future

_live


_exhibitions

18/9/ - 13/12/2015
Panorama 17, Le Fresnoy, Tourcoing (F)

past

_live

04/2015
Tonverbrechung & Raumzeitpiraten - Die Kunst der Überwachung
Acht Brücken Festival, Cologne (D)

11/2014
In Transit, Deutsche Oper Berlin (D)

09/2014
Translocal Radiophonic Orchestra / Kölner Musiknacht / Cologne

02/2014
Heart of Heaven / Kunsthochschule für Medien (KHM) / Cologne

01/2014
Translocal Radiophonic Orchestra / Museum Kunsthalle Düsseldorf

11/2013
Raumzeitpiraten / Sound-Art Cologne (D)

10/2013
Heart of Heaven / DAAD Show 2012|2013 / London (GB)

09/2013
Raumzeitpiraten / Kölner Musiknacht / Cologne (D)


_exhibitions

06/ - 07/2015
Panorama 16, Le Fresnoy, Tourcoing (F)

02/ - 03/2014
Crackling Data Machine with Ali Tnani, If you‘re so smart, why ain‘t you rich, Biennale Marrakech (MO)

11/2012
Brèches d‘une Mechanique sonore with Ali Tnani, Objets-Son, Tunis (TU)

03/2012
I never wrote a Sound, together with Ali Tnani, Cité International des Arts, Paris (F)

11/2011
Paketzentrum 47, Lange Nacht der Kölner Museen, raum13 - Deutzer Zentralwerk der schönen Künste, Cologne (D)

06/2011
Paketzentrum 47, Festival for Applied Accustics, UFA Palast, Cologne (D)

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In Transit

live electronics, 2014


An experimental work by Eva-Maria Abelein, Lisa Däßler and Mischa Tangian with singers of the opera ensemble and Lukas Truniger.
Transit lounges are places for travellers on the way somewhere, for people passing through, spending a short period of time at rail stations and airports, in underpasses and or roadhouses. Halfway locations – or, as the philosopher Marc Augé describes them, non-locations.


Concerts

11/2014 Deutsche Oper Berlin

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Huge Unified Geometric Organ

context aware installation, 2014


Forms become gestures, noises change to tones and phonemes. Signs, musical patterns and rhythms are talking to us and shape our world.
The installation consists of twelve geometric objects, each equipped with a distance sensor and a microphone. Based on simple rules, it generates complex movements of light and sound, responding to sonic changes in the space and the presence of the spectator. Interacting with its environment, parasitically feeding from its sonic and electromagnetic waves.
It is the search for liveliness in stochastics and chance. Twisted energies in rigid concepts. Pushing from the ordered into the organic. The installation is an abstract idea which is rendered into solid objects and an intelligent process of sound and light. Pointing in all the directions of our ever expanding reality.


Exhibition

06/2014, Panorama 16, Tourcoing (F)


A production by Le Fresnoy.

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Crackling Data Machine

mechanic sound object, 2014

Collaboration with Ali Tnani.


The epoch of the networks brought us - besides a wonderful new playground for ideas - also some downsides : diverse surveillance, the addiction for information and hyperactive economic betting… This ambivalent reality we want to confront with our absurd DIY experiments and artistic hacking. We are searching for the net’s potential of creating its particular imagery and sounds, reusing its questionable techniques. Data are sound and visual, surrounding us in the form of electromagnetic waves or are rhythmically transmitted as light sequences. We search for the invisible melodies and visual rhythms of data, using this potential to make a direct connection with the audience.


Exhibition

02/2014, If you‘re so smart, why ain‘t you rich, Biennale Marrakech (MO)

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Heart of Heaven

ritual & performance, 2014


A musical performance, reinterpreting the creation myth of the Mayas. Somewhere between an improvised concert and a ritual.


Concerts

02/2014, Cologne (D)
10/2013, London (GB)

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VerbrecherInnen von Innen (Criminals from Within)

performative Installation | installative Performance, 2013


Monitoring the people around you, using these informations to manage your own actions, a feedback loop?
The work by impro music ensemble Tonverbrechung and artist collective Raumzeitpiraten is setting up a hermetic environment to test this loop of someone surveilling someone surveilling someone surveilling...

_Tonverbrechung
Elisabeth Fügeman - Cello
Nicola Hein - Guitar
Sophie Reyer - Voice
Lukas Truniger - Electronics

_Raumzeitpiraten
Tobias Daemgen
Moritz Ellerich

Trailer by Richard Eisenach
Supported by ON - Netzwerk Neue Musik


Concerts

11/2013, Galerie Schmidt & Handrup, Cologne (D)

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Urlaut

solo project, since 2013


Electronic music, voice, dance and generative composition techniques, all mixed up together.
Urlaut EP

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The Translocal Radiophonic Orchestra - Study IV

multimedia performance, 2013


The Translocal Radiofonic Orchestra is an experimental ensemble for manipulated radios. Through the search for a new voice for an old fashioned medium, the radio program becomes an instrument. In the ensemble, we combine media techniques from two centuries: radiophonic information transfer and state of the art digital media technologies.
The piece was developped for Now & Next, an interdisplinary festival in the Tanzhaus NRW (Center for contemporary Dance of the State of North Rhine-Westphalia). This is the fourth in an ongoing series of performances.


Concert

03/2013, Tanzhaus NRW, Düsseldorf (D)

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AtypI Trailer

music/sound design, 2012


Latin and Chinese letters blend into new forms and shapes. A notion? This clip was developed as the opening trailer for the AtypI Conference 2012 in Hong Kong.
Animation by Svenja Voß.

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Bewegte Schrift (Moving Type)

music/sound design, 2012


Scoring of thirty-three abstract short films showing experimental animation of typography. Sound and image work on various concepts and non-concepts processing a great variety of analog/manual and digital techniques and materials. The sound design is based on the image by using a wide range of approaches such as: associative scoring of the videos, use of hazardous material, on-camera recordings, data extraction from the pictures by measuring or approximation, conversion from video into sound... The compositions are built up of live-recorded instruments both real and virtual alongside generated noises and field-recordings.
The videos were developed by Svenja Voß as her bachelor-thesis.
Watch all clips here.

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Brèches d'une Mechanique Sonore (Cracks in a Sonic Mechanism)

Audiovisual Installation, 2012

Collaboration with Ali Tnani.


This absurd sonic machine has a body and is living a life of tasks and production, due to programmed rules. The machine manufactures different kinds of information: sonic, visual, digital and textual, passing them between its organs and discharging them through its different outputs. Within this stream of information, it generates errors so that it can also be referred to as an efficient error-machine.


Exhibition

11/2012 Objets son, e-fest exhibition, Palais Ebdellia, La Marsa, Tunisia

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Die Theorie des Himmels (The Theory of the Sky)

live electronics, 2011


This sound performance works with the sounds of classical instruments as well as with electronic noises inside the spatial conditions of the KIT (Kunst im Tunnel, an exhibition space in Düsseldorf), which happens to be the relict of a highway tunnel.
The performance is composed as a piece for two violins, cello, harp and electronics. The piece was developed by Mischa Tangian for the exhibition.


Concert

01/2011 Opening of the exhibition Die Theorie des Himmels, KIT (Kunst im Tunnel), Düsseldorf

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Don't look now

installation music, 2012


Don't look now is a book installation by Edition Taube. A grainy audio loop, working with sounds produced by books, creates the sonic ambiance.

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Hemisphere

music/sound design, 2011


This short movie by Stephan Telaar approaches the conflict between raw emotions and rational thinking. Both for the image and the music, the golden ratio is used as the formal principle. It is the mathematical base for the generation of sound clusters for exemple.

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Improvisation with Prepared Consumer Electronics

live elektronics, 2012


For this performance, electrical goods produced for entertainment purposes are prepared and used as instruments. The lo-fi-technology allows a kind of improvisation that can be themed "bugs are features".
The visuals contrast with clean graphic algorithms, which use rough and reused code. They are created by Jan Steinbach.


Performances

03/2012 Dimanche Rouge, Divan du Monde, Paris
02/2012 Cité International des Arts, Paris

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I never wrote a Sound

live-coding sound performance, 2012


Creating a dialog between an outdated typewriter and an up-to-date typing machine (a computer), this sound performance brings together two machines for textual in- and output, thereby presenting their dependent relation regarding their derivation, extinction and resurrection.
A collaboration with Ali Tnani.


Debut performance

03/2012 Cité International des Arts, Paris

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Paketzentrum47

audiovisual installation, 2011


This sound sculpture deals with the issues of transportation routes, distances and packaging of electronic entertainment goods.
Both the sound and the video material originate from a recording made by devices that were sent by post for twelve hours, recording throughout the duration of their transportation. The visuals are comprised of digital pictures showing the raw material of which the electric devices are made. The respective packages used for the installation are not transported to the location since they are already there. This makes it both site specific and suitable for all-sites, and is also an examination of transport material as an omnipresent, virtually invisible disguise for every object. Cardboard boxes and other kinds of packaging provide projection screens for the pictures of them being transported. Analogously, some of the cartons are used as speakers for the eight audio channels, thereby shaping the sound and its spatialisation.


Exhibitions

11/2011 Lange Nacht der Kölner Museen, Raum13 – Deutzer Zentralwerk der Schönen Künste, Cologne
07/2011 festival for applied acustics, Cologne

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synthOlele

development of instrument/live electronics, 2012


The synthOlele is a digital instrument. It combines several elements for the control of synthesized sound hence working as an interface. There is a certain resemblance to a traditional ukulele. This is not a coincidence but strict plagiarism aiming for the synthOlele to become the ukuleles' electronic cover-version.
The synthOlele was developed in collaboration with industrial designer Dominik Noli.


Concerts

02/2012 Cité International des Arts, Paris (experimental version)
02/2012 Monkey's Club, Düsseldorf (club version)

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The Translocal Radiophonic Orchestra

ensemble, since 2010


An experimental ensemble for manipulated radios. Through the search for a new voice for an old fashioned medium, the radio program becomes an instrument. We combine media techniques from two centuries: radiophonic information transfer and state of the art digital media technologies.
The Translocal Radiophonic Orchestra was founded in 2009 in the Music Informatics major at Institut Fuer Musik Und Medien and plays in various orchestrations.
Homepage Rundfunkorchester


Concerts

03/2013 now & next, Tanzhaus NRW, Düsseldorf
10/2012 In The Cage, Robert Schumann Hochschule Düsseldorf
02/2012 Network Music Festival, Birmingham (GB)
06/2011 Salon des Amateurs, Düsseldorf
09/2010 Supercollider Symposium, Berlin

Portfolio Website

virtual object, 2013


My portfolio website was made by Svenja Voß (design), Katharina Hauke (text) and Fabian Frei (programming). We worked with different concepts: the content is visually organized on a map; there are feedback loops and a lot of cross reverences in the text; the programmation is very slick and home brewed.

Lukas Truniger

is a Swiss sound artist, musician and composer. Born in Zürich in 1986, he obtained a music degree from the Robert Schumann School of Music and Media in Düsseldorf (D) and is currently undergoing his postgraduate studies at Le Fresnoy - studio national des arts contemporains in Tourcoing (F). He works in the areas of live music, performance, multimedia installations and the creation of new instruments. Fascinated by network processes and concepts of multidimensionalism, self-made code and circuits, hacked instruments and misused tools; these components have become crucial to his work.

Full bio here.

"Music happens when being shared with other people." Matias Aguayo, in a lecture

Urban areas make sound and are full of possibilities to disperse sound - not forgetting their own.
Consider the following experiment: record urban sonic phenomena. Play the recordings back to the city using sound transducers through various materials, structures and forms. The balustrades, glass-fronts and drain pipes playing their own sounds will amplify themselves and start resonating. Soon the whole city will build up a feedback, reverberating its own score.
A possible aim of this investigation could be to bring a simple algorithm into the city; a software encoded as a rhythmic sequence of sound, open for the city's changes (since it is exposed to them). A flexible future information network such as this evolves from its own crises: the permanent alteration would constantly trigger the self-organization of a network that organizes itself in and through alteration.

Lukas Truniger

lukas dot truniger at gmail dot com

Homepage Credits
Design: Svenja Voß
Texts: Katharina Hauke
Text revision: Annie Goh
Programming: Fabian Frei

Imprint
Lukas Truniger
43, Rue Jean Jaques Rousseau
F-59800 Lille
lukas dot truniger at gmail dot com
plus33 7 82 99 35 15

Dance styles emerge from collective processes. They are carried on over generations and to different areas, develop regional dialects and preserve their flexibility to adapt to niches for a few people. Dance is a form of language.

"All of old. Nothing else ever. Ever tried. Ever failed. No matter. Try again. Fail again. Fail better."
Samuel Beckett, Worstward Ho

Friends

Fabian Frei
grandbrothers
Katharina Hauke
Jonas Hummel
Raumzeitpiraten
Jan Steinbach
Edition Taube
Stephan Telaar
Ali Tnani
Svenja Voß

We rely on transportation, food supply chains, the internet, the media, all kind of industries, all the machines that we have unleashed. Their information sequences and digital transactions go far beyond our perception. However a muffled pumping remains... a rhythmic throb, a constant vibration, a subtle whir, a fizzing around, a piercing shriek. Once we stop ignoring it, it all comes crashing down about our ears. Anything that can go wrong, will go wrong. Over and over again iterating the collapse. We force the pace to constantly accelerate, speeding up the process, sabotaging our goods, our organs, our systems, forcing them to become obsolete, initiating self-destruction.
We root out every secret that is not rooted deep enough and unfold it to the blazing sun, to scorching criticism, to dry out each and every fact, knowing that we will reincarnate as rhizomes in multidimensional space, feeling that we have become aliens.

Reliable news is spread by gossip and carrier pigeons provide the smallest data carrier, then fed to mechanical computers built and used in an auditory space (they are operated via bucket drums outputting machine code). To this world rhythms are vital, the rhythm of speech, of thought, of movement and dance. Not only do they carry information, they are information, potential energy that informs each and every body.

(tiny cracks that sum up to what we refer to as wall)

Plain insufficiency

We cut a swath through this tangled world, a straight line loophole for all intents and purposes and a straight view over this jungle that only appeared to be intangible, multidimensional, but that we knew would turn out to be flat (once we flattened it).
And rasterized. Composed of precisely arranged concrete districts, subdivided by straight tarmaced lines and seemingly sleek concrete walls. With sticky city traffic stopping and starting between blocks and buildings, a viscous flow or a stream, transport system, water system, communication or media network, power network, the world wide web... diverse movements that divide and connect people. As we start listening to its rhythms, structures, bodies, vibrations, its sound, we discover that the the city is crowded to overflowing with sonic information and thus cause and purpose both of and for a future auditive information system.
As futuristic as this may sound, it is not the ever-advancing, hyper-engineered, super efficient vision of what is to come but the idea of advancing backwards and in all directions: This future is an ocean and we are navigating on it now. Going nowhere and yet getting everywhere — in circles — or is it spirals? — on our raft made of plastic bottles or as we call them: re-invented wheels.
We are gambling away our time playing (cards, instruments, programming, tinkering, soldering , cooking, doing stuff outdoors, listening… listening real hard… and again programming…). And there is really nothing else to do, no meaningful machine to bow to and work for, just this wasteland of time. We contemplate all of our playing, about how time is all you need and unpayable, not with money at any rate.
If we needed money, we'd have invented it ourselves by now. But we didn't, we invented other stuff. Things that are better shared than stored and ideas that need no protection but need to be spread. We believe in the importance of being in contact with and open for others as well as ourselves, in making new and old friends, in watching slide shows together that show slides none of us know, so we can make up a whole new meaning for them, construct worlds that never existed but are based on our shared experience of watching flat pictures developed on razor-thin glass that beg for being shattered to burst into a thousand sounds, crowding it with a million perspectives, possibilities and with its chaos ever more obscuring this world we're making up.
Until we decide to cut a swath through this tangled world, a straight line loophole for all intents and purposes and for a straight view over this jungle that only appeared to be intangible, multidimensional, but that we knew would turn out to be flat (once we flattened it).

Microscopic and macroscopic structures of urban sound (work in progress, 2012)

As an approach to the microscopic spheres of urban sound, I work towards carving out grains of the city's noises using contact microphones. Via time lapse, I perceptualize macroscopic structures, rhythms and single notes that extend over hours and days.

Honey