Jacob Kirkegaard: Sabulation (Sonic Acts XIII, 2010)

‘He tried thinking of something else. When he closed his eyes, a number of long lines, flowing like sighs, came floating toward him. They were ripples of sand moving over the dunes. The dunes were probably burned onto his retina because he had been gazing steadily at them for some twelve hours. The same sand currents had swallowed up and destroyed flourishing cities and great empires. They called it the ‘sabulation’ of the Roman Empire…’—Kobe Abe, Woman in the Dunes, 1962. This piece consists of sound and video footage of the so-called Singing Sands or Booming Dunes in the deserts of Oman. Jacob Kirkegaard (DK) is a Danish artist who focuses on the scientific and aesthetic aspects of resonance, time, sound and hearing. His installations, compositions and performances deal with acoustic spaces and phenomena that usually remain imperceptible. Using unorthodox recording tools, including accelerometers, hydrophones and home-built electromagnetic receivers, Kirkegaard captures and contextualizes hitherto unheard sounds from within a variety of environments: a geyser, a sand dune, a nuclear power plant, an empty room, a TV tower, and even sounds from the human inner ear itself. Now based in Berlin, he is a graduate of the Academy for Media Arts in Cologne, Germany and has given lectures and workshops in institutions such as the Royal Academy of Architecture in Copenhagen and the Art Institute of Chicago. Over the last fourteen years, Kirkegaard has presented his works at exhibitions and at festivals and conferences throughout the world. He has released five albums (mostly on the British label Touch). Among his numerous collaborators are JG Thirlwell, Ann Lislegaard, CM von Hausswolff and Lydia Lunch. Kirkegaard's "Sabulation" was part of "Acoustic Spaces", a more than four-hour-long programme devoted to various approaches to soundscape composition. It featured works produced by several generations of composers and musicians – from acoustic ecology to extreme field recordings.

Jacob Kirkegaard: Sabulation (Sonic Acts XIII, 2010)


Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. ‘He tried thinking of something else. When he closed his eyes, a number of long lines, flowing like sighs, came floating toward him. They were ripples of sand moving over the dunes. The dunes were probably burned onto his retina because he had been gazing steadily at them for some twelve hours. The same sand currents had swallowed up and destroyed flourishing cities and great empires. They called it the ‘sabulation’ of the Roman Empire…’—Kobe Abe, Woman in the Dunes, 1962. This piece consists of sound and video footage of the so-called Singing Sands or Booming Dunes in the deserts of Oman. Jacob Kirkegaard (DK) is a Danish artist who focuses on the scientific and aesthetic aspects of resonance, time, sound and hearing. His installations, compositions and performances deal with acoustic spaces and phenomena that usually remain imperceptible. Using unorthodox recording tools, including accelerometers, hydrophones and home-built electromagnetic receivers, Kirkegaard captures and contextualizes hitherto unheard sounds from within a variety of environments: a geyser, a sand dune, a nuclear power plant, an empty room, a TV tower, and even sounds from the human inner ear itself. Now based in Berlin, he is a graduate of the Academy for Media Arts in Cologne, Germany and has given lectures and workshops in institutions such as the Royal Academy of Architecture in Copenhagen and the Art Institute of Chicago. Over the last fourteen years, Kirkegaard has presented his works at exhibitions and at festivals and conferences throughout the world. He has released five albums (mostly on the British label Touch). Among his numerous collaborators are JG Thirlwell, Ann Lislegaard, CM von Hausswolff and Lydia Lunch. Kirkegaard's "Sabulation" was part of "Acoustic Spaces", a more than four-hour-long programme devoted to various approaches to soundscape composition. It featured works produced by several generations of composers and musicians – from acoustic ecology to extreme field recordings.

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