Current 3D Audio Software

(November 2020)

I was gathering Informations about some really use- and powerful 3D Audio Software.

1 Sound Particles

Sound Particles is a sound design software application which creates a broad number of sounds in a virtual 3D audio world.

SP basically uses the concept of computer graphics, but for audio: each particle represents a 3D sound source (instead of a 3D object) and a virtual microphone captures the virtual sound of the particles (instead of the virtual CGI camera).

Imagine that you want to create the sound of a battlefield with Sound Particles. You could create 10.000 particles (sound sources), spread them over a square mile, pick 50 war-related sounds from your sound library and render the entire scene with a virtual microphone (5.1, Dolby Atmos 9.1 bed, etc.). Each particle would randomly select one of the war-related sounds for reproduction, which means that some particles would reproduce the 1st audio files, other particles would reproduce the 2nd audio files, and so on. Also, each particle (sound source) would be positioned randomly on a square with a length of 1 mile. To obtain more interesting results, movement modifiers would add motion to the particles and audio modifiers would apply random gains, delays, EQ or time/pitch variations. The virtual microphone will be responsible for capturing the virtual sound of the scene, based on its position, direction and the position of all particles. The sound of all particles is rendered, taking into consideration things like propagation attenuation, speed of sound and Doppler effect.

The Outputformat ranges from Stereo up to immersive audio formats, such as Ambisonics, Dolby Atmos, Auro 3d and much more.

There is also an free educational license available.

#SoundParticles #Immersiveaudio #3Daudiotools #Standalone

2 Envelop

2 Die Benutzeroberfläche im klassischen Ableton-Stil ist sehr intuitiv zu bedienen.

Envelop4Live is used for the spatialization of immersive sound in all Envelop listening spaces, yet it can also work with any DIY speaker array (4 speakers minimum) or even normal headphones. E4L creates an open and accessible path for artists, producers, and designers, to create immersive audio and explore 3D music composition.

As described above Envelop offers different Venues (virtual and “real” ones) where your compositions can be reproduced.

Envelop also created other very convenient tools for Higher Order Ambisonics like “Earshot” an “EnvelopLX”:

.Earshot is a free and open-source transcoder for live streaming Higher-Order Ambisonics. Using Earshot, spatial audio developers can build new and innovative immersive live experiences for the web. Earshot solves the problem of getting audio or video content with non-standard audio channel configurations (i.e., beyond stereo or 5.1) from a source computer to the browser. It is based on nginx, MPEG-DASH, and the Opus codec which supports up to 255 audio channels (or 14th-order Ambisonics.)

.EnvelopLX is an interactive lighting application used within the Envelop venues. It runs in Processing using the LX Studio framework. The system may be controlled directly, or via remote OSC control from Envelop for Live devices, which can be composed and sequenced within Ableton Live 10. Real-time spatial audio metering and position data can also be used to control animation.

3 Nugen Halo 3D

Halo is basically an up- and downmix plugin for 5.1 and 7.1 speaker configuration. Nugen also offers the 3D Audio extension, which can upmix also Atmos and Ambisonics.


“Halo Upmix delivers all the control you need to fine-tune your surround mix to perfection. With unique centre channel management, including switchable dialog extraction, Halo Upmix is perfect for all types of production from archive restoration and TV through to the full 7.1 feature film experience.

An optional 3D extension adds Dolby Atmos bed track (7.1.2) and Auro 3D (7.1.4) compatibility, and Ambisonic outputs.”

“The optional 3D Immersive Extension introduces additional vertical controls via an expanded user interface including control over Ltm and Rtm placement for Dolby Atmos compatibility. An additional real-time analysis view is also included for the vertical dimension, showing energy distribution of the output audio. The enhanced upmix algorithm allows for simultaneous use of all the original features including dialog isolation and individual channel output control.

The 3D Immersive Extension is suitable for numerous applications including sound design, film score, restoration & archive, music and atmospheric soundscape production.”

With a price about 600 Euros this tool is definitly more for professional studios than home users.

#upmix #tvproduction #film #post

4 DearVR

Create one mix for all formats, from Binaural, Ambisonics & Multi-Channel (from 5.1 to 13.1) with just one tool.

dearVR PRO lets you create ultra-realistic acoustics with 46 virtual room presets, from car to cathedral.

Enhance your mixes for music, post production, games, VR, AR and 360° video productions with the most natural room simulation and advanced 3D panner.

Virtual Room-Acoustics in VR


360° Mono and Stereo Panning

Enjoy new creative mixing possibilities in a full three-dimensional space far beyond the reach of a simple stereo panner. dearVR MICRO enables you to position signals in any location left, right, above, below, in front or behind your head – instead of only left or right.

The parameters Azimuth and Elevation give you control over the horizontal and vertical position of your audio source in degrees. Adjust the perceived stereo width of your stereo sources in the three-dimensional space using the width knob.

DRVRMico also contains 3D binaural Room reflections and HRTF – Rendering.

DearVR AmbiMicro

dearVR AMBI MICRO allows sound engineers to mix, monitor and render Ambisonics tracks right out of the box.
With support of higher order Ambisonics formats as well as multiple binaural output monitoring (i.a. Facebook360 and YouTube VR) it is an all-in-one solution for 360° Video and VR productions.
Encode Ambisonics signals with dearVR PRO, mix with dearVR SPATIAL CONNECT and monitor head-tracked with dearVR AMBI MICRO.

DearVR Unity

Create ultra-realistic acoustic environments in Unity with a true perception of direction, distance, reflections, and reverb. dearVR UNITY, tested as the number one spatializer plugin for Unity with the best sound and the best externalization, offers positional 3D audio and true-to-life acoustic room virtualization.

DearVR Fmod

Resonance Audio - FMOD

dearVR FMOD seamlessly integrates with your Unity or Unreal Engine project, giving you highly accurate spatialization of a large numbers of sound source. Adding ultra-realistic acoustic virtualization and phenomena like occlusion and obstruction gets you a fully immersive user experience.


#Plugin #Gameaudio

5 Anaglyph

Free Binaural X/Y based transformer


Anaglyph is part of an ongoing research effort into the perceptual and technical capabilities of binaural rendering. The latest incarnation, Anaglyph VST, has been designed as an audio plugin to both support ongoing research efforts as well as to make accessible the fruits of this research to audio engineers through traditional existing DAW environments. Amongst its features, Anaglyph includes a personalizable morphological ITD model, near-field ILD corrections and HRTF parallax selection, a Localisation Enhancer, an Externalisation Booster, and SOFA HRIR file support.








Still life photography

Still life is a unique genre of photography. The depiction of dead and motionless objects is described as still life. Painting classified it in its own artistic genre since the early 17th century, although it had been known since ancient times. After that, different types of representation developed over the next few centuries. From initially realistic and iconographic paintings to later reduced, abstract and expressive portraits, one finally arrived at photography.

A still life is a work of art that focuses on inanimate subjects. Still life photography is quite interesting because often ordinary objects are highlighted from everyday life and thus they are given increasing attention. With these “lifeless” objects in particular, it is all the more important to arrange the design of the photograph in an interesting way. With arrangements, compositions, lighting conditions and the choice of picture elements one tries to breathe life into the lifeless objects. At best you can tell a story or work symbolically with this type of representation. The designer therefore has the freedom to arrange the objects according to his own wishes. Thus, great importance is attached to the arrangement of the objects, the lighting and the framing.

Types of still life photography

Tabletop photography: It is the most common type of still life. This category is all about capturing objects that are small enough to fit on a table. The objects can be anything that is lifeless. Food, clothing or plants etc.

Product photography: Product photography can be treated as a type of still life. However, what differs in product photography is that the main objective is to present a product. Much more than a conceptual arrangement. Here you try not to include too many props or distractions in order to generate attention entirely with the product itself. In contrast, still life shots are more artistically motivated and offer more opportunities to be creative.

Food photography: It is a very important sub-category of still life that is closely related to product photography. The main goal here is to present food in an attractive way. However, in comparison to product photography, in food photography the staging pays even more attention to the backgrounds and accessories. Playing with attributes and symbols is even more present in food photography than in commercial product photography. In still life photography itself this is used even more.

Found object photography: Photos of found objects also count as still life photography. It involves placing found object art in an unusual, modified context. Here, old, classic subjects from painting are often used and associated with contemporary food.


Building a Snare Drum

Some years ago I had a dream to built my own custom Snare drum to play with. This dream became true in 2014 when my dad and I were able to make the first instrument. I would like to describe the building process in the following lines.

Shell Dimensions of a 13″ Snare Drum

First of all I had to do some maths to calculate the angle of the staves to get a circle out of it. The second most important step is to pick the wood to use, which of course has some impact of the sound of the drum later on. We picked different local wood like apple, walnut and maple.

Politics of Photography (4)

Sinti und Roma in der Fotografie

Still aus dem Film “Politics of Photographie” von Era Trammer, 2018, veröffentlicht auf

Der Schatten einer Hand, zu einem Kreis geformt, wandert über ein auf eine Leinwand projiziertes Schwarz-Weiß Bild. Was sehen wir auf dieser Fotografie? Was wollen wir sehen? Was können wir sehen? Welche Macht hat ein Bild? Welche Macht hat die Interpretation des Betrachters*in?

“It is our civil responsibility to participate in the politics of photography and to turn the critical gaze away from the described towards the observer form the object to the subject.”[1]

Fotografien tragen Macht in sich. Sie zeigen einen bestimmten Augenblick aus einer bestimmten Perspektive. Danach überlassen sie das Bild der Interpretation des*r Betrachters*in.

„We need photographs which represent us to our full human dignity which make our memories repressed and lost from collective memory visible to all”.

In den Archiven gibt es vor allem Fotographien von Sinti und Roma, die von Nicht-Roma und Nicht-Sinti Fotografen. Nicoleta Bitu, Präsidentin des Demokratischen Bundes der Rumänischen Roma, erklärt, dass die Fotopolitik vor allem eine strukturelle Machtbeziehung zeigen soll. Historische Fotografien zeigen Sinti und Roma aus einem exotischen Betrachtungswinkel.[2]

Willi Sylvester Horvath sagt im Interview: „Wir haben das Problem, dass diese Verklärtheit und diese Romantik, die rund um die Roma und Sinti besteht, noch immer in ein falsches Bild leiten. Wir haben aber auch wenn es jetzt darum geht darzustellen, wie die Roma heute leben, von medialer Seite keine Unterstützung.“ [1]

Ethel Brooks, Außerordentliche Professorin der Rutgers Universität, USA, wünscht sich in den Archiven mehr Familienfotos von Sinti und Roma, die eben den Alltag zeigen und „wo Menschen einfach nur Menschen sind.“[1]

Ursprüngliche Beschriftungen von Fotografien in Bilderarchiven zeigen rassistische, suggestive, stereotypische Bildunterschriften und Darstellungsweisen. Bleiben diese kommentarlos, wird das stereotypische Bild weitergetragen. Allein diese richtig zu stellen, reicht nicht aus. Die Archivdarstellung muss hinterfragt werden.[4]

RomArchive zeigt auf ihrer Homepage eine intensive Auseinandersetzung mit Fotografien von Sinti und Roma. Dabei betrachten sie den historischen Umgang und zeigen Wege für eine zukünftige Aufarbeitung. Hierfür interviewen sie Fotohistoriker Anton Holzer, Nicoleta Bitu (Präsidentin des Demokratischen Bundes der Rumänischen Roma), Gilda Horvarth (Österreichische Journalistin) , Ethel Brooks (Außerordentliche Professorin Rutgers University, USA), Chad Evans Wyatt (Fotograf, USA) und  Ágnes Daróczi (Kulturmanagerin, Journalistin, Ungarn).

“It is our responsibility and our right granted by the democratic state by itself to choose what we see in pictures: Do we see strangers? Or do we see fellow citizens? “ [1]

RomArchieves will mit den Artikeln und Interviews dazu aufrufen, unsere Interpretation von Bildern zu hinterfragen und fordern eine „menschenwürdige Nutzung von Fotografien in Medien und Archiven“.

“How do you tell that story? How do we tell that story? As something that is outside the dominant narratives, and officials narrative of how we understand Romany people, Romany history.” Ethel Brooks, Associate professor, Rutgers University, USA

Diese Frage können wir uns alle stellen: Aus welcher Perspektive betrachten wir Fotografien? Wie können wir unsere Perspektive wechseln? Sind wir in der Lage stereotypische Darstellungen zu entlarven? Können wir uns unseren eigenen Stereotypen bewusst werden und uns von diesen befreien?

[1] Video: Politics of Photography: [27.11.2020]



The Environmental Film Activist Handbook | entry four

Just like two weeks ago, an audience watched an environmental documentary and answered a couple of questions after they finished watching.

The audience is upwards from 20 years, from different countries in Europe, with different backgrounds and genders. The same audience will watch all four films which I introduced in the second entry.

Below are the results of the second weeks film.

The results shall help documentary filmmakers reach their audience better and get greater results in spreading their message.

How did the audience perceive an inconvenient sequel?

After the participators watched the film they filled out a questionnaire. I did go through the answered questionnaires and summarized the answers, the results are shown below.

All viewers stated that they were interested in the topic and had already informed themselves about this topic. 

What they liked about the film:

  • relatable data
  • well rounded
  • good facts
  • gives a bit hope

What they did not like about the film:

  • too much self promotion
  • american documentary style/ too staged
  • not very trustworthy because the main protagonist is a politician 

Did they think the topic was well presented?

30 % of the viewers thought that the topic was one-sided and mainly what Al Gore wants people to see.

Did they feel a connection to somebody?

50% did feel a connection to Al Gore, but not straight from the start. The other half did not feel a connection to anybody. 

Has anything in the film moved them or stayed in their mind, if so what?

  • the Paris climate summit talk from Indias president
  • the flooding scene where a woman had to be saved
  • the catastrophes from the climate change
  • the melting glacier caps
  • the involvement of big companies in the climate catastrophe 
  • that environmental problems hit the poor the hardest

What message did they take from the film?

  • that climate change is a largely man made problem
  • that nothing essential has been done about it yet
  • that every single human can help to save the environment 
  • that a big part of climate change is due to what giant companies do and/ or not do

Everybody was aware of what climate change means for us, everybody thought that there is something we can do to help with the problem.

These were the results of last weeks film, this weeks film is going to be cowspiracy , about its results I am going to write next week. After I have gathered all the results of all four films, I am going to write the first conclusion.

Stereotypisierung von Sinti und Roma in den Medien (3)

Pressekodex (Richtlinie 12.1):

Niemand darf wegen seines Geschlechts, einer Behinderung oder seiner Zugehörigkeit zu einer ethnischen, religiösen, sozialen oder nationalen Gruppe diskriminiert werden.

“In der Berichterstattung über Straftaten ist darauf zu achten, dass die Erwähnung der Zugehörigkeit der Verdächtigen oder Täter zu ethnischen, religiösen oder anderen Minderheiten nicht zu einer diskriminierenden Verallgemeinerung individuellen Fehlverhaltens führt. Die Zugehörigkeit soll in der Regel nicht erwähnt werden, es sei denn, es besteht ein begründetes öffentliches Interesse. Besonders ist zu beachten, dass die Erwähnung Vorurteile gegenüber Minderheiten schüren könnte.”[1]

Mit dem Pressekodex sollen Minderheiten geschützt und Diskriminierung verhindert werden.

In der Berichterstattung wird diese journalistisch-ethische Grundregel nicht immer eingehalten. Durch wiederkehrende stereotypisierende Medienberichte werden bestimmte Bilder betont und bleiben in den Köpfen der Rezipient*innen.

In einer Talkshow vom 15. Juni 2014 setzt sich Günther Jauch mit dem Thema „Albtraum Einbruch – Wie sicher sind wir in der eigenen Wohnung?“ [2] auseinander.  In dem Einspieler und einem Statement eines Beamten ist die Rede von“‘ Roma-Gruppen‘ […], die ‚überall einbrechen‘“.

Die Vox-Sendung „Junge Roma in Deutschland – Tradition ist alles!“ vom 6. August 2012 und die RTL-Sendung „Turbulent zum Traualtar“ vom 6. August 2012 zeigen zwei Hochzeiten von Sinti und Roma. Personen werden vor Wohnwagen interviewt, obwohl „die Familie des Bräutigams […] in einem großzügigen Wohnhaus“ lebt.[3] Mit dem Hintergrund von Wohnwagen wird jeder Interviewter damit in Verbindung gebracht und eben nicht auf die vielfältige Weise der Unterkünfte.

Der Online-Artikel “Es kommen nicht nur Roma – es kommen auch Akademiker” (2013) von ZDF heute zeigt eine deutliche Unterscheidung von Roma und Akademikern.

„Polizei stürmt Duisburger Roma-Haus nach Angriff auf Bürger“[4] ist ein Artikel von DerWesten bei dem das „Roma-Haus“ mit einem „Problemhaus“ gleichgestellt wird.[5]

Die Stigmatisierung von Sinti und Roma ist noch heute in den Medien präsent. Der Zentralrat Sinti und Roma in Deutschland eröffente am 23. Januar 2020 eine Diskussionsrunde “Haben wir ein Journalismusproblem? – Das Bild von Sinti und Roma in den Medien”. [6]

Journalist*innen werden aufgefordert, sich dem Framing und den replizierten Bildern bewusst zu werden und diesen entgegenzuwirken.

[1] [25.11.2020]

[2]!5037929/ [26.11.2020]

[3] [25.11.2020]

[4] [26.11.2020]

[5] [26.11.2020]

[6] [26.11.2020]


Would you like to take a walk, using ‘my’ body?

C.A.P.E. (Computer Assisted Personal Environment) is the newest mobile immersive installation of CREW, presented for the first time at the World Expo in Shanghai in September 2010. Come and experience for yourself what the future of cinema might be like! With C.A.P.E., we can shift your presence from one place to another in no time. Thanks to its state-of-the-art immersive technology, you can step into another body and walk around in a maybe far away city or a faraway time…

What if you could physically walk through the past or maybe the future? What if you could walk in a reality that is NOT HERE. What if an artist would transform your reality and put you right in the middle of his art work? C.A.P.E. is a futuristic system, a high-technology configuration and artistic concept that induces exactly this experience, this illusion in your body. CREW has been experimenting with this concept for years and proposes a whole new way to experience a documentary, a visit to the past, a performance, a far-away city….

With C.A.P.E., CREW swaps the familiar inside of the art centre or theatre for the public space, where it aims to trigger the curiosity of many passers-by or accidental visitors and to share with them the excitement of stepping into the future. The creative potential of this new, unexplored medium is immense. Over the next years, CREW will focus on the intensive exploration of this instrument by developing C.A.P.E. applications in the widest possible domains and with a group of European partners. C.A.P.E. is a strongly experience-based medium. It redefines the artistic experience and puts the visitor, who is no longer just an on-looker, into the heart of the experience.


Die psychoanalytische Filmtheorie von Rauschzuständen im Film

Rauschzustände im Film sind nicht allein auf Drogen und Alkohol zurückzuführen. Auch die Traumdarstellung oder induzierte Wahrnehmungsveränderungen durch Meditation zum Beispiel kann als Rauschzustand aufgefasst werden. Einen Zusammenhang zum Film bzw. die Legitimität Träume und Rauschzustände als Bewegtbild festzuhalten, ist insofern gerechtfertigt, da sowohl der Traum als auch Halluzinationen, egal ob durch Drogen induziert oder nicht, sich einer visuellen Sprache, also Bild und Ton, bedienen. Auch wenn Freud anderer Meinung war, diese Wahrnehmungsveränderungen für ihn keine audiovisuellen Phänomene waren, sondern nur durch Worte beschrieben werden konnten, tat er sich schwer Träume in Worte zu fassen. Außerdem wird in der Filmtheorie schon lange davon gesprochen, dass es sich bei Filmen prinzipiell um Traumdarstellungen handelt. Regisseure wie Fritz Lang bezeichnen den Regisseur deshalb auch als Psychoanalytiker. Sowohl die Psychoanalyse, das Erforschen fremder Psychen als auch die Psychonautik, das Erforschen der eigenen Psyche können dabei eine Rolle spielen.[1]

Kruse und Wulff schreiben in ihrer Publikation „Psychonauten im Kino: Rausch und Rauschdarstellung im Film“: „Der Gebrauch von Drogen im Selbstversuch zur Erforschung der Psyche und des Unterbewusstseins – des eignen , aber auch des fremden – spannt die Brücke zwischen Psychonautentum und Psychoanalyse […]“[2]. Rausch steht aber laut Freud auch in einer engen Beziehung zum Traum, da sich beides unter anderem durch eine Veränderung oder Beeinträchtigung der Wahrnehmung äußern und es somit zu Halluzinationen kommen kann. Hierbei wird zwischen dem Drogenrausch, einem offenen System und dem Traumzustand, einem geschlossenen System differenziert. Diese zwei Systeme unterscheiden sich in der Hinsicht, dass man in einem offenen System in Einbeziehung seiner halluzinatorischen Sinneseindrücke frei handeln kann, während man in einem geschlossenen System von seinem Traum-Ich getrennt ist und diese Halluzinationen, wie Freud seine Träume nennt, eher von außen wahrnimmt. Wie luzide Träume zu behandeln sind, wird in den Artikeln von Kruse und Wulff nicht weiter behandelt. Da der Drogenrausch aber zwischen der Traumwelt und der realen Welt liegt, ist anzunehmen, dass luzide Träume ebenfalls weder zu dem einen, noch zu dem anderen gezählt werden können.

Neben der erschwerten Kategorisierung verschiedener Phänomene handelt es sich bei dem Widerspruch, dass Rauscherlebnisse sehr subjektive Erfahrungen sind, Filme aber allen zugänglich sind, um eine weitere Problematik, wenn es darum geht audiovisuelle Phänomene wie Träume, Rauschzustände und Halluzinationen durch das Medium Film darzustellen.

Zu den Gründen diese Zustände jedoch trotzdem zu thematisieren zählen die Veranschaulichung solcher Situation sowie das Wecken von Empathie. Oft wollte man den Menschen damit auch zeigen, wie es sich anfühlen könnte, selbst einen Zustand der Wahrnehmungsveränderung zu erreichen. Ariane Beyn schrieb, dass es sogar möglich wäre, dass psychedelische Filme „euphorische Stimmung direkt im Kinosaal“ erzeugen können.[3]

Filme sind als Medium dazu da um Zuschauer emotional zu berühren und eine Identifikation mit den Charakteren zu ermöglichen. Um das zu erreichen ist es wichtig, sowohl die Sichtweise des Charakters, der sich in einem Rauschzustand befindet, als auch die Sichtweise eines Außenstehenden zu beleuchten. Empathie ist eine weitere Voraussetzung um eine Identifikation mit dem Charakter sicherstellen zu können. Laut Wulff ist „Empathie […] eine der zentralen Formen des Versetzens in die Wahrnehmungsperspektiven dargestellter Figuren“[4]. Um eine solche Empathisierung zu erreichen gibt es zwei Möglichkeiten. Wulff unterscheidet zwischen der ausdrucksvermittelten Empathie und der situationsvermittelten Empathie. Die ausdrucksvermittelte Empathie ist das Deuten des Ausdrucks von Emotionen einer anderen Person und der Identifizierung mit diesen Emotionen – man fühlt mit dem Charakter mit. Die situationsvermittelte Empathie hingegen ist das Wahrnehmen der Situation, in der sich jemand befindet – man kann sich in seine Lage versetzen. Beide dieser Wahrnehmungsmöglichkeiten bilden die Grundlage für emphatisches Erleben und Mitfühlen. „Empathie ist als kognitive Fähigkeit anzusehen, die sich aus dem Wissen und dem Verstehen des Gefühls eines Anderen ergibt.“[5]

Um Rauschsituationen korrekt darstellen zu können, werden beide, also sowohl die Innen- als auch die Außenwahrnehmung einer Figur thematisiert. Der Grad an Empathie, der für einen Charakter dann empfunden wird ist sehr individuell und hängt von Faktoren wie Empathiebereitschaft, Erfahrungen oder der momentanen Stimmung ab. Diese visuelle Ausformulierung der Wahrnehmung, von Halluzinationen oder Rauschzuständen Anderer, kann dazu genutzt werden, Zusehern die Möglichkeit zu geben, sich in den Charakter hineinversetzen zu können und dann selbst emotional darauf zu reagieren. Somit erreicht das Medium Film genau das was es sollte, es ruft eine emotionale Reaktion der Zuschauer hervor und vermittelt neue Perspektiven.[6]

[1] Kruse, Patrick/ Wulff, Hans J.: Psychonauten im Kino: Rausch und Rauschdarstellung im Film. In: Kino im Kopf. Psychologie und Film seit Sigmund Freud. Berlin: Bertz + Fischer 2006, S.108

[2] Ebda. S.107

[3] Beyn, Ariane: Psych-Out. In: Starship, 5. S. 77ff

[4] Wulff, Hans J.: Empathie als Dimension des Filmverstehens. Ein Thesenpapier. In: Montage 12,1,2003 S.136ff

[5] Sok-Rok Song: Empathie und Gewalt. Studie zur Bedeutung von Empathiefähigkeit für gewaltprävention. Berlin: Logos 2001, S. 106f

[6] Kruse, Patrick/ Wulff, Hans J.: Psychonauten im Kino: Rausch und Rauschdarstellung im Film. In: Kino im Kopf. Psychologie und Film seit Sigmund Freud. Berlin: Bertz + Fischer 2006, S.111

Intercultural Communications 3

I would like to give some examples about traditional stories in different cultures and analyze the difference. Stories, better to say, children stories, play a significant role in order to culture the next generation. It is possible to achieve some cultural hints through the simple litrature of children stories.

The Story of “Naneh Sarma”

Firstly, I would like to give you a short explanation about celebrating the new year in Iran. People celebrate the new year Nowrooz at the first day of spring on the 21st of March. There is a very beautiful children story about the reason, why Iranians celebrate this day as the new year.

Once upon a time, there was an old woman living in the mountains of Alborz. Her name was Naneh Sarma (Winter/Cold Grandma).

Damavand mount in Alborz mountains

Old Naneh Sarma had a son called “Nowrooz”. Some other stories say that Nowroos was her lover. He was very charming and beautiful. Every where he walked, he brought the warm weather, life and spring. Flowers grew on the ways he passed. Ancient Iranians loved him, and celebrated his arrival every year.

Naneh Sarma had long white hair like snow. She loved the cold weather. As the cold weather arrived, she sent it to the alley down the mountains. As the days got shorter and nights where longer, she started singing and the trees fell asleep. Animals could find shelters and poeple gathered wood.

Nahe Sarma spun linen threads from the clouds above her house. The colours varied from day to another, reflecting the sunlight that beamed through them. She was thinking about her son/lover. He promised her to visit again in a few months. She was waiting for him for a long time and prepared a nice and beautiful tish decorated with colorful birds and flowers.

Naneh Sarma
celebrating the Nowrooz in Ancient Persia

At these times, she would get up and stretch for a few minuets, then slowly walk to her front door. She took a deep breath and slowly blow into the air. Down in the alley, the snow would start. Children and adult were happy, dancing and playing under the snow.

On the fortieth night of winter, people gathered at elder houses, singing poems, eating pomegranate and watermelon. Celebrating the longest night of the year, as the sun was being born that night. From this point, the days would be longer and every night get shorter.

As days were getting longer, old woman got tired more and more. But she was hopeful visiting her son again and it was what kept her happy. She step and washed the floors and down in the alley there was a fluffy snow. She dusted her furniture and down in the alley was a strong wind.

At this point, the old woman was thinking only about Nowrooz, although all her house cleaning, made her exhausted. She was very tired however she grew seven trays of cereals so that people could see which one would grow the best during the next year. When seeds grew taller, she put a red ribbon around them and continued decorating her table with red apples, dyed eggs, candles, wine, milk, lotus, fruit, a mirror, sweets, coins. As she put each item on the table, she wished everybody, health, wealth and love.

One the eve of last Wednesday of the year, people in the valley, started making fire and dance happily around it. This was their way of calling upon their ancestors to visit them, and bless their homes and their families.

The weather began getting warmer and the old woman was very tired. She sat on her chair and fell into a deep sleep. At this time Nowrooz walked into the valley. With every step that he took, grass grew and everything turned into green and the flowers started growing. He finally stepped into the old woman house but she was asleep. She was so old and tired that he did not wake her up. He was supposed to continue his way around the world to bring the spring and warm weather.

Literature, 2020. [online] Available at: <> [Accessed 24 November 2020].