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FEELING AND SEEING SOUNDS
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| RESONANCE SWING |
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One person lies down on a rocking board which has got fanlike wooden resonators underneath. The second person has to swing the board and to strike a bass chime which is firmly fixed in the ground under the swinging board. Whenever the swing is gliding over the chime, the sound becomes more intense and can be felt in the whole body of the person lying on the board. The resonance swing is fixed on a tree four to five meters above the ground. | ||||||||
| It is as well available as a resonance cradle, which then is similar in shape. It is fixed on a two meters high iron stand and crosswise can be smoothly moved to and fro. |
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| THE SETTING TO MUSIC OF PLANT PROPORTIONS |
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Many things we see with our eyes seem to be beautiful to us. Are we as well able to experience these things as harmonious sounds in our ears? This is a question which has been repeatedly asked in the history of mankind. Leonardo da Vinci already occupied himself with the proportions of the human body and found out that they correspond to the proportions of whole numbers and thus to music intervals. Now I started to occupy myself with the harmonic examination of plant proportions (so far I have looked at the oak tree, the lime tree, rosacea, the rowan tree and the camomile). I measured leaves, blooms, fruits and other typical distinctive marks and worked out the tone via the wavelengths corresponding to these measures. Then I thoroughfully tuned to the cent the calculated tones into chimes and metal harps, thus making it possible to listen to the sounds of the oak tree, the lime etc. Surprisingly up to now all settings to music of plants have shown that nature follows the path of harmony, which means it’s seeking for whole number proportions. The intervals of the camomile show the biggest difference - about nine cent - but this is less than one tenth of a semitone. |
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| BASS CHIME WITH RESONATOR |
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A big copper sound pipe of a length of 1 - 1,5 metres, which is 6,5 cm in diameter, is lying between elastic ropes on iron feet weighed down by pebbles. After being struck the pipe resounds up to four minutes. A copper resonator set in movement above the pipe makes the tone rise and ebb away. This sort of bass chime invites you to examine sounds. The respective sound can be changed by holding a paper to the chime, by filling in sand or straw. | ||||||||
| We can experince the sound by our sense of touch. We can already feel vibrations in the air at a distance of ten to twenty centimetres. The sound can be made visible, too. If we take a watering can and dribble water through the sounding pipe the water due to the vibrations leaves the pipe at the other side of the pipe finely sprayed. |
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| TONOSCOPE |
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| The tonoscope makes visible the human voice. Quartz sand is spread onto a black drum membrane which is 60 centimetres in diameter. The membrane is set into vibrations by singing rather loudly through a cardboard pipe. The sand now produces wonderful forms which seem to be organic. Low tones result in simple and clear pictures of sand. The higher the tones the more complex the structures become. |
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| CHLADNIC SOUND PLATES |
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A copper plate of various forms is horizontally screwed on an iron stand. Quartz sand is spread on the plate and it is bowed with a violin bow. According to the overtones different aesthetic forms become visible and thus the respective vibrations of the plate. |
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If you are interested in further informations, please contact:
KLANGKUNST FASSBENDER - Eisenbahnstr. 6 - 51545 Waldbröl - Germany tel 049.2291.808651 - fax 049.2291.808675  |
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