VVORK

»Stenotype« (detail), 2010 by Alex Martinis Roe.




»Tombeau V1«, 2007 by Martin Widmer.




“Red Psi Donkey”, 2008 by Jens Brand.




“Microphones”, 2008 by Rafael Lozano-Hemmer.




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“Karaoke Landscape” by Norbert Möslang.




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“San Jose” by Peter Segerstrom.




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“Gravel from Zurich Lake” for the exhibition GeoPhonoBox by Jason Kahn.




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Two of “13 captured telephone conversations – all one minute long” (machine embroideries) and

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“Ground Plan” – the world as an architectural plan by Louisa Bufardeci.




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The picture of two trains moving in opposite directions is exposed to the continuing process of digital compression. By first importing and then exporting the material of five seconds length into the software, the information of the footage is diminished step by step until the formerly concrete image vanishes into white. “Import/Export” by Wolfgang Bittner and Florian Kindlinger.




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“We are car” – Utilising a running motorbike engine as a musical instrument in order to record and subvert selected Rock classics, exploring parallels of emotional thrills induced by acceleration, speed and Rock. By David Muth in collaboration with Chris Lum.




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»Talking Popcorn« is a sound sculpture that evolved out of Nina Katchadourian’s interest in language, translation, and Morse Code. A microphone in the cabinet of the popcorn machine picks up sound of popping corn, and a computer hidden in the pedestal runs a custom written program that translates the popping sounds according to the patterns and dictates of Morse Code. A computer generated voice provides a simultaneous spoken translation.




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In the installation »Infinite Loop« (2004) a camera is rotated on its side and pointed into a television at close proximity. The camera feeds the image of pixels on the screen back into the TV’s audio and video inputs. The auto focus and auto exposure struggle to gain some coherence expected in an image, but cannot. The result is a fluctuating, oscillating signal.

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In »Thaw« (2004) an empty swimming pool, a large mass of black, volcanic, basalt street bricks is interlaced with bricks of white ice. The cube will fall prey to entropy over the course of approximately 8 hours. The ice bricks fuse together and hold on to the bricks as long as possible, causing the structure to warp and sway pendulously before collapse. The brick cube rests on a steel table and hovers over a mirror, which floats above the floor. The mirror has microphones attached to it, which pick up the stochastic dripping of water and is amplified in the space, counting off the time between collapses. Both projects by Chris Musgrave.




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A glass shelf (10x15feet) filled with crystal glass objects was crashed down a set of stairs.

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In a collaboration with the ensemble für neue musik zürich, the recorded soundscape was transscribed into a composition and performed at the Center d’art Contemporain in Geneva. Reality Hacking #202 by Peter Regli.




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Sound recordings from the inside of the nuclear powerplant Barsebäck: Requiem for Barsebäck by Jacob Kirkegaard and Tobias Kirstein.




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“One Minute” by Meridith Pingree. Participants generate portraits of their physical personality when they wear a strap-on video pinhole camera headband for one minute. The movement of the camera is translated into a three-dimensional line drawing and output as an object by a 3-D printer.