New courses in summer semester
The new courses of the Experimental Radio can be registered for - from directing in radio art to writing for listening to mixing and recording techniques... here you can find an overview.
This project module is all about the art of directing. More precisely: about the art of staging auditory formats. What does it mean to direct a radio play? First there is the preparation: text penetration, selection of actors, scheduling of recordings, distribution of tasks in the studio. And then it's down to the nitty-gritty: What does directing mean? How do I give stage directions in order to achieve the result I want in the end? Why does an actor have to speak differently at the microphone than on stage? How do I work with musicians in the studio? Do I work in or out of the studio? In an ensemble or tête-à-tête with one voice? With professionals or amateurs? And finally, how do I create my listening spaces?
Geophony - biophony - anthropophony, urban, rural or oceanic soundscapes, acoustic spaces, soundborderscapes... etc. In the last decades some new terms and adjectives have been added to describe different soundscapes and their context. In the coming semester, we will approach soundscape as a testimony, image and potential of the broader socio-political and artistic discourse.
How can texts be written for speaking and performing? What makes a text for listening? How can a mental arc be spanned in it? We will read and listen to essays that have become classics, explore the craft of writing, and try our hand at creating our own essay language. The goal of the course is a finished short essay.
Is it possible to record the echo of a room? What's the deal with the knee of a compressor? How do I spatialize a mono recording? How loud are loudness units? What do triangles have to do with multichannel recordings? After the basic knowledge for working in a radio studio and in analog as well as digital sound processing was taught in Audio Toolkit I, these skills will be further deepened in Audio Toolkit II.
