I, Water

Soundscape Composition for Wave field synthesis

I, Water is an immersive composition inviting the listener to experience the strength of water in all its multifarious expressions. Listeners are invited to follow the gradual development of water from rivulet to maelstrom, until the soundscape ultimately evaporates in crystalline sonic structures. As soon as the sounds swell, a mass of water is acoustically unleashed. Riding through these wave fields, the listener explores dynamic sonic textures and is confronted with the unsteady nature of water. The source material of I, Water derives from audio recordings of water in different aggregation states, the composition puts emphasis on the sonorous capabilities of water. The external cause of the composition is an ongoing discussion on the possibly forthcoming privatization of water in the European Union and the concomitant control and standardization of this essential element.

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Felix Deufel (sound editing, recording, spatialization), Yannick Hofmann (composition, sound editing, recording, spatialization), Natascha Rehberg (spatialization), Klaus Schüller (recording, spatialization)

Spatial Sound Recognition, FullDome Festival, Jena 2013


Fixed Audiovisual Media

Dipole is an audio-visual work venturing into dichotomous borderland areas of privacy and public. Sound recordings taken from the composers private surroundings become progressively mixed up in timing and space as a tele-present entity intrudes a living room.

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Commisioned by ZKM | Center for Art and Media Karlsruhe


Transmedia music theater

LOST – a transmedia composition developed across multiple platforms and formats including: LOST PLAY – simultaneous cross-genre performance; LOST ID – play park; LOST in TRANSIT – a music web series; a website – www.LOSTdotLOST.com; LOST EXTRA – live events; a Facebook page – LOST in BLUE; LOST Magazine; and a novel called GAME of LOST. All these extensions are mutually complementary and form a contextual constellation.
In its contextual essence, LOST blurs the distinction between illusion and reality, life and art, what is ON and OFF the stage, and what is private and public. The characters which populate the multidimensional realities of LOST are unable to define when they play roles and when they live their own private lives. The differences between Yago and Jagoda, Fraulein and Frauke, Sebbi and Sebastian are fluid, hard to define unequivocally and hard to sense for both the audience and the characters themselves. When does one begin to »play« and when, conversely, does one simply and only »be«? Is entry into the »play« triggered by putting on a whole costume, or does just a part suffice? Does the play begin when we enter onto the stage, or when we decide that a given space »will from now on be the stage«?
The definition of an audience is also fluid in LOST, as, depending on the different types of access to composition and the selected activity, the audience may assume the role of listeners, users, players, commentators, or consumers. And what about the composition itself: LOST? It takes place somewhere between clicking on »enter«, the applause in a concert hall, and a kiosk where LOST Magazine can be bought.

Contributors in Karlsruhe:
Paul Hübner (trumpet, moderation), Steffen Ahrens (e-guitar), Yannick Hofmann (moderation, programming, project management), Ludger Brümmer (guest speaker)

Contributors in Warsaw:
Sebastian Berweck (voice, sampling, acting), Frauke Aulbert (voice, acting), Katharina Bach (voice, acting), Alexander Hofmann (sound design, sound direction), Jagoda Szmytka (concept, composition, text, video, script, direction, artwork, design), Halina Przebinda (vision direction, staging), Laura Linnenbaum (staging, direction adviser), Anna Mioduszewska (staging), David Gonter (costumes), Damjan Jovanovic (video animation in Second Life environment), Paweł Pniewski (light) Decoder Ensemble: Leopold Hurt (e-zither), Andrej Koroliov (sampler), Carola Schaal (clarinets), Sonja Lena Schmid (cello), Jonathan Shapiro (percussion)


B3 Biennale des bewegten Bildes, Frankfurt (2015)
LOST ID @ ZKM | Karlsruhe, Karlsruhe (2015)
Klangdomkonzert @ ZKM | Karlsruhe, Karlsruhe (2014)
Medien als Umwelten, Dieburg (2014)
Sound in the Land, Waterloo/Canada (2014)
Transmission—Immission, Dieburg (2014)
Vertical Draw Down @ Luminale, Frankfurt (2014)
The Global Network Orchestra, WWW (2014)
B3 Biennale des bewegten Bildes, Frankfurt (2013)
8. Zukunftspreis Kommunikation, Frankfurt (2013)
next_generation 5.0 Akusmatik Festival @ ZKM | Karlsruhe, Karlsruhe (2013)
FullDome Festival, Jena (2013)
PART Kunstschau, Mainz (2013)
Jetztmusik Festival, Mannheim (2013)
The Global Composition, Dieburg (2012)
46. Darmstadt International Summer Course for New Music, Darmstadt (2012)
Re-Touching McLuhan, Berlin (2011)
Expanded Interface @ Ars Electronica, Linz (2010)

Yannick Hofmann

Yannick Hofmann is an interdisciplinary media artist and electroacoustic composer. His musical compositions oscillate between Music Concréte, Noise and Soundscape. In addition to artistic contributions for international festivals like Festival d'Aix-en-Provence, conferences and symposiums, Hofmann has presented pieces within the frameworks of the Internationale Ferienkurse für Neue Musik, Darmstadt, the Ars Electronica and the ZKM. He is the recipient of the SpatialSound Awards from the international FullDome Festivals in Jena. Since 2013 he has presented lectures in the field of acousmatic compositions, as well as experimental audio-dramas at the Hochschule Darmstadt.



A selfie which has been reflected in a telemedia device shows the protagonist at the cutting edge of projection and self reflection. On film TECHNO–IMAGES discusses how body images and perceptions of the ideal which are brought forward in pop culture and media are reflected upon us. The sonic layer seizes aspects of the disciplining perspective and translates them into a rigid measure.


Yannick Hofmann (concept, music), Sascha Hormel (camera, editing), Steffen Müller (audio mastering)



Transmission—Immission is a telematic performance casually taking place in living room atmosphere. The on–site performer hosts an intimate performance session and cordially invites house guests. The instrumentarium mainly consists of twentieth centuries communication devices. The subtle humming of a tube radio warming up, mixes with percussive stakkati of a premillenial typewriter. Loads of small sounds get amplified by a prepared dial-operated telephone. But all people involved experience some sort of wizardry on the air: The performer sleepwalks into the reach of a tele–present entity, turning out to be a digital intruder gradually hijacking the performance space in terms of its visuals and its soundscape.

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Tele(re)vision aims at reverting the one-to-many paradigm of telemedia communication: For this purpose an average tube television set has been holed and prepared with a sound-sensitive sensor. The visitors are cordially invited to throw everyday objects into its carcass thus triggering randomized patterns of a sound collage.


Bon Voyage

Short (Fulldome)

Bon Voyage is a dance film which is based on the Korean shamanistic ritual 'Good'. This ritual still holds a firm place in modern Korean society, and, in conjunction with the three other concepts 'Heaven – Earth – Man' celebrates the natural order of our world and man ÃÅs position within it. During the ritual the shaman sings and dances to appease the divine and to request contact between the human and spirit world. This dance serves to highlight the endless cycle of life and death and to propound the supposedly impossible – communication between the two states. Bon Voyage attempts to translate this dance into an infinite sequence, mirroring the circular journey of the energy of the universe and will be shown in the Planeterium – by its very nature a place between heaven and earth.


Kyung Min Ko (director, editing), Jungyun Bae (cast), Denis Carbone (camera, lights), Woo Yeon Chun (costumes), Yoonsun Kim (props), Yannick Hofmann (sound design, sound mixing), Felix Deufel (recording, sound mixing), Jiyeon Kim (gayageum), Bo Sung Kim (drum)

Creative Award, FullDome Festival, Jena 2013

Mixer Tap


Mixer Tap takes McLuhan's idea of hot and cool media literally and reinterpretes it based on the concept of Hi–Fi/Lo–Fi by Canadian sound researcher Murray Schafer. Hot media is represented by a Hi–Fi–soundscape (according to Schafer's terminology a detailed, transparent listening event), cool media by a Lo–Fi–soundscape, in which sounds and noises get mixed and merged indistinguishably. An ordinary bathroom fitting functions as interface. The recipient creates the mix, as Hofmann takes up McLuhan's theory, seasons it with Schafer, and connects both masterminds' elements within a sound object. Hi–Fi/Lo–Fi, hot/cool: a ruthless interpretation of both's theories, which can lead to light bulb moments as well as to headshaking.

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metaCage takes John Cage's concept of metamorphosis as the point of departure for an interpretive remixing. Hofmann transposes Cage's idea of the prepared piano into the cosmos of digital media art. The keyboard of a synthesizer is prepared using digital and analogue technologies: each key activates the output signals of 12 cassette recorders. This triggers soundscapes and recordings featuring speech or instruments, which combine in real time to form a sound collage. Each recorder represents one of the semitones of an octave, and is activated by the corresponding key on the keyboard according to a controlled chance operation. Yannick Hofmann feels that a traditional remix, a reordering of the original material, could scarcely do justice to John Cage as an artist in search of the new, unheard sonic experience, hence – on occasion of Cage's 100th birthday – he ventures a conceptual remix instead.

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Johann Lion Cachet (director, editing), Yannick Hofmann (sound design), Lili Ulrich, Stephan Weber, Freddy Ochoa (cast), Lars Heine (assistant director), Ulrike Bellmann (production manager), Charl Bester (production assistant), Alexander Baker (camera, DOP, stills), Kate Miller (photography)