Schwebungen {Beat frequencies} is the title of this work. Beat frequencies occur here on different levels: the steel panel seems to float* above the ground and at the same time we can actually find acoustic beats.

A synthesizer generates four identical sine-tones, which are transferred to the steel panel to let it vibrate. These four tones are again influenced by a seismometer. This leads to beat frequencies becoming audible and visible on the panel. The ground’s vibrations are not transmitted immediately to a tone, but are only existent in the beat frequency. So the legibility subjects to lie in a scope of speculation. The traceability of ground vibrations is similar to the one of the beats on the panel – and on another level similar to the traceability of reasons for the visual situation on hand: The damaged west façade, of the elsewise very well preserved church architecture, and the tower’s fundaments witness diverse attempts of building activity. Like in the case of beat frequencies, a simple gaze at the building cannot give any information on the reasons for its condition. Nor does the placement of a pointed arch of the Riddagshausen monastery, which can be seen here today, as an unlabelled, fenced exhibit and fragile problem child leaning on a chock. Also here we find speculative layers. The physical fragility of the place mirrors the fragility of the knowledge about its history.

Considered from the right perspective, the arch is reflected in the panel suggesting ground activity. And vibrates. And this might be the most beautiful about it. While imagining, while planning. Opens internal link in current windowmore

*floating corresponds to the german word Schwebung which also stands for the technical term beat frequency

Westwing of the church St. Aegdien

daily 10 AM till 8 PM


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artistOpens internal link in current windowThomas Wochnik