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Interactive Prints
with audio QR Code
The linking of art, natural science and technology is a central theme in the sound art of Sabine Schäfer. In the cross-disciplinary and cross-genre media art exhibitions, the artist presents works that were created on the basis of scientific image and sound materials. For example, high-resolution microscope images of tiny creatures or satellite images of the sun are combined with sound microscopes of insect voices.
The audio compositions are accessed via QR code with a smartphone or tablet and preferably listened to through headphones. The sound microscopic compositions are produced with sounds from nature and composed with a proprietary sound microscopy process.
“Making the inaudible audible …
Thus the sounds of nature (…) are located beyond musical traditions and thus differ fundamentally from the usual ‘musical’ sounds produced by humans, be they instrumental or electronic. They elude musical traditions, a music-historical embeddedness that is inherent in all other sound material.”
Dr. Hanno Ehrler in: „TopoSonic Arts“, Kehrer Verlag 2007
The visitor scans the QR code shown on the graphic and is taken to the playback page of the audio composition.
Dr. Annette Hünnekens
Interactive graphics with audio QR code by Sabine Schäfer
Sabine Schäfer’s works show how links in different dimensions create a synaesthetic experience of the analogue world and digital reality that characterises our time. The use of QR codes as a picture-giving element and as access to the audio compositions simultaneously touches on fundamental principles and elements of communication as processes of life.
The underlying aesthetic principle in each case assumes a fundamental connectedness that is inherent in both the worlds of the universe and those of the digital worlds. The connecting knowledge used is linguistic in nature and produces creations in the digital number space as a result of a multitude of concatenations known as hybrids.
Linkages based on data not only elevate ourselves but also our environment and endow it with additional capabilities. At the same time, a creeping material revolution is taking place in which these processes manifest themselves in so-called “smart materials” due to the development of new property combinations that are becoming possible. With growing media use and integration in diverse networks, which are made possible by the internet, for example, self-perception and perception of nature are changing.
Media art reacts to this and makes the underlying structures and principles of communication and interconnection perceptible by aestheticising them and exposing the potential they contain. The relationship between nature and culture in the age of digitalisation is currently once again up for discussion, to be rethought and explored.
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