C5 (F4) is a performance combining speech, sound, and instrument control to expose the conflict between the human body and the discipline of producing sound. Ambient noise and mechanical rhythm frame a sequence of fragmented instructions and physical strain. The repeated reach for the note C5 converts technical practice into a study of endurance and resistance. Speech merges with vibration; bodily noise replaces musical purity. The imperfect, cracked tone becomes the residue of effort—the body’s direct record of its own limits.
The work emerged from my sonic research into the “sonification of failure.” It draws upon a painful memory of horn playing, but also expands into the broader failure of communication—whether failing to articulate clearly or speaking with an accent. It ties to personal experiences of linguistic struggle and the physical demands of brass instruments, both of which can result in bodily and psychological discomfort. Ultimately, the piece reflects on conventional perfectionism in sound-making, hoping to cultivate a more forgiving understanding of the voice and the body.
The piece has been presented in two different formats. It was first developed as a sonic piece featuring improvised French horn playing, which I performed on Radio Angrezi on October 10, 2025. Later, during the HFK Bremen Hochschultage in 2026, I adapted it into an acoustic immersive installation.
The installation centers on an audio piece—a composition of monologue, field recordings, and instrument recordings—delivered through a spatial audio setup. This is paired with resonant speakers that provide haptic sensation and an audio-reactive light setup. The technical execution relies on two main components:
- Smarthome software utilizing the Zigbee protocol to control the lights and accept commands.
- A virtual MIDI device written in Python that accepts MIDI data from Logic Pro and routes it to the lighting software.
Feature
Hochschulpreis 2026, Digital Media Honorary Mention, University of the Arts Bremen