The KlingDinge are a project group made up of industrial design students from the Kunsthochschule Kassel, who have produced sound-objects in workshops together with Wolfram Spyra. KlingDinge are self-designed instruments, resonators or experiments that investigate the sonic qualities of materials. The exhibition was created on site in the new exhibition hall of the Kunsthochschule Kassel and is conceived as an interactive installation that encourages visitors to test the designs of the objects in the context of Wolfram Spyra's Social Sequencer installation. [more]
First, the light-emitting rotating laser is set into motion. Then the audience is asked to push the sound pedestals around, turn them or distribute them on the surface, paying attention to what happens next. The rest takes place according to the self-regulating laws of chaos and order without further external intervention: the people in the installation, whether involved or not, will learn by playing and listening. About the parameters that make up an electronically generated sound, about rhythm and groove, about spatial sound, speed of sound, interplay, harmonies. And not least about the experience that it is possible to create a shared sound experience without having to follow a conductor, composer, or without any regulations or "traffic rules" to cling to! [more]
In der Galerie wWw zeigen Patrick Huber und Ute Lindner ornamentale Arbeiten, die unabhängig voneinander entstanden sind, sich aber derselben Technik bedienen, nämlich der Cyanotypie. Dies ist ein altes fotografisches Negativkopierverfahren, bei dem durch Sonnenlicht Preußischblau entsteht.
Ute Lindners Arbeiten wurden durch die ornamentalen, floralen Explosionen der Wand- und Deckengestaltung der Alhambra in Granada inspiriert. Patrick Huber hingegen zeigt die neueste Kollektion aus seiner Serie „Spitze“ – Fotogramme von Damenunterwäsche auf Damast. [more]
Sounds picked up from the immediate environment by a microphone, are relayed via a customized high voltage amplifier to insulated contact plates which form the seat and back of the Electroacoustic Chair.
The input signal from the microphone is transformed into a high voltage potential which has the possibility to be experienced as an electric shock on making contact with the chair. The work gives physical presence to the dimension of sound and explores the persecutory effects of environmental noise. [more]
