Unsound Methods 01: Deadly Vibrations
Solo exhibition 2020

Unsound Methods 01: Deadly Vibrations is a sound installation in which the sound spectrum of rhythmic vibrations, from bass to noise, is examined during a 30-minute sequence. Accompanied by a collection of texts that open up different perspectives on the topic of unsound, the sequence interacts with these contents through various sonic narratives. The composition was produced in the exhibition space of gallery Oel-Früh, using the mono neutron synthesizer as the sound source. Four subwoofers and two loudspeakers are at the center of the installation and thus function as an extension of the instrument with which the space and with it the structure of the building itself is made to vibrate as a large body of sound. The sound system thus forms a crucial part of the composition; any change in the structure changes all vibrations. Through the different sound sections, the audience undergoes an intrinsic and intense physical experience in which hallucinatory states or nausea can be induced. The body becomes a transmitter of vibrations – a vibratory event, thereby irritating, and putting in question, the visually biased perception. Parts of the sequence are recorded as ‘Vibration Artefact’ in the form of a dubplate.


Unsound is a term borrowed from the research unit AUDINT, that they use to describe the field of peripheral sonic perception. ‘The term refers not only to what humans can not hear, but also to non-cognitive, inhuman phenomena connected to the unknown, including the hum, hyperrhythmia, and auditory hallucinations’ (Unsound:Undead).

Drawing from Steve Goodman’s book on Sonic Warfare: Sound, Affect and the Ecology of Fear, Unsound methods is an ongoing investigation of the sonic realm, focussing on deployments of sound as a weapon.
Taking on Goodmans’s claim, that ”vibration plays a key role on this complex and invisible battlefield – a zone in which commercial, military scientific, artistic and popular musical interests are increasingly invested” (Sonic Warfare), unsound methods wants to contribute to a mapping of the historical and current deployments, potentials and dangers of sound.