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Carsten Nicolai «∞» | ∞ Part I
Carsten Nicolai, «∞», 1997 – 1998
∞ Part I | ©
In the city of Kassel, the visitor encounters two phenomena whose connection is not immediately apparent. As graffit on walls and sidewalks, but also as a button on the lapels or t-shirts visitors, he sees Nicolai's amorphous sign, without any indication of its origin. 72 different sounds can also be unexpectedly heard in public spaces: from loudspeakers at the train station or airport, in the department store, or on the regional radio station. 'Many people did not perceive this work as art,' says Nicolai.


 
Carsten Nicolai «∞»Carsten Nicolai «∞»Carsten Nicolai «∞»Carsten Nicolai «∞» | ∞ Part ICarsten Nicolai «∞» | ∞ Part 1Carsten Nicolai «∞» | ∞ Part 2: Labor eCarsten Nicolai «∞» | ∞ Part 3: Construction Set noto ∞Carsten Nicolai «∞» | ∞ Part 4: construction set.noto infinity

Categories: Sound

Keywords: Music | Pop

Source text:

Nicolai, Carsten ««I want to stay in the core of the sound, as it were.»»

Relevant passages:

icon: authorTjark Ihmels icon: authorJulia Riedel «The Methodology of Generative Art»

Works by Carsten Nicolai:

aka noto, crystals/reworked| Snownoise


Kassel | Germany
 

 Carsten Nicolai
«∞»

In 1997-98, under the sign ∞ (‹infinity›), Carsten Nicloai developed a series of works in various media and on various sites. The use of recurring modules makes them a single project. The basic elements are an amorphous sign that Nicolai christened the 'snowman syndrome' and 72 sounds, 45-second loops he calls ‹Spins›. The quiet, repeating sounds recall fire engine sirens, whale song, bird chirping, or African drumming. But all are tones distorted and processed from everyday devices such as radio, fax machines, telephones, modems, or human speech. The sound waste of our means of communication, multiply overlaid and mixed, becomes a minimal music sound track.