“min_mod [minimum_module]“, 2004 by Limiteazero.


“Dead Room” by Camille Norment.

For 3 minutes and 33 seconds at a time, eight large sub-woofers pulse a rhythm of bass frequencies that are too low for the human ear to actually hear. The space is silent, but the sound can be seen as the woofers throb their play cycles, felt as the sound waves move through the body creating a subtle intangible disturbance, and heard in the ‘helium voice’ disruption of the visitors’ voices.


»milch« (2000) by Carsten Nicolai. The basis of milch (milk) is a series of experiments, which examine the relationship between order and disorder by means of a surface of liquid that is under the influence of different frequency-oscillations. In the test series, milk was exposed to sinus waves ranging from 10 to 150 Hz. Sound, almost imperceptible to the ear, appears in this test series as a permanently moving visual structure. Herein the direct interrelation between acoustic signals and visual patterns becomes visible. Lower frequencies make liquids start to move. Dependent on the frequency, different patterns of movement appear. This complex phenomenon causes an interaction of regular and chaotic patterns that can also be compared with acoustic signal interference in a three-dimensional space.


“Broadway” is a five-channel sound installation comprising the columns that run through the gallery space and the entire building. The five columns, transmitting subtle vibrations generated by movement on the street and subway below, are transformed into loudspeakers, each of which plays out the sounds of Broadway in its individual resonant frequency. By Jacob Kirkegaard.

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»Art Imitates Life«, 2007. Google search frequency for “art” and “life” from 2004 to 2006 are plotted against each other on a search-volume graph where the number of searches for each term is shown in relation to the number of searches done on Google during a given time period. The two graphs synchronize a surprising amount and are generally very close in volume. At least on the web, art and life imitate each other. By Caleb Larsen.

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»Untitled (for William Tager)«, 2006. A radio for every available frequency in a given space, all tuned to their lowest possible volume. By Dave Dyment.


»The Sine Wave Orchestra« is a participatory sound performance project that has been started since 2002 by Furudate Ken, Jo Kazuhiro, Ishida Daisuke and Noguchi Mizuki. Utilizing sine waves (sound without any distortion and representing a single frequency) the four core members carry out performances in which members of the general public participate.


“Drift” by hc gilje.


“Frequency of use typeface” – a typeface based on each letters frequency of use in the English dictionary, letters with the same frequency are paired by colour. By Samuel Bebbington.


“Ballonnenveld” by Martijn Tellinga. An installation that displays a sounding and vibrating body of helium-filled balloons. The balloons function as resonance-chambers for a trimmed spectrum of sine-waves that are fed through strings, connecting the balloons with double-coned carspeaker-elements. Each balloon holds its own resonance-frequency that changes over time as a result of varying temperature in the space, amount of helium in the balloon (decreasing over time) and length of the string.


freq_out is a sound installation comprised of 12 individual sound works each utilizing a specific frequency range, made on site, and amplified to act as a single, generative sound-space. Encouraged by d!sturbances, Swedish artist and curator C M von Hausswolff assembled a collection of 13 artists, consisting of sound artists, architects, composers, producers, sculptors, mathematicians and visual artists. Each artist is assigned a frequency range with which to work. This process is carried out in situ, each using a workstation consisting of a mixing desk and PA system. All the resulting compositions are then amplified together in the space to create a sound installation or performance.


»Acoustic Survival Kit« consists of many acoustic atoms. Properly connected each acoustic module gives subtle signals and pulses to the environment. The surrounding light triggers the sound of the module. Changing light conditions affect the quality and level of the emitted frequencies. Signals of grouped modules interfere amongst themselves and with the sounds of the environment. By creating these links, bridges between private and public are established. By Miki Yui.