Grand Prize of Ars Electronica
Thursday, September 30th, 1982. 8:00 p.m.
Brucknerhaus, Medium Hall
During a public event an international Jury will award the "GRAND PRIZE of Ars Electronica" for the third time to the "most original and future-oriented new development in the field of electronical sound production".
The following PARTICIPANTS have been selected for the final round:
Serge Blenner (West Germany)
Joel Chadabe (USA)
Hans Deyssenroth (West Germany)
Benjamin Heidersberger and Peter Kohlrusch (West Germany)
Uwe Hüter (West Germany)
Ivan Tcherepnin (USA)
Dr. Martin Wichtl (Austria)
Dr. Robert A. Moog (USA)
Gerald Dellmann (West Germany)
Prof. Dr. Werner Krützfeld (West Germany)
Betha Sarasin-Baumberger (Switzerland)
Bruno Spoerri (Switzerland)
Tom Darter (USA)
MODERATOR: Walter Zimmermann (West Germany)
The participants going in for the "Grand Prize of Ars Electronica '82" will present their sound-instruments to the public in the course of a public workshop during the afternoon in the Brucknerhaus Medium Hall.
GRAND PRIZE OF ARS ELECTRONICA The "Grand Prize of Ars Electronica", first awarded in 1979, is an international forum for electronics-musicians - a forum for presentation, exchange of informations and realization of musical ideas and projects.
An international Jury will award this prize for the third time in 1982 to the most original and future oriented new development in the field of electronic sound production.
The criteria for the "Grand Prize" as established by Dr. Robert Moog, are based upon the thought that a new artistic medium is only valuable insofar as it allows artists to create attractive works of art pointing towards an interesting and exciting future. Not only the complete command of technical equipment, but also creativity in the conception and musicality are the main criteria for the evaluation.
Award winners of the "Grand Prize of Ars Electronica" are: Bruno Spoerri in 1979 with the "Lyricon" and Nyle Steiner in 1980 with the "Electronic Valve Instrument".
The first jury has chosen seven Projects for the final round of the "Grand Prize of Ars Electronica 1982" from those presented.
The Jury is composed of: Dr. Robert Moog (Chairman), Gerhard Dellmann ("FACHBLATT", Musicmagazine), Bertha Sarasin-Baumberger (Metalsound-constructor), Prof. Dr. Werner Krützfeldt (Hochschule für Musik und Darstellende Kunst, Hamburg, Germany) and Bruno Spoerri (Musician and composer), Tom Darter (Keyboard Magazine). The moderator of the "Grand Prize of Ars Electronica" will be Walter Zimmermann, composer and electronics expert.
The first evaluation and consulting was executed by Dr. Robert Moog, Hubert Bognermayr and Ulli A. Rützel. Technical organization of the day: Dr. Wolf-Dieter Kaltenböck.
SERGE BLENNER ABOUT HIS PRESENTATION (abridged) "My live performance will include the following features: PGG wave 2.2 Computer, PGG wave therm, PGG store unit, 20-channel DR-mixer. My music computer is able to analyze acoustical sounds, to produce a resonance graph, to store an eight-track composition and dynamic polyrhythms."
JOEL CHADABE "It is not realizable to develop an artificial bass sound. But once in a while the algorithm taken from biology upon which the program is based produces useable lines to follow up in improvisations- lines which could not be produced even by a very good bassist. The computer is able to compose, variate and improvise music."
HANS DEYSSENROTH ABOUT HIS PRESENTATION (excerpt)
BENJAMIN HEIDERSBERGER AND PETER KOHLRUSCH ABOUT THE PRESENTATION "The instrument is a computer-controlled analogmultiplexer. The sound is produced by 16 people equipped with microphones and earphones who can - in groups of four - influence the production of sounds. Through the immediate feedback the 16 initiating persons are enabled to create a spontaneous group composition."
UWE HÜTER ABOUT HIS PRESENTATION (abridged) "Syntouch", the synthesizer I present, is shaped more or less like a guitar. It is activated through strings of sensor-contacts. The instrument can be dismounted and played on a table like a keyboard.
Main goal in the design of the instrument was:
- avoiding mechanical keys
- minimized size of construction
- wide variety of sound."
IVAN TCHEREPNINThe instrument receives an input from any source from microphone, synthesizers to lyricon. The input signal is transformed, amplified, acoustically reproduced and then transferred by a pipe to any kind of brass instrument or other open metal container likely to vibrate (e.g. beer can). There the characteristic sound is produced.
DR. WICHTL ABOUT HIS PRESENTATION (abridged)