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raumfarben 02
[klanginstallation]
09.05. - 28.06.2009
klangstaetten | stadtklaenge I braunschweig

raumfarben 02 ist eine Klanginstallation für den Kircheninnenraum der St. Ägidienkirche in Braunschweig.
Sie schafft einen Klangraum, der mit dem Raum und Zeitempfinden der Besucher
und der emotionalen Wahrnehmbarkeit von Räumen arbeitet und die Architektur der Kirche zum Sprechen bringt.

Ausgangspunkt der Klanginstallation raumfarben 02 ist der Kircheninnenraum in seiner Funktion als Klangkörper,
sowie die von Außen in den Kirchenraum dringenden Umgebungsgeräusche in ihrer sozialen, funktionalen und
rhythmischen Struktur.
Die Art des „Sprechens“ dieser Raum-Architektur und das Innen hörbare Aussen
bilden die Basis für die Kompositionsstrategie und deren Klangsprache.

excerpt raumfarben 02


raumfarben 02

This acoustic unveiling of hidden features in architecture perhaps finds its most perceptually and aesthetically engaging example in the Berlin based artist duo tamtam’s (Sam Auinger and Hannes Strobl) sound installation raumfarben 02 created in the context of the 2009 Klangstaetten | Stadtklaenge festival in Braunschweig Germany. Researching the acoustics of the 15th century gothic St. Aegidien church by activating specific resonance features of the architecture with tuned prepared sounds diffused through a minimal amount of loudspeakers within the space, Auinger and Strobl sought to “make the architecture speak” by bringing forth timbral
qualities (farben in German) directly shaped by sound’s behavior with the architectural configuration of the building.
 
In raumfarben 02 sound is used to subtly excite the structure and bring forth proportions and volumes; architectural shapes based on the actual geometric  proportions of the church. But tamtam’s precise design of the interior acoustic environment also brings the inhabitants of the sacred space into a different listening state, highlighting the strong contrast between the sounding space brought on by the church’s precise architectural proportions and the exterior sounds of trams, automobiles and pedestrians.

Indeed, in discussing the work, tamtam described that after a certain threshold period of time listening inside the church, visitors to the installation reported the sound of the outside world as “gray and harsh” [ ]. Here, exciting the space of the church not only leads to the space enhancing the music. Rather than sound using the space as a kind of neutral “sounding container,” tamtam’s work reminds us that the perceiving body’s ability to hear is not intrinsically given but subject to the spatial-social contexts of complex, dynamic and continually transforming acoustic environments.

Chris Salter