Zusammenführung von Verstehen und Erleben in der körperlichen, hörend regulierten, Interaktion und ihren Mediatisierungen - Forschungsmethoden post-digitaler als non-mechanistisch hedonischer Kulturen

Abendländisch westliche Kulturen sind von der Vorstellung einer Erkenntnis als formalisierte Externalisierung von Erfahrung und ihrer Relativierung durch den Prozess der Kommunikation geprägt. Erfahrung ist dabei "Verstehen" durch visuelle Wahrnehmung, das "Da-Vorstehen" und die "In-Beziehung-Setzung" des Körpers mit der Umwelt als "rationale Ein-Sicht". Die Formalisierung des Gesehenen als Externalisierung geschieht in der Geometrie, die relativierende Kommunikation durch die bezeichnende Sprache - eine auf-geklärte Kultur ist eine Kultur des Sehens.

 

Künste gelten als in Form gebrachte Erlebnisse die individuell sind, jedoch von allgemein menschlicher Bedeutung. Ihre Erkenntnis liegt in medialen Formen der modalen Wahrnehmungen vor, bzw. deren Mit-Erleben. Die tradierten Kunstsparten können als Formalisierung der modalen Wahrnehmungen gelten.

Musik als Formalisierung des Hörens ist vorrangig prä-kognitiv und daher "abstraktes" Erleben von Klang als Bewegung rund um den Körper - auditive Wahrnehmung ist körperliche "Erregung" aufgrund der Intensität und daher "affordance" von Bewegung in der Umwelt.

 

Mit den Medienkünsten trat zunächst eine weitere Entfernung von der Körperlichkeit durch die Fokussierung auf die Extension des mechanischen Körpers auf, die in den digital ages gipfelte. Nun ermöglichen körpernahe Medien die unmittelbar körperliche Externalisierung des Erlebens und dessen unmittelbar körperliche Kommunikation; abseits einzelner modaler Wahrnehmungen ist das Erleben nun ein ganzkörperliches, das intentionale als erregungsbasierte Handeln des "complete agent" - in Wissenschaft und Kunst: epistemologische Medienkunst ist ein Paradigma dieses "new behaviourism".

Bitte sehen Sie eine Liste von Arbeiten zwischen Wissenschaft und Kunst von Werner Jauk seit dem Beginn der 80er Jahre:

https://homepage.uni-graz.at/de/werner.jauk/projekte/wissenschaft-und-kunst/

und allem dazwischen mit Erkenntnisinteresse

Bitte sehen Sie eine Liste von wissenschaftichen Arbeiten von Werner Jauk seit dem Beginn der 80er Jahre:

https://homepage.uni-graz.at/de/werner.jauk/publikationen/

art & science

Conflation of understanding and experience in bodily auditory regulated interaction and its mediatisation - research methods of post-digital as non-mechanistic hedonic cultures


 



Occidental western cultures are characterised by the idea of knowledge as a formalised externalisation of experience and its relativisation through the process of communication and its power. In this context, experience is "under-standing" through visual perception, "standing in front of" things we see and putting the body "in  realtion" to the environment to get "rational insight". The forma
lisation of what is seen as externalisation takes place in geometry, the relativising communication through signifying language - an enlightened culture is a culture of seeing and communicating symbolic meanings.

 

Arts are regarded as experiences brought into form, which are individual, but of general human significance. Their cognition is present in medial forms of modal perceptions, or their co-experience. The traditional art forms can be regarded as a formalisation of modal perceptions. Music as the formalisation of "hearing" is primarily a pre-cognitive and by this "abstract" experience of sound, of motion around the body - auditory perception is bodily "excitement" because of the intensity and by this "affordance" of motion in the environment.


With the media arts, there was initially a further increase in distance from im-mediate corporeality through the focus on the extension of the mechanical body, which culminated in the digital ages. Now, media close to the body enable the immediate bodily externalisation of experience and its immediate bodily communication; apart from individual modal perceptions, experience is now a whole-bodily, intentional action of the "complete agent" based on arousal - in science and art: epistemological media art is a paradigm of this kind of "new behaviourism".

 




 

Please see a list of works between science and art of Werner Jauk back to the early eighties at:

https://homepage.uni-graz.at/de/werner.jauk/projekte/wissenschaft-und-kunst/

and everything in between

with epistemological interest

Please see a list of scientific works of Werner Jauk about media-art and everyday life back to the eighties at:

https://homepage.uni-graz.at/de/werner.jauk/publikationen/


See me, feel me, touch me ... hear me & heal me ...

Mediatisierung emotionaler Nähe durch das Hören. Von Informations- zu Kommunikationssystemen

Hana Zeqa, Laura Thaci, Elisabeth Mirnig

&

Werner Jauk


Florian Gokl, support software

Barbara Haspl, support organisation / performance

Elisa Visca, support sound-design / video-editing / performance

See me, feel me, touch me ... hear me & heal me ... tries to make the breath of the voice to be experienced as a bodily excitement / mood.


It is methodologically epistemological media art, that expands cognition from understanding to experience; theory and method identify it as part of AERI auditory culture, which makes post-digital as human culture of corporeality experienceable in the paradigm of hearing.

Determining characteristics of sonic performative proximity-stimulation are experimentally transferred to air movement, ultimately sound, and smell in an amplifying manner. Finally, the paradigm of hearing is mapped onto the phylogenetically younger seeing in order to enrich understanding with primary meanings of corporeality through iconic images and symbolic designations of what is seen. In doing so, it is important to minimise the distance of cognitive thinking through the proximity of the pre-cognitive body, to reflect on the life-regulating intentionality of any body-environment-interaction.

 

Interactors have the opportunity to experience how information exchange in a form that externalises and "amplifies" the meaning of this information for their body as physical/psychic meaning leads to a process of communication, to reduce distance but also to increase distance. In the process, appropriately sensitive clothing will adapt to the wearer's state of arousal in its shape and colour and transmit these qualities as an interface close to the body into the social space of the interaction partner; the actors are thus in each other's mood space, at the same time their own mood can be experienced by themselves through their clothing as amplified externalised feedback - internal and external participants can experience a gap or fusion of the private emotion spaces in the social space.

Depending on one's own experience of the other's physicality, a communis becomes a one-sound or a distinction, a two-sound.

 

This multimedia / modal whole-body experience of complete agents, whose interaction is (imitatively) exaggerated by an artificially intelligent system, it makes primary meaning experienceable as meaning for the body in the communication process.

 

The installative setting juxtaposes two walk-in "mobile phone screen" spaces. These serve as interaction systems for excitation-induced interaction with other interactors. Their juxtaposition is the cognitive irritation of experiencing closeness and distance in relation to emotional and physical distance - emotionally close and far at the same time, independent of physical distance, which is not possible in unmediated worlds.

The visual styling is based on the TikTok aesthetic and thus refers to a technology as an interaction system that enables visual karaoke of pop songs on the principle of the sonic performative, the excitement-determined self-expression and the creative interaction with other interactors - privacy and publicity merge.

 

As part of popular culture, the TikTok aesthetic deconstructs techno video art through the availability of its means, collective and collectivising design of the net arts through its exaltation and finally the art & life claim in the hedonism of popular culture of neoliberal market economy - against all admonitions of modernity, sonic performative youth of sound-dominated pop culture has informalised and individualised corporeality.

 

Ars Electronica Festival 2021

(c) Robert Bauernhansl / AE

supported by:

sounding garments & sound-gardens: emotional interface zones as auditory spaces

the transparency of envelopes of the body as social interfaces amplifying the hdonic body

Hana Zeqa, Laura Thaci, Elisabeth Mirnig

&

Werner Jauk


Florian Gokl, support software

Barbara Haspl, support organisation / performance

Veronika Müller-Hauszer, performance

Sophie Maresch, performance

Ars Electronica Festival 2020

Bekleidung wie der Garten sind Extensionen des Körpers in der sozialen Interaktion und darin Kultur gestaltend. Bevor ihr "Stil" Mode wird ist ihre Gestaltung unmittelbar körperlich - wobei die Umhüllung den Körper in seiner Ausdruckskraft "amplified". Dabei agiert der Körper "sonisch" - Er drückt die Empfindung von Erregung aus, die instrumentarisiert und mediatisiert zu Musizieren und Musik wird.

Soziale Interaktion ist wesentlich durch Erregung bestimmt. Unterschiedliche Entfernungen vom Körper wirken als psychische Distanzzonen mit unterschiedlich "angenehmer" Erregung - der Körper drückt diese unvermittelt aus, Kleidung ist das "Echo des Körpers", der Garten erweitertes Spielfeld des Körpers.

 

Kleidung "amplified" durch ihren Schnitt die Ausdrucksbewegung des Körpers, morphing garments "amplify" die Erregung des Körpers mediatisiert und verändern damit "künstlich" verstärkend die Ausdrucks-"Form" des Körpers. Was uns aus dem Tierreich bekannt ist, was wir als Körper-"Sprache" bezeichnen sind emotionale Kommunikationsformen des Körpers die every body" eigen sind - bevor sie zeichenhafte Moden werden.

Solch sonisches Verhalten als erregungsbasierte Interaktion ist formalisiert in Musik und Paradigma der menschlichen Gestaltung von extended Welten, durch künstliche Intelligenzen bereichert um Emotionalität in auditory cultures.



Clothes, like the garden, are extensions of the body in social interaction, shaping culture. Before their "style" becomes fashion, their design is directly physical - whereby the wrapping "amplifies" the body in its expressive power. In the process, the body acts "sonically" - it expresses the sensation of arousal, which is instrumentalised and mediatised into music-making and music.

Social interaction is essentially determined by arousal. Different distances from the body act as psychic distance zones with differently "pleasant" arousal - the body expresses this abruptly, clothing is the "echo of the body", the garden extended playing field of the body.


Clothes "amplify" the expressive movement of the body through their cut, morphing garments "amplify" the excitement of the body mediatised and thus "artificially" amplify the expressive "form" of the body. What we know from the animal kingdom, what we call body "language", are emotional forms of communication of the body that are inherent to every body - before they become sign-like fashions.

Such sonic behaviour as arousal-based interaction is formalised in music and paradigm of human creation of extended worlds, even by artificial intelligences enriched by emotionality in auditory cultures.

AI-Pop.

Walking sound-knowledge-base.

hedonic post-digital body-culture: “backlash” towards an emotionally intelligent “auditory culture”


It is the bodily experience of sound that deter- mines its structuring: sound brings the body in motion leading to e-motion generating sound — interaction leads to a collective and collec- tivizing dynamic soundstream of being “com- munis.” Participants enter an ever “new” sound environment; its “affordance” excites e-motion, by this sound. Despite a semiological concept of “information transmission,” sound stimulates “communication.” Sonic performative interaction communicates by the expression of the meaning of the sound / the motion to the body and the stimulation of “emotional contagion.” Basically, it is “intensity” that is the meaning of sound to the body. The concept “sound-gesture” describes / explains this process. Its mediatization, the

coding of its “picturing,” brought up the “sight” of musical structuring as “relational thinking” — “forward back” media technologies close to the body allow immediate bodily structuring for every body. Analysis of this kind of motion is the analysis of emotionally “intelligent” experience — this knowledge base generates an emotionally intelligent system, “popular” music: AI-Pop for every body. Being a paradigm of structuring envi- ronments based on the “needs” of the body, the entrance into the sound-environment is a struc- turing entrance into post-digital media-worlds: Because of the transgression of the mechanistic paradigm in digital culture it is a “backlash” to the hedonic nature of media-culture as “auditory culture”.

Ars Electronica Festival 2019

the magical tension of the number "3"

a tribute to Tesla - feeling his thinking

illumination of darkness - immersion into noise Belgrade - Graz, 2019


the magical tension of the number "3" is a participatory concert, which makes it possible to physically experience the special feature of the number 3 in the sound space as a compositional work. Although in the same culture the "tritone" is the musical sign of the devil in the middle ages, the magic of the "3" signifies eternal divinity in the Holy Trinity in Christianity; the "3" played a "magically beloved" role in Tesla's life; in a duodecimal mathematical system, as music is, it is the basis of the greatest degree of freedom to create sound structures through "relations"; the "odd" temporal shaping of sound occurs out of the highest physical tension and overcomes the uniformity of marching "straight" forms.

Harmonically, the experience of tempered 3-tone scales results in a diminished, depressed gesture of tension that strives indefatigably towards resolution; rhythmically, the 3-tone division of time allows the body to "roll", to "waltz". Both musical dimensions come out of and arouse high physical tension of the perception of sounds, they are mediatized in the "relational thinking" of their structuring - finally intensified by high intensity sound spectra and loudness.

 

In the interaction of a player with a digital music-making information processing system, a learning process takes place that formalises the excitation-based sound action (the playing of the guitar) into algorithms via processes of pattern recognition. Pattern-recognising analyses of the "perceptions" of a score follower of the played structures and a motion-tracking system of the player's playing movements as well as the sound generated thereby, formalized in the concept "sound-gesture", extract a dynamic set of rules from sonically performative, music-making behaviour - extracting the correlation of sound, sonic behaviour and its mediatization in notation indicating bodily tension allows to enrich artifical intelligence by artificial e-motion. The result is a dynamic platform for shaping sound "e-motionally", resulting from playing and resulting in playing music.

 

Subsequently, this platform of creation is gradually transferred from the producer to the recipients for participation and thus to free and self-determined creation; the listening behaviour of the hitherto emotionally moving audience of a concert situation becomes creative participation from their physical movement.

The ideas of a creator and a work in art are dissolved into a process of acting together, of collective and collectivising cultural shaping from physical interaction.

Knowledge from creation becomes a common "tool" for creation. Tesla's idea of the free distribution of naturally available energy is taken further. The uniqueness of the "flash of insight" in the composition of the "work" and the pre-scription of its reception become the collective and collectivising experience of shaping a body-based naturalness of democratic culture by an immersion into sound.


Power is the only error...

Collective/ collectivizing music-making as a paradigm of the hedonic self- organization of the dynamic adaptation of spaces as communal living spaces


Error is a construct of Modernism; conceived as a deviation from a theory-driven prognosis of an event, from the next step in the linear progress of culture .... Progress-avant-gardes of the early 20th century attempted, by shutting down rational idealist thinking, to radically break through the boundary between sense and non-sense; a deconstructivist attitude shifts thinking and focuses the error; that which is excluded can be said to provide information about that attitude of the norm that brings about this exclusion; at the same time, consideration of error is a political and cultural step towards awareness of “queerness”... The aesthetic and political “use” of error is familiar to us from the history of techno music, the music of glitches / clicks / cuts / bursts ... The Power is the only error ... project doesn’t aim to indulge the error of Modernism as the creative power of digital culture; it seeks, in the post-modern attitude of post-digital culture, to make it possible to experience the fact that hedonic self-organization knows no error...

Life is dynamic adaptation; human life is dynamic adaptation of body and environment in response to stimulus; music is play with the dynamism of stim- ulus, a playing-with-nature that becomes a culture, a paradigm of inclusion of the hedonic body in virtualities ....

What manifests itself as a cultural development was once a powerful act of overcoming nature, feasibil- ity and the necessity of taking action. Alternatively, culture is conceptualized in terms of the process of nature. With this comes the demise of the concept of feasibility and the emergence of consciousness that nature is the inviolable framework of culture. Cul- tural studies doesn’t only deal with power processes that differ from nature; it itself plays the role of the

“gouvernementalite”; it powerfully constructs culture. The concept of the evolution of plural, parallel, nat- ural life is increasingly applied to cultural developments. Explorative behavior determines not only gen- eral survival but also what culture brings forth and, ultimately, aesthetic behavior. Needless to say, this does not preclude power-driven influences on cultural developments...

It is the “affordance” of the respective (and, for human beings, indeterminately coincidental) operative envi- ronmental stimuli that cause the intentionality of the body-environment interactions that set the body “in tension.” This leads to stimulus-based interactions with the environment that continue to drive homeo- static reciprocal adaptation of body and environment. The “feeling the ex-tension” project attempted to enable participants to experience the arousal-based “regulation” of social interactions. Now, Power is the only error ... focuses on homeostasis, the arous- al-based self-regulation of life in which deviation is not error, but rather information about the change of a body interacting with the environment, which leads to reciprocal adaptation. The basal control principle of homeostasis is bodily arousal, dependent primar- ily on the intensity of stimuli. Only “afterwards” is its cognitive evaluation conveyed into another form— understanding—of intensity, by mediating excitement. Power is the only error ... is meant to allow participants to experience this self-regulating design process in the form of its externalization, the mediatization of a bodily regulation mechanism in social contact—the change the environment undergoes in the process of its adaptation to bodies’ behavior in response to stimulus both reciprocally and in interaction with the environment. The social as well as the physical

environments configure themselves in association with human beings.
This is, on a large scale, the sociological approach of interactionism and the architecture of the Chicago School; on a small scale, this is the essence of group dynamics: Interaction as reciprocal formation of arous- al-balanced living spaces. In the 1990s, in what was tantamount to a reinvention, this was applied to Net Art as a collective and collectivizing interaction as design. What has been added in the last few decades is the acceptance of physical interaction as stimulative interaction, immediate physical deeds, and not the exclusive assumption of symbolic interaction in terms of signs, by means of symbolic negotiation—where even the symbolism of this term, in its metaphorical nature, attests to an embodiment (LAKOFF) that is ultimately interwoven with physical significance for the body.

A physical space becomes a social space through the emotional interactions of human beings, human bod- ies, in it. It is stimulation that determines interper- sonal interaction. Sound-gesture as imagination of the movement around the body and as expression of the meaning (of the arousal level) of this movement for the body is, therefore, the paradigm of emotional interfaces facilitating adaptation (according to hedonic human as measure) of physical and social spaces as cultural spaces—of real, virtual and converged realities. These motility-induced movements, (gestural) bodily behavior, facial expressions, and sound production will be reflected in the arousal level of the space, as move- ment that ultimately “causes” sound, is sound. The space will change adaptively, and not only for the pur- pose of mood management; it will adjust to all the pro- tagonists within it on a homeostatic level. The room will become a jointly configured supra-vival space.

Ars Electronica Festival 2018

e-mot-ivat-ion
Feeling the Ex-Tension


“Any extension of wo-man” (McLuhan 1964) is media mediating the process of immediate body-environ- ment interaction adopting both agents and the way of interacting. Any interaction of the body with material / social environments is “intentional” (Gibson 1982), regulated by tension / arousal, lead- ing to a homeostatic state of pleasure. Any inter- action, immediate or mediated, is intentional. Any aesthetic behavior is nothing but an explorative behavior (Berlyne 1971). Media arts explore cultural evolutions by various mediated interactions— bridging the gap between science and art in order to experience the creative power of extension, to make its tension to be felt.

Whatever is generated by interaction is based on arousal—the feeling of tension-relaxation. It is the hedonic body creating environments, realities and virtualities. Overcoming mechanical extensions in robotics, telematics and the conversion of immaterial information into material qualities, it is the meaning of coded information to the body intending interac- tion, it is the feeling of emotion to motivate motion. Because of the interaction of the body with the immaterialities of the digital code, digital culture is the transgression of the mechanistic paradigm, embodiments arising from experiences of the inter- action of the body with material environments, leading, for example, to a “reasoning” within be- havior, as “Schocks und Schübe” (Lévy 2000) no longer work. Post-digital culture focuses on bodily life in virtualities. It is hearing, the analysis of occurrences around the body by the meaning to the body, that is assumed to be the appropriate power interacting with virtualities, overcoming the mechanical extension, overcoming the rationality of the point of view.

Hearing, the arousal-based analyzing subtractive synthesis, is formalized in music; pop music is the cultivation of hedonic interaction, of sound gestures amplified by media technologies; sound gestures serve as intuitive emotional interfaces adopting sensual environments; hedonic post-digital cultures become pop-musicalized cultures (Jauk 2014).

The installation makes the interaction (in social situations) felt by media—by sound as some kind of psychological hedonic feedback mediating bodily interaction and in this way creating common (social) environments. People who come into contact inter- act by bodily behavior, following natural and cultural implicit knowledge (Polanyi 1966). This interaction is a multimodal process controlled by tension—there is some kind of border to a person’s space where intimacy starts.

Nonverbal bodily interactions are amplified by sound-gestures, mediating tension, and transferred to a multimodal intimate stimulation around the bodies—an arousing date leading to a common space of pleasure—virtualities become bodily, intensifying the body. Finally the installation is an experimen- tal setting between art and science, to experience the creative power of Feeling the Ex-Tension, as bio-acoustics acquire the knowledge-intensifying sonic and sonifying behavioral interaction of animals (Willkomm 2013) to get communis—the sound of mating behavior is the most sensual.


Berlyne, Daniel E., Aesthetics and Psychobiology (New York: Appleton-Century-Crofts, 1971).

Gibson, J. J., Wahrnehmung und Umwelt (Munich: Urban & Schwarzenberg, 1982).

Jauk, Werner, “Intuitive gestural interfaces/adaptive environments and mobile devices/apps: Playing music and the musical work as a role model for personalized gestural interaction in social environments,” in ICMWT International Conference on Mobile & Wireless Technology Congress-Book (Beijing, 2014), 280–284.

Lévy, Pierre, “Die Metapher des Hypertextes,” in Kursbuch Medienkultur: Die maßgeblichen Theorien von Brecht bis Baudrillard, ed. Claus Pias et al. (Stuttgart: DVA, 2000), 525–528.

McLuhan, Marshall, Understanding Media: The Extensions of Man (Cambridge, MA: MIT Press, 1994 [1964]).

Polanyi, Michael, The Tacit Dimension (Chicago: University of Chicago Press, 1966).

Willkomm, Judith: “Die Technik gibt den Ton an:
Zur auditiven Medienkultur der Bioakustik,” in Schröter, Jens and Volmar, Axel (eds.), Auditive Medienkulturen: Techniken des Hörens und Praktiken der Klanggestaltung (Bielefeld: Transcript, 2013) 393–417.

Ars Electronica Festival 2017

touch the sound

Sound is said to be intangible, but it can be felt. Sound is considered ephemeral; nevertheless, it constantly surrounds us. Sound is movement and yet it can be perceived only when sound waves strike our body. In the wake of touch my sound, touch the sound 2.0 / sound-sculpting now makes another concerted effort to focus auditory attention on the importance of the interface that is the human body and to explore the reality-constructions of two dissimilar, sensory forms of interaction:


On one hand, mechanical, passive, analytical hearing of fleeting sounds;

on the other, active deployment of our sensory apparatus and thus synthesizing vision.


The systemic variation of them forms the sound into stationary "gestalt", into a model of the physically tangible materialization of immateriality.

Ars Electronica Festival 2017


TU - Chemnitz, Industriemuseum 2018


Universität Passau, 2018


Universität Göttingen. 2019

iHome / personal home & "diverse" cities


In reference to what the term “personal” denotes in the age of command language as an interaction medium of wo-men-machine, as an echo of what the “i” in the age of intuitive interfaces connotes, “iHome / personal home” wants to be the continuation in the gesture-interaction of human beings with spaces, to a life with partner-like living spaces. Being based on the body-self-regulation-system by arousal, on the social domain, creating these iHomes does not collectivize the "I" but individualize the "we" - "diverse" social "places" are coming up.

 

It is not about the automated mechanical control of spatial conditions that are regarded as variable in spatial design architecture, the light and its mood or the multi-media entertainment program consisting of word, sound, image … it is about the emotional, whole body interaction with a multi-sensory environment, about mood management, it is about an adaption of the environment to the hedonic needs of the body following the paradigm of music to formalize the hedonic interaction of the body with an environment - finally creating a virtual environment, the "Werk", by the relations of tension- relaxation.

 

Transferred from film and especially music reception, mood management means the regulation of the body’s state of arousal in different moods towards an optimally pleasant sense of well-being. In the process, good moods are generally affirmed by good feelings, bad feelings are compensated by good feelings, but sad moods in particular are also “lived out” through the reception of sadness-inducing media in the form of the meta-emotion. People generally prefer the boosting or compensating type of mood regulation.

 

Like the choice of partners happens according to the similarity or supplementation to one’s own personality, that is, according to the strengthening or compensation of one’s own personality, this selection is also necessary for the mood management of the iHome. This then adjusts itself to the needs of the human being – on the musical paradigm it regulates the sound of the space and para-sonically the light, the smell, the tactually felt air movement in the space … The iHome recognizes the mood of the person by his/her gestural, whole-body expression, which primarily communicates arousal, and adaptively learns to homeostatically optimize the state of arousal according to the respective behavioral change – iHome is thereby an extension of the hedonic body and leads this way to the social domain: it creates common places for every body, it structures "diverse" post-cities.

 

 

iHome is based on the University of Graz’s sound-gesture research experiments and art-based research in the field of sound-gesture interaction in the social realm of "social sound design".

Ars Electronica Festival 2015


Art + Science, Belgrade 2016

Monographies

Jauk, Werner, pop / musik + medien / kunst. Der musikalisierte Alltag der digital culture. Osnabrücker Beiträge zur systematischen Musikwissenschaft. Band 15, hrsg. von Bernd Enders, epOs, Osnabrück 2009


Griebler, Jon, Musikinhärente Strukturen als Basis der Neuen Künste, hrsg. von Werner Jauk, (Osnabrücker Beiträge zur systematischen Musikwissenschaft 26) epOs, Osnabrück 2015

scientific journals / anthologies

Jauk, Werner, Sound-gesture & Mediatisierung – musikalische als symbolische Form von embodied cognitions aus der Natur sonisch performativen Erlebens.Die Überschreitung einer einstigen Dichotomie ästhetischer Postulate von Musik als„beziehendes Denken“ bzw. »Spannung- Lösung« und der Körper in post-digitalen Kulturen,

In: Music in the Body - The Body in Music. Körper an der Schnittstelle von musikalischer Praxis und Diskurs. Hildesheim: Olms, eds. Christine Hoppe, Sarah Avischag Müller, Olms: Hildesheim 2021, pp. 273 - 292

Werner Jauk,. "What is Music to ... emotional closeness despite physical distance". In: A New Digital Deal. How the Digital World Could Work, eds. Markus Jandl, Gerfried Stocker, Hatje Cantz: Berlin 2021, pp. 239-245

Werner Jauk, What is music to ... The transparency of envelopes of the body, its private / social / public spaces – garments and gardens: auditory spaces as emotional interfaces zones to an auditory culture of humanity. In: In Kepler´s Gardens. A global journey mapping the 'new' world, eds. Gerfried Stocker, Christine Schöpf, Hannes Leopoldseder, Hatje Cantz: Berlin 2020, pp. 398-408


Wernr Jauk, art & science - forward back to myth?

the illumination of darkness - the immersion into noise

the epistemology of art and science and the many ways "beyond" managing life in modern digital culture and post-modern post-digital culture as a problem of the dominance of sensory modes of "aisthesis" and "their" implication on specific media constructing specific realities"& the mystification of art, science and socio-political life(style). ULUS - Belgrade, 2019 (www(

 

Werner Jauk, Theoretical premises - in-sight from out-side & body-knowledge from being in it. In: A theoretical approach to work in science and art about knowledge between science and art in the work of Marica Radojčić´s work on Tesla and Tesla´s work ...

ULUS - Belgrade (www)


Werner Jauk, Ars Electronica Research Institute auditory culture:  Sound-gesture research and emotional interfaces. Epistemological media art between science and art. In: Out of the Box. The Midlife Crisis of the Digital Revolution. eds. Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker, Hatje Cantz: Berlin 2019, pp. 410 - 417.


Werner Jauk, AI and AE - what is music to AI ... The sonic performative body, a paradigm to live life in post-digital culture. In: Out of the Box. The Midlife Crisis of the Digital Revolution. eds. Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker, Hatje Cantz: Berlin 2019, pp. 218 - 227.


Werner Jauk, What is AI to Music ... The evolution of hedonic nature in rational culture - AI-Pop. In: Out of the Box. The Midlife Crisis of the Digital Revolution. eds. Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker, Hatje Cantz: Berlin 2019, pp. 211 - 217.


Werner Jauk, Sound-gesture und post-digital culture: von der symbolisch zeichenhaften "forward back" zur stimulativ signalhaften körperlichen Interaktion von every body. In: Gesten - gestern, heute, übermorgen. Eds. Ellen Fricke, Jana Bressem, Universitätsverlag Chemnitz: Chemnitz 2019, pp. 144 - 149. 


Werner Jauk, What is music to ... The Evolutionary Transgression of the use of Error in Post-Digital Culture - Nature as A Paradigm of Cultural Evolution. In: Error - The Art of Imperfection / AE 18, eds. Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker, Hatje Cantz: Berlin 2018, S. 204 - 209.


Werner Jauk, Power is the only error ... Collective / collectivizing music-making as a pardigm of the hedonic self-organization of the dynamic adaptation of spaces as communal living spaces. In: Error - The Art of Imperfection / AE 18, eds. Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker, Hatje Cantz: Berlin 2018, S. 210 - 211.


Werner Jauk, Basic instincts ... Kultivierung / Kulturen des auditiven Körperwissens. Auditives Wissen - implizites Körperwissen aus der Erfahrung des körperlichen Hörens bewegter Natur zur Orientierung in physikalischen und virtuellen dynamischen Umwelten. In: Auditive Wissenskulturen – Das Wissen klanglicher Praxis, eds. Bernd Brabec de Mori & Martin Winter, Springer VS: Wiesbaden 2018, S. 115 - 135.


Werner Jauk, i.Transgression. In: FIN/1. Liquid Music 2018, ed. Heimo Ranzenbacher, 2018, Wien. 40-49.


Werner Jauk, Für eine epistemologische Kunst. In: FIN/1. Liquid Music 2018, ed. Heimo Ranzenbacher, 2018, Wien. 86-101.


Jauk Werner, What is music to an "An-other I", to a hedonic bodily uni-sex life in post-digital culture. In: ars electronica 17 / AI Artificial Intelligence - Das andere Ich, eds. Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker, Hatje Cantz: Berlin 2017, S. 170 - 175.


Werner Jauk, Der Körper ist die Grenze: das Ich in Wissenschaft und Kunst.
Aspekte einer anderen Empirie. in: Gender – Kultur – Management. Relatedness in und zwischen Wissenschaft und Kunst. Transdisziplinäre Erkundungen, eds. Doris Ingrisch et al., transcript: Bielefeld, 2017, S. 79 - 96.


Werner Jauk, Sound-gesture - kulturelles Besinnen auf die Natur der erregten Bewegung / Bewegtheit. In: Partituren des Körpers. Geste in Komposition und Aufführung, eds. Irene Suchy et. al., Verlag Bibliothek der Provinz: Weitra, 2017,  173 - 183.


Jauk, Werner, Music, making music & sound installation - the media is the difference. In: Radical Atoms and the alchemists of our time, Eds. Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker, Hatje Cantz: Berlin 2016, S. 242-244.


Jauk, Werner, Materialization of virtualities in the bodily / physical interaction process - music as a paradigm for the media-induced transformation of materiality. In: Radical Atoms and the alchemists of our time, Eds. Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker, Hatje Cantz: Berlin 2016, S. 245-248. 


Jauk, Werner, Back to the roots! Hedonisch bewegte körperliche Gestaltung des “künstlichen” Klanges. Interfaces – Wahrnehmung, Ausdruck und deren Instrumentarisierung/Mediatisierung im musikalischen Kommunikationsprozess. In: Arne Bense u.a. (Hgg.): Musik im Spektrum technologischer Entwicklungen und Neuer Medien. Festschrift für Bernd Enders, epOs : Osnabrück, 2015, S. 277-302.


Jauk, Werner, Personal Home / iHome. Kulturelle Überschreitungen durch Unterschreitung der Wahrnehmung. In: Überschreitungen II. Projektentwürfe und performative Beiträge, hg. von Heimo Ranzenbacher, Liquid Music: Judenburg/Wien, 2015, S. 112-123.


Jauk, Werner, Uni-Sex-Voice, das Erregende und Performative im Pop-Sound, in: Pop-Frauen der Gegenwart. Körper – Stimme – Image. Vermarktungsstrategien zwischen Selbstinszenierung und Fremdbestimmung, hg. von Christa Brüstle,transcript : Bielefeld, 2015, S. 47-70.


Jauk, Werner, Intuitive gestural interfaces/adaptive environments and mobile devices/apps. Playing music and the musical work as a role model for personalized gestural interaction in social environments. In: ICMWT International conference on Mobile & Wireless Technology Congress-Book, Beijing, 2014, 280- 284.


Jauk Werner, going pop - music goes back to its roots becoming `playing music together´. In ... what it takes tochange. Ars Electronica 2014. Festival für Kunst, Technologie und Gesellschaft hrsg. von Hannes Leopoldseder / Gerfried Stocker / Christine Schöpf, Hatje Cantz: Ostfildern, 2014, S. 194-196.


Jauk, Werner, Klang als Bau-Material. Der Hör-Raum als Lebensraum in einer zunehmend virtualisierten Umwelt der digitalen Kultur. Konstruktiv 290, Juni 2013, S. 11-14.


Jauk, Werner, Pop: music + media/art. In: Total Recall. The Evolution Memory, hrsg. von Hannes Leopoldseder, Gerfried Stocker und Christine Schöpf, Hatje Cantz: Ostfildern, 2013, S 155-159.


Jauk, Werner, The hedonistic turn ... the auditory turn ... In: Hellerau 100+1, hrsg. von Werner Jauk, Thomas Dumke und Klaus Nicolai, Trans-Media-Edition, Jg. 1, Heft 1, Trans-Media-Akademie Hellerau, 2013, 79-98.


Jauk Werner, Beyond semiotics? Music – a phenomenon of mediatization: The extension of the hedonistic body and its communicative aspects. In: New unknown music. Essays in Honour of Nikša Gligo, hrsg. Von Dalibor Davidović und Nada Bezić, DAF: Zagreb, 2013, S. 407-421. 


Jauk, Werner, Auditory Space. Ein wahrnehmungsbasiertes Imagery als psychologisches Interface in kommunikationsbasierte Ereignisräume. In: Raum:Konzepte in den Künsten, Kultur- und Naturwissenschaften, hrsg. von Petra Ernst-Kühr und Alexandra Strohmaier, nomos: Baden-Baden, 2013, S. 271-282.


Jauk, Werner, ... What You Hear Is What You Are In ... Experimente aus Wissenschaft und Kunst. Zur Spezifität des Hörens – Immersion. In: „Ich sehe was, was du nicht hörst.“ Etüden und Paraphrasen zur musikalischen Analyse, hrsg. von S. Hanheide und D. Helms, epOs: Osnabrück, 2014. 


Jauk Werner, Musik & Medienkunst. Medien der Erkenntnis und Gestaltung von Erlebniswelten zwischen embodiments und Metaphern. In: Die Metapher als Medium des Musikverstehens. Osnabrücker Beiträge zur Systematischen Musikwissenschaft, hrsg. von Bernd Enders, epOs: Osnabrück, 2012 S. 173-186.


Jauk Werner (Interview geführt von Fränk Zimmer im Juli 2010), Wissenschaft/Kunst – Medien der Erkenntnis. In: Die intersektionelle Stadt. Geschlechterforschung und Medienkunst an den Achsen der Ungleichheit, hrsg. von Elli Scamborund Fränk Zimmer, transcript: Bielefeld, 2012, S. 123-136.


Jauk Werner, Mediale Räume & auditory spaces. In: Forum Medientechnik – Next Generation, New Ideas. Beiträge der Tagungen 2010 und 2011 an der Fachhochschule St. Pölten, hrsg. von Alois Frotschnig/Hannes Raffaseder (Boizenburg2011) S. 233-242.


Jauk Werner, Musik, die digitale Kunst und das körperliche Leben. In: Realitätskonstruktionen in der zeitgenössischen Kultur. Beiträge zur Literatur, Kunst, Fotografie, Film und zum Alltagsleben, hg. von Susanne Knaller, Böhlau / Wien 2008, 201-219


Jauk Werner, The Visual and Auditory Representation of Space and the Net-Space, in: Musicological Annual, XLIII/2, Ljubljana 2007, S. 361-370

Jauk Werner, Interfaces - a Musical Situation, in: Musicological Annual, XLIII/1, Ljubljana 2007, S. 43-51


Jauk Werner, Der Sound des hedonisch-performativen Körpers und das Spiel der Elektrogitarre, in: Jazzforschung / jazzresearch Bd. 39 (= Festschrift Franz Kerschbaumer zum 60. Geburtstag) hrsg. v. Franz Krieger & Bernd Hoffmann, ADEVA / Graz 2007, S. 273-289


Jauk Werner, Musik ---> Sound: psychologisches Interface im multisensorischen Gefüge der Neuen Medien, in: Digital & Multimedia Music Publishing. KlangArt-Kongress 2001 hrsg. v. Bernd Enders u. Martin Gieseking, Osnabrücker Beiträge zur Systematischen Musikwissenschaft Bd. 11 hrsg. v. Bernd Enders, epOs Music Osnabrück 2006, 45-66


Jauk Werner, Creating from informal communication and Open Source, in: bang. Pure Data, Wolke Verlag - Hofheim 2006, 153-162


Jauk Werner, Multisensorische Künste des "common digit" und der "re-defined body", in: Techno - Visionen. Neue Sounds, neue Bildräume, hg. von S. Droschl, Chr. Höller und H. A. Wiltsche, Wien / Bozen 2005, 94-111


Jauk Werner, Musik und Medienkunst: Musik als modellbildendes Medium für eine Theorie der Medienkunst, in: Beiträge zur Elektronischen Musik 12: Medienkunst, hg. von J. Gründler und R. Höldrich, Graz 2005, 59-71


Jauk Werner, Experimental Aesthetics. Hedonismus als Gestaltungskraft: popular culture und digital culture, in: Grundlagen der Kulturwissenschaften. Interdisziplinäre Kulturstudien, hg. von E. List und E. Fiala, Tübingen 2004, 207-224


Jauk Werner, Kunst und (Natur-)Wissenschaft. Aspekte der Theorien der Neuen Künste, in: Grundlagen der Kulturwissenschaften. Interdisziplinäre Kulturstudien, hg. von E. List und E. Fiala, Tübingen 2004, 225-244


Jauk Werner, Praxis multimedialer Kunstformen und ihre wahrnehmungstheoretischen sowie kontextualen soziopolitischen Aspekte, in: Kunst und Künstlichkeit. Zum Verhältnis von Technologie und künstlerischer Kreativität,hg. von F. Geißler, Saarbrücken 2004, 29-44


Jauk Werner, The Transgression of the Mechanistic Paradigm - Music and the New Arts, in: Dialogue and Universalism 11-12 (2003), 175-182

Jauk Werner, Aspekte der Popularisierung der digitalen Kümste. Pop-Music und Computer-Musik, in: Zur Wahrnehmung zeitgenössischer Musik hg. von E. Schimana und J. Gründler, Graz 2002, 85-94


Jauk Werner, musik, in: forum stadtpark - die grazer avantgarde von 1960 bis heute, hg. von Christine Rigler, Wien 2002, 117-128.


Jauk Werner, wissenschaft, in: forum stadtpark - die grazer avantgarde von 1960 bis heute, hg. von Christine Rigler, Wien 2002, 138-145


Jauk Werner, Digital musics - digital culture, in: Kunstgrenzen. Funktionsräume der Ästhetik in Moderne und Postmoderne, hg. von A. Bolterauer und E. Wiltschnig, Wien 2001 (= Studien zur Moderne 16), 225-239


Jauk Werner, The Auditory Logic: An Alternative to the "Sight of Things”, in: Jb. Collegium Helveticum ETH (2000),hg. Von Helga Nowotny, Martina Weiss, Karin Hänni, Zürich: Hochschulverlag AG an der ETH Zürich, S. 321-338


Jauk Werner, Gestaltung durch kommunizierendes Verhalten: Musik und Net-Art, in: Forschungsbericht Klang-Forschung 98. Symposium zur elektronischen Musik (1999), hg. von Jörg Stelkens, Hans G. Tillmann, München S. 163-173


Jauk Werner, Musikalisches Sprechen. Interaktion - Strukturierung durch kommunizierendes Verhalten, in: XIV International Congress of Aesthetics. "Aesthetics as Philosophy", hg. von A. Erjavec und anderen, Acta Philosophica XX, 2, part II (1999), 349-359


Festival catalogues

Werner Jauk, gemeinsam mit Hana Zeqa, Laura Thaçi, Elisabeth Mirnig. "See me, feel me, touch me ... hear me & heal me ... emotional closeness mediated by the way of hearing - from information- to communication-systems" . In: A New Digital Deal. How the Digital World Could Work, eds. Markus Jandl, Gerfried Stocker, Hatje Cantz: Berlin 2021, pp. 172-173


Werner Jauk, gem. mit Hana Zeqa, Laura Thaçi, Elisabeth Mirnig, sounding garments & sound-gardens: emotional interface zones as auditory spaces - the transparency of envelopes of the body
as social interfaces amplifying the hedonic body. In: In Kepler´s Gardens. A global journey mapping the 'new' world, eds. Gerfried Stocker, Christine Schöpf, Hannes Leopoldseder, Hatje Cantz: Berlin 2020, pp. 409-413.


Werner Jauk, Human Life/ Green Sounds/ Artificial Emotion… ein theoretischer Beitrag zum Festival KLANGZEIT 2020, kuratiert von Zahra Mani, Mia Zabelka. online-publikation (30. 12. 2020) https://www.musicaustria.at/zum-motto-des-diesjaehrigen-klangzeit-festivals-human-life-green-sounds-artificial-emotion/?fbclid=IwAR33B8yNz_AlqJAMCM9DZlQHD_bK9vdo6g8GFkuA2owCCLm-ao4GJMW_5ak


Werner Jauk, From The "I"s to the "We" - a post-digital Emo/Morpholgy, a popular culture as bio-politics of democracy.    The wholeness of an "auditory culture" - music, a sonic performative medium collectivizing every body as paradigm of a digital humanity in post-digital culture. An empirical approach between science & art to the all-at-onceness of "hearing" and its "amplification" by mediatisation - a techno-"nature" of every body as "culture" for every body. Video-Text-Beitrag zum internationalen ALTERNATIVE FILM/VIDEO Festival 2020, "Atlas of particles - Are you predictable?" ULUS Belgrade


Werner Jauk, AI-Pop. Walking sound-knowledge-base. hedonic post-digital culture: "backlash" towards an emotionally intelligent "auditory culture". In: Out of the Box. The Midlife Crisis of the Digital Revolution. eds. Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker, Hatje Cantz: Berlin 2019, p. 194.


Jauk, Werner, Art & science - forward back to myth? the illumination of darkness - the immersion into sound. In: Illuminating the darkness - the immersion into sound. An evening in honour of Marica Radojcic´s approach to life in art & math - myth, religion, science. On Nikola Tesla. Catalogue-Extension, "Triennial of expanded media", RE-CONNECTION 2019, eds. ULUS-Belgrade, Österreichisches Kulturforum Belgrad, Steirische Kulurinitiative-Graz, 2019, Belgrade. pp. 12-15. 

Jauk, Werner, i.Transgression. In: FIN/1. Liquid Music 2018, ed. Heimo Ranzenbacher, 2018, Wien. 40-49.


Jauk, Werner, i.Konzert. In: FIN/1. Liquid Music 2018, ed. Heimo Ranzenbacher, 2018, Wien. 50-53.


Jauk, Werner, e-mot-ivat-ion /
Feeling the Ex-Tension. In: ars electronica 17 / AI Artificial Intelligence - Das andere Ich, eds. Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker, Hatje Cantz: Berlin 2017, S. 176 - 177.


Jauk, Werner, 1972 - Ordnung. Ausstellungsbeitrag, Diese Wildnis hat Kultur - 50 X steirischer herbst, GrazMuseum, Kurator-/innen: Martin Behr, Otto Hochreiter, Annette Rainer, Martina Zerovnik, 2017


Jauk, Werner, touch the sound ... 2.0 / sound-sculpting, In: Radical Atoms and the alchemists of our time. Ars Electronica 2016, Eds. Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker, Hatje Cantz: Berlin 2016, S. 249.


Jauk, Werner, Doing Musics … In: Überschreitungen II. Projektentwürfe und performative Beiträge, hg. von HeimoRanzenbacher, Liquid Music: Judenburg/Wien, 2015, S. 124 - 129.


Jauk, Werner, iHome. Personal Home & “diverse” cities. In: Post-City. Habitats for the 21st Century. Ars Electronica2015. Festival für Kunst, Technologie und Gesellschaft, hrsg. von Gerfried Stocker / Christine Schöpf / Hannes Leopoldseder, Hatje Cantz: Ostfildern 2015, S. 271.


Jauk Werner, PARA-SONIC 3.0. A multisensory stimulation environment based on the organizing of sounds just by their feelings of excitement. In ... what it takes to change. Ars Electronica 2014. Festival für Kunst, Technologie und Gesellschaft hrsg. von Hannes Leopoldseder / Gerfried Stocker / Christine Schöpf, Hatje Cantz: Ostfildern, 2014, S. 197.


Jauk, Werner, Wissenschaft & Medienkunst. Wahrnehmung, ihre Extension und Wirklichkeiten des Alltags, In: ALLtag. Projektkooperation von Arnold Hanslmeier, Werner Jauk + Heimo Ranzenbacher im Rahmen von Liquid Music, hrsg. von Heimo Ranzenbacher, S. 72-82.


Jauk Werner, Plurale Wirklichkeiten. In: HDA Haus der Architektur Reader 2011, hrsg. von HDA Haus der Architektur Graz, Metroverlag, Graz 2012


Jauk Werner / Arnold Hanslmeier, ALLtag. origin. wie alles beginnt. Ars Electronica 2011. Festival für Kunst, Technologie und Gesellschaft hrsg. von Hannes Leopoldseder / Gerfried Stocker / Christine Schöpf, Hatje Cantz: Ostfildern. S. 172-173.


Jauk, Werner, Der hedonische Körper. Musik / Medienkunst / Digital Culture. 14th. International Festival For ComputerBased Art Dresden (Ausstellungskatalog), Dresden 2010, S. 90 - 97.


Jauk Werner, Körper-Klang-Koppelung. Ein frühgeschichtliches ästhetisches Konzept als Interface in die Zukunft gesellschaftlicher Wirklichkeit, in: phonoFemme, internationales klangkunstfestival [http://www.phonofemme.at/],Kosmostheater Wien 2009


Jauk Werner, Neue Medien, Musik und der Körper vor Ort, in: Liquid Music. Genius Loci/Judenburg 1998-2007, hrsg. v. H. Ranzenbacher, Verlag Liquid Music - Judenburg 2007, 120-125


Jauk Werner, (gem. mit H. Ranzenbacher), The Use of Soap Bubbles, in: Hybrid - living in paradox: Ars Electronica 2005, hg. von G. Stocker u. Ch. Schöpf, Ostfildern-Ruit - New York 2005, 370-373


Jauk Werner, Globalisierung und Transkulturalität - digital culture und das Paradigma Musik, in: Medialisierung und integrale Kultur: CYNETart_05fragile, hg. von Klaus Nicolai/Trans-Media-Akademie Hellerau, Verlag Tierbs - Dresden 2005, 106-109


Jauk Werner, (gem. mit H. Ranzenbacher), Klimakonverter / climate converter, in: Unplugged - Art as the Scene ofGlobal Conflicts: Ars Electronica 2002, hg. von G. Stocker u. Ch. Schöpf, Ostfildern-Ruit - New York 2002, 382-383


Jauk Werner, Entortung/Identität, in: Kunst-Wissenschaft-Kommunikation. Comm.gr2000az. Chip/Schloß Eggenberg,hg. von H. Konrad und R. Kriesche, Wien - New York 2000, 134-141