IV. VARIATIONS ON BULLETPROOF GLASS

Basic material : var. impacts on bulletproof glass

Forms of presentation vary depending on the given situation ;
AV performance, pure acoustmatic piece, or exhibition / installation (the original glass-pane combined with tape feed & light-concept)

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Central to the piece is a bulletproof glass pane measuring 3m x 2m, of a weight of 400kg. The glass has undergone extreme physical forces, the impacts of which created cracks, cuts, and of course : sounds.
Prepared with special sensors (accelerators) used normally to determine the behavior of certain materials in crash-tests for cars, the glass underwent a series of predetermined physical impacts. These sensors, much superior to the capability of standard microphones, perceived a myriad of unique textures within the infrasonic field, sounds which require speeding up in order to be heard. Other recordings taken in very high resolution captured the ultrasonic spectrum, frequencies normally outside the range of human aural perception that need slowing down in order to be audible.

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These recordings are the only used acoustic material of the piece. The predetermined impacts applied to the glass followed a precise succession that, on one hand provided us with the acoustic material we needed, and on other, led to an ongoing, aesthetically conscious destruction of the glass. Our aim was to conserve each step of the breaking down of the glass (deconstruction), and then to reconstruct and transform the destroyed glass-pane acoustically into an abstract symphony of broken security-glass.

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As an object, the glass pane represents the omnipresent displays of our time. It is a metaphor for a society intrinsically linked to the screen. We receive not only information through screens, we also feel save as long as we whatch the world through a display – it has become an assurance of safety. In times where the call for ‘secutrity’ is terribly loud, the piece reminds us of nothing but the impossibility of safety.

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‘ composing means : building an instrument ‘ (Helmut Lachemann)

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By solely watching the massive broken galss-pane with all it’s cracks for some time, the listener starts to imagine the sounds inside the broken glass-pane.

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