Klangkapsel

Klangkapsel / Sound Capsule

2008

Size:
235 L x 95 W x 70 H

material:
polystyrene, PU-foam, elastic soft-shell fabric, wood, loudspeakers, transducers

technique:
multi-channel audio interface, amplifiers, computer

 

 

 

part I – short verion [2’11]

part II – short verion [2’42]

 

“sonic experience – bodily listening”

The auditory perception determines our sense of the depth and size of a space. According to the size of our body and our position in a space, our spatial perception differs. The auditory perception is based on “ear level”. It means that you normally don’t get the listening perspective separated from the ear level, just as your ear cannot get apart from your body. Thus, our listening-perspective corresponds with body as an important receptor of the space and at the same time it reflects an issue of consciousness about the body. Another aspect of the auditory perception is the conveyance of plasticity and materiality of the source of the sound and the structure of the space. This perception is not only pure auditory experience but also it arouses tactile feeling and visual association. The tactile and visual association is connected to memories of every recipient, which he/she has already experienced. For instance, water drop sound reminds us the liquidly materiality and probably also gain a symbolic aspect, which based on a personal and cultural memory of water.

physical-action-related eight-channel field recording

Because of these complex multisensory aspects of the sound, the sonic experience can be highly intimate bodily perception. In order to focus on the bodily experience of the sound, I made physical-action-related eight-channel field recordings with 8 DPA-Miniature Microphones, which were fixed on different parts of my body, like on both of the hands, on heel of the both feet, on chest (with a stethoscope, in order to record heartbeats), in front and back of head etc. Each of the channels recorded different listening perspectives of the environment outside and inside of your body. Examples of the recorded action were: footsteps close to the ground with a microphones on the heel, heartbeats, on the chest and biting-sounds with a microphone on chin etc. These variety of sounds were mixed into stereo and even only listening to the mixed material, you feel as if you were moving inside/on the surface of someone’s body and you find a extraordinary relation to the environment through sound.

auditory and tactile sonic perception

Another important auditory aspect of this work is the transformation of the audio signal into physical vibration. The transducers are installed in different positions: under your head, chest, hands and feet. Corresponding the sound material, tactile signal, such like bicycle-tire running on sandy ground or cutting a vegetable on a wooden cutting board, are physically sensible due to transducers. As each audio channel are independently connected to the each transducers, the positioning of the tactile signal can be free to compose: which signal will be sensible at which position of the recipient’s body. When you lie down in the capsule, you are physically covered and in a relaxed position. Because of the sound material and the total setting of the experience in the capsule, your consciousness to your own body will be gained and built an extraordinary sonic experience – bodily listening.

system outline

Honorary Mention – Ars Electronica 2008

supported by

Acouve Laboratory Inc., Extremetextil, Musikhaus Thomann, Soundman,
3-X Berlin Pro Audio, Weissbach GmbH

 


all rights reserved / satoshi morita 2008-2016