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Enterable Space-soundBody
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One-man exhibition <SA/JO> Exhibition space: ZKM Cube_subSpace
Consistency Plan-map of the work series |
 Installationview, Photo: Reinhard E. Vollmer |
"Luminous SOUND" as "emerging existence" in space and time
– "sounding LIGHT" as "existing emergence" of time in space
With this motto, media artists <SA/JO> (f.k.a. <sabine schäfer ⁄⁄ joachim krebs>) present their most recent "walk-in spatial-sound colored light body" for micro-acoustic animal sounds and three-dimensional LED-colored light, produced for ZKM's twentieth anniversary. In creating this sound-light environment, they were inspired by the latest breakthroughs in neuro-scientific aesthetics and bionics, among other things. At the center is the normally inaudible and until now largely unknown acoustic micro cosmos of animal noises and natural sounds.
So-called "micro acoustic, colored light biospheres," quasi artificially created imaginary environments for multifarious "audio-light hybrids" arise by means of the acoustic-scientific "sound microscopics" (endo-sono-microscopics) specially developed by Joachim Krebs in the mid 1990s, and "audio slowmotion."
These in-between beings, continually moving between real-unreal, concrete-abstract, and natural-artificial, can exist solely in such artificially generated "sound light habitats" and can only be experienced by museum visitors live, on-site.
The two natural phenomena, color and light, on the contrary, are "composed" as a largely abstract, reference-less "event" through monochrome color oscillations and specific light-dark movement choreographies in time and space.
The space-sound colored light installation MicroSonical Shining Biospheres No. 1 presents the kick-off project for the future collaboration of the ZKM | Center for Art and Media with the Karlsruher Institut für Technologie (KIT).
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ESSAY
Deleuze and the Sampler as an Audio-Microscope
On the music-historical-esthetical and philosophical foundations of the
digital, micro-acoustic recording, analysing and production process "EndoSonoScopy”
by <sabine schäfer // joachim krebs>
in the context of the book publication “Recorded Music - Philosophical and Critical Reflections”
ed. Dr Mine Dogantan-Dack
Middlesex University Press London 2008
TopoSonic Spheres - A SpaceSoundComposition
AquaAngelusVox
A TopoSonic Mandala with Hildegard von Bingen
Ed. Kehrer, Heidelberg: „TopoSonic Arts 1997 – 2006“
Documentation of the artist-couple's works containing fundamental texts on aesthetics and philosophy
Deutschlandfunk (DLF) „Atelier Neue Musik“
18.8.07, 10.05 p.m. feature on the artist-duo
a supplement CD with this portrait on the artist-duo.
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10 Years of TopoSonic Arts – To Render the Inaudible Audible
I. The Fantastic „Space-sound World of Micro-acoustic Dimensions“
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I.
The Fantastic „Space-sound World of Micro-acoustic Dimensions“
Since 1998, our Space-sound art has focused – and does so almost exclusively today – on the so far practically unknown fantastic „Space-sound world of micro-acoustic dimensions“ of animal voices and natural sounds, a world at the first glance concealed „inside“ nature’s sounds and noises.
We have successfully managed to render the „intrinsic“ acoustic micro-dimensions of both animal voice and natural sound audible for the first time; dimensions so far inaudible und thus practically unknown to humans. To achieve this goal, we relied both on a computer-based instrumental equipment that, due to general digital-technological developments rather sporadically started to establish itself on the market in the 1980s as well as on a universally unique further specifically scientific/acoustic procedure we developed by the end of the 1990, the so-called „TopoSonic-Audio-Slow-motion“ and „Inner Space-sound Microscopy“ (Endo-Sono-Microscopy).
Using these innovative, universal-elementary and quasi „trans-cultural“ Space-sound materials, we have now, among others, been able to realize Space-sound art works which continuously oscillate between „natural“ (nature) and „artificial“ (arts) sounds and which directly address human on a holistic level, as far as possible beyond national language and intellectual barriers – the listener does not need any specific preliminary cultural knowledge – to offer him/her, in the first place, an extraordinary „listening experience“.
II.
The Range of TopoSonic Art Works Realized Between 1998 and 2006
The range of toposonic art projects we realized in the past years in the most diverse fields and market segments and at a wide variety of performance and installation locations covers:
| Radiophonous-electro-acoustical Space-sound compositions, e.g. | ||
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TopoSonic Spheres – A Space-soundComposition (2004) AquaAngelusVox – A Space-soundMandala with Hildegard von Bingen (2003) |
as well as:
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Concert-based installative performances by internationally prestigious festivals for Contemporary Music, e.g. |
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The TopoSonic Art Project Series Sonic Lines n´Rooms (1999) - A Perambulatory Space for Electro-acoustical Space-sound Art (2006) |
and:
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Purely installative „circumambulatory and enterable Space-soundBodies with staged light“ for open (natural) space (so-called „listening islands“) as well as closed (art) spaces (so-called „listening room with staged light“), e.g. for museums, galleries et al.
These are added quasi „invisibly“, e.g. |
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Outdoors: Garden Festival „Nature and Art“, Castle Ippenburg, (2005) Indoors: Science Centre „phaeno“ Wolfsburg (permanent exhibition since Nov. 2005, architecture: Zaha Hadid) |
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Or else presented as a „stand-alone“ and/or „space in space“ concept; from the toposonic art project series „Sonic Rooms“ (1998) up to the recently developed toposonic art project series „AUDIO-BIOSPHERE“ (2008) |
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| SpaceSound Object HÖRBILD Since January 2009 Continuing loan to the Bern University of the Arts |
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"TopoPhonia No. 4" at: |
The Space-sound Art Project „TopoPhonia”
at the ZKM │ Centre for Art and Media Karlsruhe
Ed. Kehrer, Heidelberg: „TopoPhonien“.
Documentation on the space-sound art project by Sabine Schäfer, available by July 2007