Jonas Hammerer


lives and works in Vienna
as a musician and sound artist

is part of the ÆSR Lab - Applied/Experimental Sound Research Laboratory, Tangible Music Lab, Heavy Traffic Radio80000, Kulturverein Rosalia and FLOP

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upcoming:

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past activities:

38C3 Chaos Communication Congress, Hamburg 2024
Chuchchepati Festival, St. Gallen 2025
Post IDS - Sound Objects, Hauptplatz 23, Linz 2024
STWST48x10 NOPE, Linz 2024
Relief / Terrain, Salzkammergut 2024
ÆSR-Lab @Lange Nacht der Forschung, Wien 2024
Prospect Sessions, Akademie der bildenen Künste, Wien 2024
FLOP @Tangent, Linz 2023
ÆSR Lab Kick-Off, Angewandte Interdisciplinary Lab Wien 2023
FLOP @Sound Campus, Ars Electronica, Linz 2023
Ars Electronica Campus, Linz 2023
Elak Werkstattkonzert, Zacherlfabrik, Wien
Syndiacte of Sound and Space (SSS), Spatial Sound Insitiut, Budapest 2023
Velak Gala #123, Chateau Rouge, Wien 
Drängende Gegenwart w/ Jennifer Posny, EMOP Berlin, 2023
KIN w/ Jennifer Posny, Improper Walls, Wien 2022
OTTOsonics Festival, Ottensheim 2022
PARALLEL VIENNA w/ Jennifer Posny & Neslihan Yakut, Wien 2022
Installationen w/ Jennifer Posny, Galerie Kras, Wien 2022
Vienna Design Week w/ Rust.ag, Wien 2022
FLOP @Braille Satellite w/ Marius Neuner, Villnius 2022
Supplies Supplies!, Back to Athens 9 – no apocalypse now, w/ Jennifer Posny, Athen 2022
Radioshow, Red Light Radio, Amsterdam 2019
Monthly Show for Radio80000 w/ Dennis Bernhart, München seit 2018

auditory schism


installation, performance,  2024
amplifiers, portable four channel speaker device, parabol speaker, embedded realtime synthesis in supercollider

In "auditory schism", a concentric multichannel loudspeaker system is located in a room and projects algorithmically generated sounds to investigate reflection behavior. The alternation between pulsating sounds, which provide a high degree of directional information, and stationary sinusoidal sounds, which are hard to localize, creates a dissociative and subjective experience, interpreting hearing as material.

Hearing is never complete and varies from person to person. The relationship to space is central, encompassing both architectural and introspective dimensions. Every hearing occurs somewhere and in relation to something. If we all hear differently, what makes hearing a shared experience? Where are the intersections and differences in this supposedly collaboratively constructed agreement