{"id":8795,"date":"2017-07-26T12:57:55","date_gmt":"2017-07-26T12:57:55","guid":{"rendered":"http:\/\/ima.or.at\/?page_id=8795"},"modified":"2017-08-01T15:26:23","modified_gmt":"2017-08-01T15:26:23","slug":"lichton-workshop-fh-st-poelten","status":"publish","type":"page","link":"https:\/\/archiv.ima.or.at\/en\/lichton-workshop-fh-st-poelten\/","title":{"rendered":"Optical Sound Workshop FH St. P\u00f6lten"},"content":{"rendered":"
Light speaks, light makes music<\/em> Based on the historical principals and the developement of these technologies with a focus on sound generation, the participants are invited to develop their own sound generating machines as well as new ideas or approaches.<\/p>\n A starting point will be the optosonic synthesizer \u201eSonic Luz\u201c developed by Klaus Filip and Arnold Haberl aka noid and other historical and up-to-date optical sound applications.<\/p>\n
\nWith these words Emerich Spielmann presented the Superpiano<\/a> on a program broadcast on the Vienna radio station RAVAG in 1929. In 1931 Leon Theremin developed the first optical sound rhythm machine (Rhythmicon<\/a>) and in the early 30s the Russian composer Arseny Avraamov as well as the German filmmaker Oskar Fischinger began drawing sound waves on film.In the late 50s Daphne Oram created Oramics, meanwhile in N.Y. at the same time the Austrian composer Max Brand developed an optical synthesizer, which was based on the same principle as Daphne Oram\u2019s Oramic system.<\/p>\n