Jacob Kirkegaard

born 1975 in Denmark
graduated 2006, Academy of Arts and the Media in Cologne

OPUS MORS(2019) : Soundwork of four different enviroments humans are not able to experience, because of death.
O P U S M O R T U R A R I U M - Leichenschauhaus
O P U S A U T O P S I A - Autopsie
O P U S C R E M A T I O - Einäscherung
O P U S P U T E S C O - Verrottung

Labrynthitis(2007): 40-minute work with otoacoustic emissions generated by the artist’s ears to produce otoacoustic emissions in the ears of the listeners ( 'layers' of active hearing)
- 16 speakers installed on the metal rods, creating a spiral

ISFALD(2013) : soundwork in Greenland, where he recorded melting ice and falling glaciers with a hydrophone twenty meter under water surface
- because sound travels loner distances in water, you are able to hear falling glaciers from hundreds of kilometers away
- 14 speakers played under the platform floor the high-pitched melting ice
- four subwoofer vibrated as the falling glaciers in the corners

"If I should imagine the Arctic in sound, I'd definitely imagine something vertical"
-> no middleground in the Arctic soundscape: deep glaciar sounds and high melting sounds

works focus on investigations into the potential musicality in hidden sound layers in the environment. In this context he has been capturing and exploring sounds from, for example, volcanic earth, ice, atmospheric phenomena, nuclear power plants(abandoned rooms in chernobyl and landscapes near Fukushima) and deserted places

LABYRINTHITIS relies on a principle employed both in medical science and musical practice: When two frequencies at a certain ratio are played into the ear, additional vibrations in the inner ear will produce a third frequency. This frequency is generated by the ear itself: a so-called “distortion product otoacoustic emission” (DPOAE), also referred to in musicology as “Tartini tone”.