Por favor traduzca! Y crea otros articulos…
Commissioned by the Medical Museion in Coppenhagen in the summer of 2007, Jacob Kirkegaard's Labyrinthitis is an interactive sound installation that consists entirely of sounds recorded and generated from inside the artist's ears. A myriad of online documentation is available for this piece, attesting to its general accessibility and its unique ability to transcend both artistic and scientific frames of reference. The caveat underpinning these references is that its site-specificity extends beyond its room-scale architecture into the very ears of the visitors, so you have to be present in person to appreciate the full impact of the work. While i have never been to one of his installations, i have been fortunate to be present at a demonstration he gave of this piece during a keynote lecture at the Supersonix conference in 2012.
Labyrinthitis works on the principle of distortion product otoacoustic emissions (DPOAEs) which are pure tones produced from within the cochlear in the presence of 2 related frequencies (in a ration of 1:1.2). Kirkegaard invokes the enigmatic production of a 3rd tone which occurs spontaneously within the ears of the visitor. Using this 3rd tone as the fundamental frequency for a subsequent pair, Kirkegaard thus provides a downward scalar spiral of call and response, external and internal sounds.
These DPOAEs, while produced as unnecessary by-products of conductive resonances in the outer hair cells of the cochlear attain validation in this composition as both a source and sink of sound. For one who has been through many audiometric tests and hearing evaluations, the sensation of these tiny ambiguous sounds is not new – otoacoustic emissions testing has been used in the audiology clinic as a non-invasive procedure to evaluate hearing especially in infants. But its sensation falls under the category of non-tympanic hearing in its ambiguity of source, location and directionality, reminiscing experiences of dreamscapes, phantom voices and to a certain extent bone conductance.
Ironically, in Kirkegaard's artistic context, this self-reflexive process centers me on the physicality of resonance and acoustical vibration, and provokes the imagination only insofar as it transplants me onto the surface of my eardrum, feeling, sensing every tone that passes. There is no transcendent emotion, only a quiet humility at the workings of physiology, and a listening that is 'reduced' beyond Michel Chion's source surrogacy to the primal pin-prick of sound. The body is the agent and the assemblage through which sound passes and is produced. As such the listening experience, like the body, is never static, and never like the moment before it. In Salome Vogelin's terms, the body is in a 'tendential' and evolving relationship with sound. Kirkegaard's composition reflects this, a textural map of slowly evolving sounds that move from within the without my ear, with the cleansing purity of tuning forks in resonance.
Kirkegaard's work is indicative of future tendencies of artists working within the realm of electronic and media art in his dexterity between musical and physiological languages. In today's mediated environments, the artist functions as transducer, plucking data from disparate knowledge highways and subjecting them to processes of interpretation, interpolation and organization – the roles of artist, scientist and engineer are progressively obscured as are the differences between the professional and amateur. In such inter disciplinary endeavors, one often criticizes the artist for superficial and perfunctory conversions of often thoroughly researched scientific data into unfortunately arbitrary spectacles of sound, light etc. Kirkegaard for one finds the space for the successful inclusion of physiology that is engaging both for its aesthetic value and scientific groundwork, all while asserting his presence in a trajectory of self-reflexive artworks that focus on the very processes, intricacies and mysteries of sensory perception.