the visitors to immerse themselves into a display of future energy sources.

Special thanks to Michael Kadelbach to make this happen for us.

For the announcement of Esch-Our-Alzette being elected as one of the European Capitals of Culture in 2022, the city in Luxemburg organised the Esch Press Day 2020, to give us a little teaser of what we can expect in 2022. One of the spectacles of the event was the Sound-Light Tunnel developed by battleROYAL, through which visitors could interactively experience the exhibition theme, REMIX CULTURE of Esch2022. We contributed an acoustic narrative that makes the four thematic aspects of the Capital of Culture spatially tangible. 

On top of an underlying musical layer forming the overall dramaturgy, each of the four themes (Europe, Nature, Yourself and Art) had their own sound world, consisting of numerous AR-Audio-Elements which visitors could explore individually via trackable headphones. The light choreography relating to the music created a synaesthetic experience, enriched by the different AR-Audio-Elements based on the location of the visitors. 

MIRROR is a collaboration with visual coding studio schnellebuntebilder. The VR-Installation analysizes the user’s movement and transforms it into a glitched reflection. Bending time and space, “Mirror” constantly breaks common patterns of perception and asks us to think about what is real and what’s constructed in our brain, therefore questioning the relation between reality and virtual reality in general.

A Max MSP patch follows head and limb positions and generates a fascinating sound experience. Our binaural renderer tricks the brain into a full 3D-illusion of ever changing room around you, and your movement in it.