sub vision brings together two elements: the sounds of the Subharchord, an electro-acoustic instrument developed during the 1960s in East Berlin and a processed visualization of illustrations of scientific experiments by Werner Meyer-Eppler, a German physicist and theoretician of electro-acoustics.
In the installation, the Subharchord’s tonal landscapes and constantly modulating tonal spectra are directly transposed into a real-time visual transposition derived from Meyer-Eppler’s illustrations. The visualization is projected onto the wall behind the instrument, thus combining sound and image in the same space.
The installation does not only call in question modes of perception and the significance of multi-sensory presentations. It also opens up discussion of the definitiveness of scientific and artistic standpoints whose outer form is often strikingly similar. Purely scientific observation interacts with artistic impulse so that immediately it is no longer possible to distinguish between them. Art makes use of scientific logic and science successfully deploys aesthetic premises.