Four armchairs serving as listening stations in the foyers – a tribute to the composer Peter Ablinger, who conceived installations of this kind as special “places of listening” and pursued a radically conceptual approach that was not without poetic implications – encapsulated in his statement: “Not the sound! But the listening is the piece.”
Sit and Listen
WEISS / WEISSLICH 11b
Listen intently and try to take in everything around you: every sound, every murmur of voices, every distant melody, every soft, deep hum. Let your thoughts run free and ask yourself whether these sounds are telling you anything; whether they perhaps evoke moods or stir memories. In doing so, you are listener, interpreter and composer all rolled into one. Listen properly – for 4:33 or 15 minutes – and music will emerge.
Listen intently and try to take in everything around you: every sound, every murmur of voices, every distant melody, every soft, deep hum. Let your thoughts run free and ask yourself whether these sounds are telling you anything; whether they perhaps evoke moods or stir memories. In doing so, you are listener, interpreter and composer all rolled into one.
Listen properly – for 4:33 or 15 minutes – and music will emerge.
Listen intently and try to take in everything around you: every sound, every murmur of voices, every distant melody, every soft, deep hum. Let your thoughts run free and ask yourself whether these sounds are telling you anything; whether they perhaps evoke moods or stir memories. In doing so, you are listener, interpreter and composer all rolled into one. Listen properly – for 4:33 or 15 minutes – and music will emerge.
At three listening stations, we invite you to listen inside snail shells tuned to different pitches and to play with them in a performative way. Find out more.
The Austrian composer and sound artist Peter Ablinger (1964–2025) has been working since the 1980s on the series of works “Weiss/Weisslich”, which explores the various aspects of white noise. In doing so, he made use of a wide variety of media – including instruments, installations, objects, electroacoustic pieces, reference pieces, prose pieces and music without sound. The cycle comprises a total of 36 parts.
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