The concept of "taking symphonic stock" draws on the idea of classical museums,
 classical art spaces, where nothing housed in them is questionable, where 
everything is securely established: art for eternity. These spaces feature - 
as almost all locations which are in league with eternity, e.g., churches - 
particular acoustics. For the Symphonie Albertina, in the Albertina, a museum 
in Vienna which boasts the largest graphics collection in the world, Temmel 
installed a set of microphones which recorded all sounds and remarks, in 
short: the acoustic utterances and noises produced by the visitors over a 
longer period within the specific acoustics of the architecture. The 
audio-technical equipment was set up in a section of the exhibition entitled 
"The Eloquence of the Body"; this project understood itself as the opening of 
an acoustic window at will into a situation which derived its conditions from 
the commitment to lasting (historical) values - architectonic and 
spatio-acoustical conditions, circumstances of the visitors' behavior as 
expression of their individual relation to these value-specific conditions. 
The transient was recorded within the framework of the lasting. The sound 
material obtained in this fashion formed the point of departure in the studio 
for its further processing (modulation) into a "symphony" based on the 
classical three-movement schema.<br>
In 1992, the Symphonie Albertina was broadcasted for the first time by ORF. 
Public presentation on radio thus created a new space: the museum with its 
erratically imparted aura (including the corresponding behavior of the 
visitors, whether oppositional or submissive) was replaced by the fleeting 
space of a sheer medial existence - even though its constituent elements, the 
musical structure, cited established values.