Soundinstallation by Peter Kiefer, Germany
Art - Documentation of the Soundart piece
10 minutes Version
there are 7 metal blades with shapes that associate the knive of a guillotine. They are mounted over the heads of the visitors in a narrow staircase or aisle, so one has to walk under the installation.
Transducers are mounted to the metall parts putting them into vibration, so that they function as loudspekears.
The Universal Declaration of Human Rights the right has been translated into more than 300 languages and is regarded as „the most translated“ text ever.
Article 3 declares: „Everyone has the right to life, liberty and security of person.“
Although the Universal Declaration had been ratified by a sufficient number of nations, we observe a constant political or profit driven manslaughter all over the world. Daily every news broadcasts more than one assassination, vicitim of war or freedom demonstration.
Nearly every religion and philosophy in the world ban and forbid killing.
Nervertheless religion is a pretended argument for killing and even the religious grounded cultures of the West actively or passively abetting killing.
(remember the Ex-Yugoslavia conflict, or that Germany – although responsible of one of the most horrible genocides in human history - is nowadays the third nation in armament exports).
But as most of the people would agree not to kill, we have a certain acceptance of it. What is more we love the voyeuristic thrill of looking at crime, murder and killing. It is said, that on a normal day we can watch more than 200 murders in TV – real or virtual.
These are connotations in the field of possible relevance of the installation.
the original 12 minutes piece is entirely made up of the recordings of male and female voices speaking the sentence: „Thou shalt not kill“ in English, French and German language.
These sounds were transformed digitally by an constant flexible time shift, which made it impossible to follow the words but creating a pattern of interweaving vowels, wide expanses of hissing noises and piling up of consonants. It is done by an extensive use of time freezing and -shifting algorithms in realtime and postproduction.
A second layer contains cutted segments of the original words, to gain a certain level of understanding.
Bern, Switzerland at the venue of the „Historisches Museum Bern“
until June, 1st 2012
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