Hybrid Sound Worlds – The Expansion of Instruments in the Digital Age: In the Lokal Harmonie, three musicians explore the interfaces of body, instrument, and technology. Their works question classical instrumentality and demonstrate how physical sound production, digital manipulation, and performative practice interweave. Through experimental techniques, they expand the concept of the instrument – whether through the transformation of natural sounds, the virtualization of classical playing techniques, or the radical redefinition of the voice as a sound-producing medium. In doing so, they operate in the tension between embodiment and post-instrumentality, in which sound becomes perceptible not only as an acoustic phenomenon but also as a performative gesture.

The Berlin sound artist Jana Irmert explores in her live performance Ashes the acoustic materiality of natural processes: volcanic field recordings of lava, rubble, and desert sand are layered with processed voice fragments as well as digital and analog synthesis methods. Her work can be placed in the context of acousmatic music, where sound sources detach from their visible origins and unfold their own narrative quality. The Cologne-based Moritz Wesp expands the instrumental concept of the trombone into the digital realm with the - virtual trombone - his playing movements are captured by sensors and soundly transformed, so that the physical sound body exists only as a gesture. Playtronica Berlin - Aglaya Demidenko and Sasha Pas - present at BLAUES RAUSCHEN Orbita, a turntable-like, kinetic color sequencer that converts movement and color tones into sound and builds on synesthetic experiments to explore color-music relationships. The instrument playfully and dynamically connects what we see with what we hear.