Marcus Herne

Marja Viitahuhta + Ánnámáret, Turkka Inkilä and Ilkka Heinonen

Priyageetha Dia

Sól Ey

ADACHI Tomomi

WYWY

RYOICHI KUROKAWA

ЕРИКА

After 12 Collective

Tatsuru Arai

Zeno van den Broek

Lydia Kavina

CIFRA

Live, time-based practices integrating sound and image: performance as an expanded field of sensory and technological interaction

Audiovisual Performances

sound art

experimental music

algorithmic art

generative art

performance art

body art

media performance

video art

software-based art

digital poetry

field recording

video installation

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eightyeight.five (Piano Day 2025)

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Mirroring the Sky

https://cifra.com/content/art/aa0306cb-2fa3-4fb9-9581-6799a1e0b682/media/short/1786655798/c3e38935f48463c00d818e045c04493db7350f75dd080467d268b42fddf6e3b5/content.m*

ElectroFest 2024 | WYWY: Innocent Echoes

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Live at Black Friday

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1 J.S. Bach. Ich ruf zu Dir. Theremins

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Interactive Opera Vitruvian

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MA(N|CHINE)

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subassemblies

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Theremin-Vox

https://cifra.com/content/art/d08bc27e-d68f-4405-9bcd-77a17736c627/media/short/1786655798/de876344d1249e6f0d101e815bbb0b19f6291d7e69d1cb41cd4b1bca56c83879/content.m*

LAMENT H.E.A.T

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AI-Designed Musical Instruments

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Voices from AI

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Materize

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Sieidi

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Marcus Herne returns with another Piano Day release, using the piano as a resonating chamber for electronic sounds

“Why does the world need a Piano Day? For many reasons. But mostly, because it doesn’t hurt to celebrate the piano and everything around it: performers, composers, piano builders, tuners, movers and most important, the listener.” – Nils Frahm

Piano Day, an annual worldwide event founded by a group of likeminded people, takes place on the 88th day of the year – in 2025 it’s the 29th March – because of the number of keys on the instrument being celebrated.

eightyeight.five is the fifth piece Herne has created for Piano Day, all of which have strayed from the more traditional sounds and styles associated with the instrument in order to explore its unbound harmonic breadth.

This year Herne has become interested in how sound works within different environments and wanted to explore how the body of the piano could be used as a resonating chamber for sounds played from an alternative source.

The source in this instance is a system of cycling tones, all generated via a synthesiser that could be controlled, manipulated and adapted and then played at a high volume into the open body of an upright piano, using various types of microphones to capture the sound in and around the piano. 

“I wanted to explore using the body of the piano to resonate and amplify sounds from an alternate source and respond to ”

Herne purposefully used very basic wave forms in the synthesis of the sounds played at the piano, in order to allow the body of the instrument to provide the more complex characteristics.  The piano acted as a sonic mirror that reflected the sound back to Herne, which he then responded by making further adjustments to the system that would be fed back into the piano.  He spent time making subtle changes to this cycle and direction and structure took form, resulting in a performance lasting 7 minutes and 52 seconds.

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