Demian Wy

*1997

Sound Design and re-recording mix for the movie by Philip Hofmänner and Simon Pflanzer

In the near future, Susana's fiancé Marco decides to have a chip implanted in his brain. Marco, who suffers from severe depression and has professional problems as a result, sees this new technology as his only chance, not to lose touch. Susana, who originally drew his attention to the chip, soon begins to have doubts, when Marco begins to change dramatically.

Sound Design for the Documentary by Nina Fritz, Lasse Linder, Felix Scherer and Lola Scurlock

Cows graze atop rolling hills, the Säntis cable car glides towards the mountain station, and behind it, 2.5 million light years away, the Andromeda Nebula shimmers. In Urnäsch, winter is drawing in: the local butcher cutting the last geraniums from their window boxes and the men’s choir is rehearsing. But when the streetlights go out, leaving only the stars twinkling above, the village youth gather and dreams of other worlds are discussed.

Sound and videoinstallation for public spaces

Moments of movement broken down into fragments. Tension buildups hidden in the surroundings. Microscopic viewpoints. An installation for two video screens and loudspeakers in public spaces created in collaboration with Nina Müller.

Sounddesign for the dance movie “Temporary Contemporary” by Oliver Brand

Nothing is for eternity. Not even places that seem to outlast time. With Temporary Contemporary, director and filmmaker Oliver Brand impressively stages this transience by turning it into a stage for contemporary dancers. In doing so, he creates a moving testimony to the ephemeral nature of places that are in precisely that state only on the day the film is shot. The sounddesign was created during an internship at Idee und Klang Audio Design.

Music for the dance performance “be.ware” by Nina Müller

In the piece be.ware, audience and performers, separated by panes of glass, encounter each other in an examination of various aspects of the lack of physical closeness in times of COVID-19. In a small group, the audience is taken on a journey on which it encounters various images on its way from public space to private interior space, which reveal the personal confrontations and interpretations of the 12 performers, ranging in age from under 20 to over 60.

Spatial installation for the funding competition SONX

The spatial installation by Noemi Wyrsch and Demian Wyssmann examines the isolation experienced by people who are suffering from mental illness. Through abstract soundscapes and alienated language, an attempt is made to allow previously unexposed feelings to surface and become tangible.

Rebelmind

Music for the 30' dance performance "Rebelmind" by Nina Müller

The plurality of inner voices that we all carry within us shows us that the human being is many(s). In this dance performance, the dancers let some of the protagonists of their research journey into their own inner world have their say. In doing so, they give the different voices a characteristic language of movement.

Second Skin

Different starting points end in a corner. Second Skin is an installation that as a whole becomes a sound speaker, dares to interpret movements as a state and combines natural with artificial sound material.

Transmitted is a decentralized installation consisting of two sound fields, which spread out in the interstitial spaces.
Where the radios take over, sounds harass in spaces from which no silence was demanded. What takes place in one place reappears in another, disappears completely or is hardly recognizable. In the installation, only sound material is used that can be found on site and is generated consciously or unconsciously by the viewers. 

Audio piece, composition exercise

What sounds are created when an audio recording is broken down into all of its individual frequencies? The first three sounds of Claude Debussy's composition for string quartet are recomposed and used as material for a new piece.
 

Composition for prepared midi grand piano

How does the role of the performer and the approach of the composer change when an instrument can play an audible piece completely auto- nomously and reproduce complex structures exactly? In the piece "Transfer" Demian explores composing on and with the possibilities of the midi grand piano. Both, in the collaboration and in the confrontation with the self-playing midi grand piano, the question of my role as an interpreter arises.

Music for an excerpt of the film "Necrology" (Standish Lawder, 1970)