Dr Hanno Ehrler

"To Render the Inaudible Audible…"

Essay on the esthetics by the media artists <sabine schäfer // joachim krebs>


In the content of the book publication: “TopoSonic Arts 1997-2006”

Kehrer Verlag, Heidelberg, October 2007





<sabine schäfer // joachim krebs>

Deleuze and the Sampler as an Audio-Microscope

On the music-historical-esthetical and philosophical foundations of the digital, microacoustic

recording, analysing and production process "EndoSonoScopy"


In the content of the book publication: “Philosophical Reflections on Recorded Music

Middlesex University Press London 2008





by Dr Annette Hünnekens

Eine museale Heimat für zeitbasierte Kunst

(A museal home for time-based art)

First publication in “Museum Aktuell” Munich, edition Nov. 2006

The author reviews the "Museum for the Time-based Arts" first opened in July 2006 in the Media Museum at the ZKM │Center for Art and Media Karlsruhe as well as the listening room
…raumKLANGraum…entgrenzend…“ simultaneously established by the couple of artists in the Stuttgart

Art Museum on the occasion of the ISCM World New Music Festival 2006.




Dr. Annette Hünnekens

Garden of Stinging Nettles with Lilies and Space-sound


in: Neue Landschaft, Patzer Verlag Berlin, Mai 2006 / ISSN 0548-2836


I. A Natural Orchestra Set in Botanical Architecture / II. The Plant Community – Pleasure Principle
III. Twilight Zone: Artificial Soundscape / IV. Electro-acoustic Bionics: TopoSonic Spheres
V. Bio-logical Hybrids / VI. Nature’s Signatures




<sabine schäfer // joachim krebs>

TopoSonic Spheres


in: "TopoSonic Spheres – A Space-soundComposition" Booklet-Text of the CD/DVD

WERGO / Schott Mainz 2004



As in all space-sound compositions and installations produced since 1998 by the couple of artists <sabine schäfer // joachim krebs> it is especially the 'audio microscopied' animal voices and sounds of nature that constitute the basic and source material of their Space-soundComposition 'TopoSonic Spheres'. By using computer-assisted digital sound processors (samplers) and a special analysis and production procedure of sound and acoustic space microscopy ('EndoSonoScopy') developed by Joachim Krebs, the inner richness and lively variety of previously inaudible acoustic-molecular internal structures of the noises and sounds of natural origin are made audible. The chapters:

I. The Space-soundMaterials / II. The Space-soundMicroscopy / III. The Space-soundComposition




<sabine schäfer // joachim krebs>

Space – Sound – Time – Movement

The Space-soundInstallations of the artist-couple <sabine schäfer // joachim krebs>


in: Organised Sound - An International Journal of Music and Technology

Vol. 8 No. 2 / subject of the issue: “soundinstallation”

Cambridge University Press UK 2003, www.cambridge.org



The article gives a compact and topical review in the most substantial aspects of our work. It has three chapters as well as a preface and an afterword which are written by the musicologist Dr. John Dack and the media artist Ralf Nuhn. According to Dack and Nuhn, our work in the field of space-sound art realizes principles that are of essential meaning in the entire sphere of sound installation art. They explain their approach in the preface and the epilogue. As they also translated this article, you will find in their introduction detailed notes on the translation of our individually developed terminology.

• Chapter 1 "Time Becomes Space - Space Becomes Time"

The first chapter deals with basic connections between the phenomena space, time, sound and movement which are of essential meaning in our space-sound art.

• Chapter 2 "Artificial Soundscapes between Pure Realism and Pure Abstraction"

One of the fundamental aspects of our work is to apply "sound microscopy" to natural sounds (especially animals' voices and nature sounds), and to render intrinsic sound structures with their "rhythms", "melodies", "harmonies" and spatial characteristics audible. In chapter 2, we deal, among others, with the selection of materials, production procedures and also with the forming of consistencies and inner sound intensities which are rendered audible by employing certain working techniques.

• Chapter 3 "The Five Most Important Types of Space-soundInstallations"

In the course of our common work, we developed a range of concepts for the realization of space-sound installations. Chapter 3 presents the different sound installation models and categories quoting examples from our oeuvre.