Rotating Lights is the second installation of the series Noise / Light / Seoul from the artist Stefan Tiefengraber. A kinetic light installation consisting of five, for Korea very typical, fluorescent lamps that can be found in almost everywhere Korea but are slowly starting to disappear. The artist connects these lamps to a custom-made rotating system. Driven by a motor, the lamps start very slowly, the rotating continually speeds up to the maximum rate. After reaching this climax the power turns off—the light goes out and slowly stops spinning. The spectator is left in the dark and now silent space until the lights turn on and start moving again.

These same techniques to produce an experience for the spectators can also be found in the two related works, 징 noise #1 and ppang / 빵, which are also part of the series Noise / Light / Seoul, which the artist created during his stays in Seoul / Korea in 2015 and 2016.

What is the relationship between oscillating air, black holes and soap bubbles? What effect does the sound of horns have on the human psyche and why is it present in various creation myths? What impact does gravity have on our collective consciousness? Where do spectacle and contemplation meet? Black Hole Horizon by Thom Kubli is a meditation on a spectacular machine that transforms sound into three-dimensional objects and keeps the space in a steady state of transformation.

The nucleus of the installation is the invention of an apparatus resembling a ship’s horn. As each note sounds, a huge soap bubble emerges from the horn. It grows while the note sounds, peels off the horn, lingers in the exhibition space and finally bursts at a random position within the room.

The complete installation comprises three horns varying in size and shape according to their individual pitch and timbre. Visitors can walk through the room witnessing the transformation of sound into ephemeral sculptures, which last only for seconds before their material remains are deposited on the walls and floor.

Mechatronik: David Jaschik


CAD-Layouts: Zackery Belanger


realized with the support of EMPAC, Troy/New York

Access restrictions: Minimum age 18 years. Max. 40 participants, Max. 15 viewers.
Registration required by email to center@aec.at or directly at the infodesk of the Ars Electronica Center.

Credits: Team Linz: Friedrich Kirschner, Monica Rikic, Maike Drexler, Clara Fritsche, Thea Emilia Girtler; Team Brisbane: Friedrich Kirschner, Christiane Hütter, Lena Fay, Stefano Trambusti, Katharina Halus, Stellan Grung, Daniil Shchapov. The Conduit was developed as part of the TRANSMIT³ residency at QUT the Cube for Queensland University of Technology in cooperation with Ars Electronica.

Infinite Cube is a spatially concentrated, but at the same time expansive, kinetic installation. The spheres follow a computational narrative that moulds them into a fluid succession of abstract shapes. An optical illusion extends the apparently clear spatial confines of the installation into infinity. Viewers are also reflected in the installation, and their presence adds an additional layer to the interplay of real and reflected space. Combined with the specially composed music by Ólafur Arnalds, a poetical correlation of the three elements reflection, sound and movement is obtained.

Credits:
ART+COM Studios
Sound: Ólafur Arnalds