{"id":52826,"date":"2013-04-30T23:36:43","date_gmt":"2013-04-30T21:36:43","guid":{"rendered":"http:\/\/www.kraftfuttermischwerk.de\/blogg\/?p=52826"},"modified":"2013-04-30T23:44:13","modified_gmt":"2013-04-30T21:44:13","slug":"der-versuch-1629-in-ear-kopfhorer-zu-einer-box-zusammenzuloten","status":"publish","type":"post","link":"https:\/\/www.kraftfuttermischwerk.de\/blogg\/der-versuch-1629-in-ear-kopfhorer-zu-einer-box-zusammenzuloten\/","title":{"rendered":"Der Versuch, 1629 In-Ear-Kopfh\u00f6rer zu einer Box zusammen zu l\u00f6ten"},"content":{"rendered":"

Die Idee an sich ist grandios. Ariel Bustamante<\/a> dachte, er k\u00f6nnte ja einfach mal aus 1629 apfeligen In-Ear-Kopfh\u00f6rern einen Gro\u00dfraum-Lautsprecher zusammenbasteln, was er auch tat. Und da kommt sogar Musik raus. Woran es der allerdings fehlt, ist der Bass.<\/p>\n

Die Leute reden ja immer, dass ihre In-Ears auch den Bass bringen w\u00fcrden. Ich nicke dann ja immer und denke gerne; \u201eJaja, kratz‘ du dir erst mal den Schmalz von deinen akustisch wohl temperierten Ohrst\u00e4bchen und setze dir einfach mal ein paar richtige Kopfh\u00f6rer auf!“<\/i> Kopfh\u00f6rer, die Bass k\u00f6nnen, weil ohne den alles genau gar nichts mehr wert ist. Weil immer nur Midrange wie die immer offene Hose und Bass wie ohne Liebe ist. <\/p>\n

Zu kryptisch? Dann kauft euch ordentliche Kopfh\u00f6rer. Welche, die B\u00e4sse auch wiedergeben k\u00f6nnen, ohne das man die daf\u00fcr in den Solarplexus des Trommelfells stopfen m\u00fcsste. <\/p>\n

Wenn ihr das nicht tut, seid ihr vielleicht laut, ja. Aber ihr seid auch verdammt peinlich. Und das hier ist der Beweis dessen. Nicht mehr – nicht weniger. Wie akustisch synchronisierte Kids an der Bushalte.<\/p>\n

The work is composed by 1629 earphones embedded in a 180 cm diameter wooden parabolic antenna and 24 electronic boards that distribute sound from a mp3 player to each earphone.
\nThe parabolic geometry allows for all the sound sources to coincide at a focal point one meter away from the structure’s center, which results in a noticeable increase in the general volume due to the addition of each earphone’s low decibel intensity. Another characteristic of this work is that the disposition of the earphones causes the sound to stop being individual and become public. This is due to the fact that the earphones are exposing their faces, or their speakers‘ fronts, which are usually hidden inside of the ear.
\nThis disposition of elements refers to a large speaker, a medium that reproduces sound; however, this is not a neutral medium, like the common home speaker. By the contrary, it does not pretend to fade its materiality into the context that surrounds it, for it is constructed by diverse visual elements loaded with social-cultural meanings. The installation’s possible interpretations are actualized depending on which sound track it is playing.
\nRegarding the soundtrack, it can be said that it is the main binding element within the context in which the work is located. That is to say, the work’s visual symbols meanings vary depending on which soundtrack is used in each place that the work is installed.
\nIn the case of \u201cSynthetic Volume\u201d, first version of the work in Gallery Concreta, Chile,
\nThe soundtrack was composed using abstract sounds designed especially to excite the room’s reflective walls and to displace the sound within the geometry of the space as a way to emphasize the volume’s intensity and its sculptural aspects. In this exhibition the exploration of the volume materiality as an aesthetic parameter of appreciation was privileged.<\/p>\n<\/blockquote>\n