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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.
Red Psi Donkey
Jens Brand
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Original: Red Psi Donkey | 3340 * 2304px | 29.4 MB
Essentially the “Red Psi Donkey” project consists of a shape created by wave patterns and visualized by the use of an “acoustic camera”.
A sound is produced that creates a shape. The sound is inaudible (ultrasonic). The shape is invisible. It is the shape of a red donkey. The wave pattern, which looks like a red donkey, only exists as long as the waves can unfold uninterruptedly within the empty exhibition space. It can be observed on a monitor / screen outside. As soon as audience enters the exhibition space, the wave pattern naturally changes. The image of the red donkey disappears. Entering the sound space causes the image to dissolve.
The “Red Psi Donkey”deals with an unreachable reality that only occurs in the moments of the absence of audience. The interactivity in the immediate reality lies beyond human senses. The layer of perception is dislocated. The observation of the interactivity denies participation.
The installation / realization
The “Red Psi Donkey”consists of two room segments: an audio segment and a segment for visualization.
The acoustic segment
The sound sources: the wave pattern is constructed using a speaker array of several hundred small speakers. The sound detector: an acoustic camera, which allows the observation of sound waves (amplitude distribution) within the space, picks up the red donkey pattern and displays it. The sound: the sound generating the donkey pattern is an ultrasonic noise field, inaudible to the human ear.
The visual part / the monitor
A flat-screen monitor is placed at the center of the installation. Its reverse side faces the sonic segment of the space. If there is no audience in the sonic half of the space the monitor displays the images produced by the acoustic camera, the wave pattern of the “red psi donkeys”. If the audience speaks or enters the sonic segment their physical presence will dissolve the wave pattern. The image provided by the acoustic camera turns into something abstract.
A sound is produced that creates a shape. The sound is inaudible (ultrasonic). The shape is invisible. It is the shape of a red donkey. The wave pattern, which looks like a red donkey, only exists as long as the waves can unfold uninterruptedly within the empty exhibition space. It can be observed on a monitor / screen outside. As soon as audience enters the exhibition space, the wave pattern naturally changes. The image of the red donkey disappears. Entering the sound space causes the image to dissolve.
The “Red Psi Donkey”deals with an unreachable reality that only occurs in the moments of the absence of audience. The interactivity in the immediate reality lies beyond human senses. The layer of perception is dislocated. The observation of the interactivity denies participation.
The installation / realization
The “Red Psi Donkey”consists of two room segments: an audio segment and a segment for visualization.
The acoustic segment
The sound sources: the wave pattern is constructed using a speaker array of several hundred small speakers. The sound detector: an acoustic camera, which allows the observation of sound waves (amplitude distribution) within the space, picks up the red donkey pattern and displays it. The sound: the sound generating the donkey pattern is an ultrasonic noise field, inaudible to the human ear.
The visual part / the monitor
A flat-screen monitor is placed at the center of the installation. Its reverse side faces the sonic segment of the space. If there is no audience in the sonic half of the space the monitor displays the images produced by the acoustic camera, the wave pattern of the “red psi donkeys”. If the audience speaks or enters the sonic segment their physical presence will dissolve the wave pattern. The image provided by the acoustic camera turns into something abstract.
Produziert im Rahmen des Stipendiums der Stiftung Niedersachsens am Edith-Ruß-Haus für Medienkunst; realisiert mit Unterstützung der gfai tech GmbH und deren „Akustischen Kamera“. Weitere RPD-Programmierung: Sukandar Kartadinata
Jens Brand (DE), born 1968. Studied art at the Art Academy Münster from 1987 to 1994. In 1992 founded of the artist initiative “mex e.V.” www.mexappeal.de in Dortmund—artistic director 1992-2006.