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The Prix Ars Electronica Archive is a collection enabling search and viewing of all the submissions since 1987. The award-winning projects are documented with catalogue texts and audio-visual media. All other submissions can be searched by title/artist and displayed with year, category in list form. Please cite the credits (artwork name, artist and photographer) and only use the materials if your article is related to Ars Electronica.
G-Player
Jens Brand
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The G-Player (Global Player) operates like a CDplayer. However, instead of playing CDs, it plays the globe. The G-Player can display the real position of official satellites. It simulates the path of these objects as they orbit the earth. Like a needle on a record, the satellite follows the earth’s surface. Via the interpretations of the G-Player transforms the different elevations on its course directly into sound. The display shows the selected satellite’s name, type, altitude and position over the earth (latitude and longitude). The G-Player conveys a wide variety of partially contradictory data and positions. It can be seen as an odd device or a generator of an interesting audio experience or even as a socio-political metaphor for megalomania.
Audio data can be portrayed in different ways. In the case of the G-Player, topographic data are interpreted as if they were audio data. “Noise sounds” result from the high density of the data: 44,1000 topographic data per second.
Audio data can be portrayed in different ways. In the case of the G-Player, topographic data are interpreted as if they were audio data. “Noise sounds” result from the high density of the data: 44,1000 topographic data per second.
Courtesy of GIMA, gallery for international media art
Jens Brand (DE), born 1968. Influenced by Phill Niblock and performances at Het Apollohuis, he turned to experimental music and sound art during his studies at the Art Academy in Munster. Since then he has produced a large number of installations, music performances and intermedia works where Brand operates at the boundaries of what are now established genres: installation and performance, for example in Höhenrausch (1994, with Waldo Riedl) or Tisch (1994).