Bristling, wheezing, whiffing, puffing,

gasping, groaning, panting, sighing,

snorting, hissing, – yawning,

breathtaking, breathtaken,

hold it; exhale – let it flow

Schnauben, Schnaufen, Prusten, Japsen,

Fauchen, Ächzen – Gähnen – Schnarchen;

Atem holen, halten, spüren, rauben,

Ausströmen, Fließen,

fließen lassen.

Tachypnea 7’ min – Gabriel Dernbach

audience 4 – 16, each one with a mobilephone, room nearly empty, with at least 4qm per person, the higher the ceiling the better, do not wear shoes

  1. Take a breath and record it with your phone, closely held to your mouth
  2. Move around while repeatedly playing it back on a medium level
  3. Playfully interact with the recording and the way you move and breathee.g. interrupt the playback as long as you breath in mime the others, play as duo or trio
    use some of the sounds described above
  4. Listen to the others
  5. When you look someone in the eye, record again

Installation Setup:

Two advisors at the closed entrance.

They hand out this score to the audience. They introduce the piece and help the audience by getting them familiar with their devices. They let the group inside when it is ready. They terminate each run by opening the door after 7 minutes.

General Approach:

Installation without hardware but software for people

In playing the piece, the audience creates a living sculpture which becomes a breathing organisam that is human and machine alike. On the one hand the human body is recreated, on the other hand it gets dissected. Those fractions are then again recombined to an organic chimera.

About the material: Breath and Recordings

Our breath varies greatly in tempo and depth. Regardless of whether this is caused by physical activitiy or psychological condition, it shows how we feel and percieve time. In its flexibility and corporality it therefore deeply represents a organic measure of time.

In the interaction with digital machines however, we are confronted with quite the contrary: Sound is being recorded at 48000 samples per second on a smartphone that clocks at 2.3 billion cycles each. Through the machine we are presented with – and therefore percieve – a time that is essentially static. Unlike the watch that merely points at numbers, AudioVisualRecordings in fact reproduce rasterized bodies to stand vis-a-vis to ourselves. And they become ever more pervasive – hyperlinked, networked, and transfered faster than what we call „realtime“.

It is a shift that some would consider artificial; but then again the artificial seems to be part of human nature itself.