ABOUT ARTIST:

I make installations, perform and make sound works. While my work is not solely sound-based, I often use this as a starting point for my work because of my background in sound. As a result, my work deals with the intricacies of the emphemeral in the context of perception. Technologies are not used for the sake of that technology, but to create a perceptive effect. In my recent audiovisual performances and installations I explore the interaction between sound, light and physiological effect on the body. To explore crossmodal sensory correspondences, I’ve paired sounds with with the sense of touch, taste and smell.

SUBMISSION: plitsch knaster psssh

Earth’s onomatopoeia are collected and stored as pulses of light. A beacon of archived sound-memories from Earth, which future generations might not hear again, but need to remember.

How we as humans describe the sounds of our surroundings says a lot about the places that we live, our culture, and what we consider important. The choices we make of what sounds to represent, as well as how, tell a lot about how we experience our environment.

As we might move on from Mother Earth to inhabit a new planet, we might forget Earth’s sounds and the meaning they have within all kinds of cultures. As language is how we have always passed down stories and information, ‘plitsch knaster psssh’ stores these sounds and their significance for humanity in a very compact way.

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