VierRichtungsModule
(2014)
Robert Lippok & Peter Kirn
The collaboration of Robert Lippok and Peter Kirn, an East-Berlin native avant-garde pioneer with the transplanted American technologist and classically-trained composer. Lippok has built a long history of underground experimentation starting in East-Germany, including the project To Rococo Rot and releases on the label Raster-Noton, and blends a background in art and stage design to his insight into spatial experience. Kirn has migrated from new music scoring and collaborations with modern dance in New York to techno outings and new electronic systems in Berlin, as well as hosting collaborative laboratories and workshops. Each has been spotted in galleries, festivals, and clubs alike.
A shared interest in audiovisual fusion and architecture led to their work together interpreting the architecture of Arno Brandlhuber. Lippok and Kirn produced a live structure in 4DSOUND juxtaposing sound, space and rhythm, composing on the basis of the conceptual architecture of Brandlhuber’s ‘VierRichtungsModule’ commissioned specifically for this project. Those designs were reproduced as a new virtual architecture of sound, in stroboscopic beats and shimmering sonic surfaces.
In this feature on CDM, Peter Kirn further contextualized 4DSOUND and his work with Lippok on the sonification of architecture:
A shared interest in audiovisual fusion and architecture led to their work together interpreting the architecture of Arno Brandlhuber. Lippok and Kirn produced a live structure in 4DSOUND juxtaposing sound, space and rhythm, composing on the basis of the conceptual architecture of Brandlhuber’s ‘VierRichtungsModule’ commissioned specifically for this project. Those designs were reproduced as a new virtual architecture of sound, in stroboscopic beats and shimmering sonic surfaces.
In this feature on CDM, Peter Kirn further contextualized 4DSOUND and his work with Lippok on the sonification of architecture:
“Lippok’s and Kirn’s set, which nicely combined pensive washes of noise and distortion with light, floating melodies, was a completely immersive experience, one that sounded different depending on exactly where the listener sat in the room. Walking around during the performance further added to the novelty, as the sounds being presented would change and evolve with each step.”
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