Asynchronous Jitter. Selective Hearing (37' 19''), 2006
Installation view: Passages. Travels in Hyperspace. Works from the Thyssen-Bornemisza Art Contemporary Collection, LABoral Centro de Arte y Creación Industrial, Gijón, Spain, 2010
Photo: Marcos Morilla
Photo: Marcos Morilla
Installation view: Transitory Objects, Thyssen-Bornemisza Art Contemporary, Vienna, Austria, 2009
Photo: Michael Strasser | © Bildrecht, Vienna, 2020 | TBA21
Photo: Michael Strasser | © Bildrecht, Vienna, 2020 | TBA21
Installation view: Passages. Travels in Hyperspace. Works from the Thyssen-Bornemisza Art Contemporary Collection, LABoral Centro de Arte y Creación Industrial, Gijón, Spain, 2010
Photo: Reto Guntli | TBA21
Photo: Reto Guntli | TBA21
Collection
Sound installation consisting of a four-channel composition in combination with a 14-channel computer controlled spatialization system, microphone stands, speakers, bench
37 min
Overall dimensions variable
Realized in collaboration with Thyssen-Bornemisza Art Contemporary
An artist and composer, Florian Hecker's soundscapes investigate sound in relation to the human body and place, problematising and disrupting spatial perception. He manipulates specially designed software to infuse the space with sound in such way that one can hardly decipher its specific point of origin. The boundaries are blurred and the experience of sound becomes entangled with the one of space, taking acoustic perception to new dimensions. Asynchronous Jitter. Selective Hearing is a 37 minute long, 4 channel composition in combination with a 14 channel computer controlled spatialization system. Sound is diffused with a modular loudspeaker setup, consisting of 14 small loudspeakers mounted on different heights in the room. The first stereo track is a bricolage sequence of 45 parts. These sound units with durations varying from a tenth of a second to three minutes consist of constantly morphing synthesis with 'much internal change and variety', rendered through various particle generating systems. For the second stereo track Hecker created a series of new recordings, entirely derived from brief out-takes from sections of the first stereo track. To alter and transform these, he applied Waveset Stretching and Wavelet Transformations on multiple time-scales. (This group of 'grey matter' sounds adds spatiality, high frequency, noise and more scattered structures, transforming it into a music full of breaks, which opposes the current towards a "One Blob Sonic Drone", maybe what Xenakis singularly picked out and described as "...extremely rich sounds (many high overtones) that have a long duration...", and furthermore opposing the torrent towards retrogressive Minimalism). – the artist
*1975 in Augsburg, Germany | Living and working in Vienna, Austria and Kissing, Germany
37 min
Overall dimensions variable
Realized in collaboration with Thyssen-Bornemisza Art Contemporary
An artist and composer, Florian Hecker's soundscapes investigate sound in relation to the human body and place, problematising and disrupting spatial perception. He manipulates specially designed software to infuse the space with sound in such way that one can hardly decipher its specific point of origin. The boundaries are blurred and the experience of sound becomes entangled with the one of space, taking acoustic perception to new dimensions. Asynchronous Jitter. Selective Hearing is a 37 minute long, 4 channel composition in combination with a 14 channel computer controlled spatialization system. Sound is diffused with a modular loudspeaker setup, consisting of 14 small loudspeakers mounted on different heights in the room. The first stereo track is a bricolage sequence of 45 parts. These sound units with durations varying from a tenth of a second to three minutes consist of constantly morphing synthesis with 'much internal change and variety', rendered through various particle generating systems. For the second stereo track Hecker created a series of new recordings, entirely derived from brief out-takes from sections of the first stereo track. To alter and transform these, he applied Waveset Stretching and Wavelet Transformations on multiple time-scales. (This group of 'grey matter' sounds adds spatiality, high frequency, noise and more scattered structures, transforming it into a music full of breaks, which opposes the current towards a "One Blob Sonic Drone", maybe what Xenakis singularly picked out and described as "...extremely rich sounds (many high overtones) that have a long duration...", and furthermore opposing the torrent towards retrogressive Minimalism). – the artist
*1975 in Augsburg, Germany | Living and working in Vienna, Austria and Kissing, Germany