ISD! Introductions: Reinhard Gupfinger - Sound Shifting

Pic ©Katharina Anna Lidl - Sound Shifting

Pic ©Katharina Anna Lidl - Sound Shifting

Reinhard Gupfinger

Reinhard Gupfinger is an artist and researcher working in the field of Urban Art, Sculpture and Sound Art. Currently PhD candidate at the Interface Culture Department of Art and Design Linz.

Sound Shifting: from Soundscape to Soundshape

Sound Shifting deals with the visualization and illumination of invisible phenomena that significantly shape our perception to create three-dimensional representations of sound. Different methods are used to translate sounds into three-dimensional objects. The sculptures are designed to provide information about the represented sounds through their shape and aesthetic features. Through this transformative process the range of our perception is expanded, by creating new perspectives. The 3D sound sculptures are snapshots and contemporary documents of various soundscapes. Together they form a three-dimensional archive of sound visualizations.

Pic ©Katharina Anna Lidl - Audio Foam Cutter

Pic ©Katharina Anna Lidl - Audio Foam Cutter

Audio Foam Cutter

Audio Foam Cutter transforms sound into styrofoam and other similar materials. The device consists of a hot-wire cutter mounted on a servo motor that is controlled by audio signals. This combination allows users to cut the sound input vertically and in real-time into the material as it is passed through the machine. The resulting cutouts are used to create casting molds for a wider range of poetic materials. They also stand alone as tiny sound sculptures. 

Noise Shaped It Sounds Devicive! FaB18

Reinhard will be in collaboration with Lee Riley curator of ISD! The wall and sound installation, featuring recordings by Lee. Answering questions brought up in the ISD! Brief. Reinhard will be making a sculpture from these sounds.

Words by Lee Riley

The sounds that are contained in machines we feed off every day, are inaudible to the naked ear. The machines speak their own language, the language is alien, but it is alive.

Tones emerge from unheard drones

Repetitions of buzzing and crackles

Distorted humming to the human ear

Frequencies sing

Static breaks

Electrical hiss

Subtle clicking

Loud screeching

The machines harmonic voice

Deep within the song unfolds