Pflanzenmusik || Electronics with Plants
Art does not change the world; art is training for the brain.
Monolog mit einer Pflanze
Small electrodes are fixed at the leaves.
An electric connection to the surface of the leaf is created.
The electrodes are plugged into a sensitive measuring amplifier.
During the measurement, obviously delicate, absolute irregular tension variations occur, which can be visualized by a voltmeter.
The processes, which take place, are unknown to a great extent.
According to my experiences, electric tensions, created by electrostatic charge, diminish.
The signals, gained in such a way, can be used for controlling / regulation, f.e. to modify the frequence of a sound-generator accordingly. Only by using loudspeakers, these sounds can be made audible.
A permanent, chirping glissando can be heard, which can be used as random, electronic phonogramm for improvisatory music.
Art of the 20th centry had an analytic, abstract, elementary character. The elements became visible: color, material, point-line-space, volume. The special character of the elements gets better attention. Presentation is explored to the limits. Now the map of possibilities is discovered, exhaustion is standard in a more and more multilayered world. In contrary, the discoveries must be used. By subtil combining of elements and material an essential multitude is created. Elements are set into relation. Objects are near and far in perception, on formal and associative layers of parameters. Objects present their character in a mutual relation, between that, space open for phantasy, grows. Perception sharpens, the Other gets discovered. Existing methods of collage, breaking, alienation (Verfremdung) and deconstruction relate to the existing, either to criticize or to enable reflexion, an analytic process. Combination on the other hand is of synthetic character. The Supreme exists between the elements. The Significant is to be found in the indicated relations and in the “new things”. By pondering on the differences, the necessary integration of actual and future diversity becomes realized.
The world and ourself – at last an enigma for us. It is necessary to rely in the Unknown. To persist on the known = illusion. To start from Perception. To combine objects and material, which do not belong together, to set them into relation. The peculiarity of materials is perceived anew, in a different way. Unknown perception enriches. Not to create paintings, no objects, but precise indefiniteness, to create uncertain places. Incomprehensive, by necessity. Example: Areas of color, stones, agitated water: elements in hidden dialogue. To combine plants with electronics: let them function mutually, without rules, undetermined; insisting stubbornly on their own response, they do not fit into understanding, they keep their ego in our perception.
The undefined Ego of natural matter – Das Unbestimmte Ego der natürlichen Materie acryl on canvas (4,1m x 2,3 m), plants, electronics, loudspeaker, water, stones, iron, cd-player
ca.1985 Kunstverein Heidelberg
ca.1985 Stadtgalerie Saarbrücken
1986 Galerie Zain, Einzelausstellung, Bremen
1989 „Der gute Ton zum schönen Bild“ Kunsthaus Hamburg
1996 Konzert mit Pflanzen, Moskau, Festival „Alternativa“, Dom
2007 “What we hear, what looks at us. Visual Acoustics.“, im National Center of Contemporary Arts, Moscow, eine Ausstellung im Rahmen der Second Moscow Biennale of Contemporary Art, Moscow (siehe nebenstehendes Video)
2014 “Materie” Solokonzert, Christianskirche Hamburg
Ich gebe Pflanzenkonzerte
Ein Bekenntnis in der deutschen Wochenzeitung DIE ZEIT aus dem August 2006:
Unser Autor, Ingenieur und Posaunist, bemerkt eines Tages: Farnkraut rockt. Er übt ein wenig mit ihm, dann gehen sie zusammen auf die Bühne. Bald füllt das Duo aus Fauna und Flora Säle von Bremen bis Moskau. – Erfahrungen aus dem tönenden Alltag