The development
A binaural recording head made in Schönberg’s likeness.
A surviving 2008 design board identifies agm digital arts as the client, Stylusdesign in Asolo as the designer and the job as Kunstkopf. The design is a binaural recording system based on a three-dimensional scan of a bust of Arnold Schönberg, with detailed attention to the head and ear geometry.
According to AGM’s project record, the head was a bespoke product made only to custom order. The surviving design board proves the 2008 AGM commission and the binaural concept; by itself it does not prove where every finished unit was subsequently deployed, so this archive does not automatically claim that this particular head formed part of every later version of the exhibition.
The exhibition environment
The Arnold Schönberg Center’s current retrospective chronology lists Arnold Schönberg – Wer ich bin as an exhibition running from 2008 to 2012. A separate surviving Center page captured during the project’s life labels the display “2009/10”, names Nuria Schoenberg Nono as Kuratorin and Anthony G. Morris as Ausstellungsleiter, and describes a concert area prepared for high-definition video and a 14.2 / 16-channel surround-sound system.
Those sources are not actually contradictory if treated as records from different moments: the current Center chronology gives the broader life of the exhibition, while the surviving 2009/10 page documents one phase and its formal credits.
AGM’s documented involvement
The surviving Center material credits Anthony G. Morris / agm digital arts GmbH, together with Dr. Geoffrey Barton for component-audio expertise, design and digital engineering, and Luca Boffo as multimedia programming assistant. It also lists Karl-Michael Slavik / Artecast for video consulting and StylusDesign, Asolo, for replay-environment engineering design.
Curatorial background
Anthony Morris recalls the initial working relationship with Nuria Schoenberg Nono as a co-curatorial one, with Nuria insisting on that involvement during the first year. The surviving institutional page later records the more formal distinction “Kuratorin” and “Ausstellungsleiter”. The archive therefore keeps the two kinds of evidence separate: institutional credits are reported exactly as documented; Morris’s account of the earlier working relationship is identified as first-hand project provenance.
Date note. Earlier AGM drafts reduced this project to “2009/10”. The stronger combined record now supports a 2008 development start and a Center retrospective exhibition span of 2008–2012, while retaining the surviving 2009/10 page as an important snapshot of the formal credits and installation.