Korinna Lindinger
Karla Spiluttini
Did you already have this project in mind or did the idea come to you when
Karla: I have heard from several people that the Schallzeichen made them
you saw the place?
stop in their tracks in order to really appreciate the sounds. As this resulted in
Karla: We wanted to develop a project specific to a place.We had already
them having a good look around, they ended up experiencing the space in a
handed in the idea for the Media Art Prize before we came here but we
new way. I´m incredibly pleased. We feel honoured that people stop to listen
knew that we could put the project in place at the Schmiede and present it
and then are drawn by their curiosity to actually get involved in the place.
here. First we saw photos of the “Salt” and then we had a look at the place. I come from an architectural background both as regards my family and also
Do the Schallzeichen react to the people passing through?
from my studies and I find the association with architecture and sound very
Karla: They do. We installed tracking cameras which measure presence via
fascinating.
infra-red. When more people are crossing the bridge the hissing sound, for
Korinna: I am more into the sociological aspects of art. I´ve done a lot with
instance, gets more insistant and more intensive.
game-playing, simulating and social interaction. The social component in a space interests me more than the space alone, but this is very beautiful. Old
But if too many people go through, the Soundsigns won´t register.
places like this are always full of their own spirit life.
Korinna: That´s right. The Schallzeichen were designed for this particular situation at the Schmiede. They are not meant for a big public exhibition.
So tell me what are the Schallzeichen (sonar signs) ?
It´s not a work for an audience of twenty people at a time. But on the other
Karla: First of all we designed vocal objects. They are all made up of our own
hand the Schallzeichen don´t have to be heard all the time- that wasn´t the
voices which we recorded in a variety of pitch and tone.We installed eight
aim. And in point of fact, I don´t find it necessary for every work of art to be
“exciters”, sort of loudspeakers- applying them to the architecture so that the
suited to every situation.
sound would carry. One notices it particularly on the railings- how they start to vibrate. Korinna: For me the biggest challenge was the sound – and to be working with invisible material... One has to be able to depend on invisible material. Otherwise I work with disposable material, as it were,-optical or at least visible. The vibrating railings is not the only thing that disturbs; other noises made me turn around once or twice on my way through. Korinna: I got a real fright three times at the sound of my own voice shrieking. It´s quite a funny feeling. Putting voices in a place confuses people. They look around and that way they automatically perceive the place differently.That´s what we wanted to happen.
Cooperation page 36