Saša Spačal (SI), Ida Hiršenfelder (SI) Sonoseismic Earth

Responsive installation, 2017

The responsive kinetic installation Sonoseismic Earth presents Earth in the age of the Anthropocene, the geological epoch of industrial societies. It is an age that has witnessed disruptions in the Earth’s systems on a planetary scale. The global capitalist structure of the world does not allow human beings to act globally, or to counter the planetary crisis produced by inevitable consumption. The installation makes a possible entry into a planetary perspective, into the sensual and haptic relationship between the human and the planet. The depletion of fossil fuels in the Earth’s crust causes tectonic cracks; hence, in the installation, the globe is gradually polluted. The rendering of seismographic shifts intensifies with the proximity of human beings detected by sensors. The planet emits the infrasonic sound of earthquakes; it submerges the human in the ubiquitous acoustic space with no identifiable origin. Humans are caught in the drama of the endless circulation of capital. The crisis of the planet is the crisis of the system.

Sonoseismic Earth tries to condense the effect of the fossil fuel industry into an experience of carbon war waged against all life forms on the planet. At the forefront of this war is the global distribution of water. The mechanism in the installation contains a solution of water and fossil fuels that is squeezed out of the globe and produces a poignant odor in the surroundings, making the pollution tangible for the senses. The water is not cleaned, as it is part of a planetary metabolic rift. The metabolic rift may only be overcome in millions of years. One of the candidates for replenishment of the earth’s fossil fuel reserves is a living product, an industrial chicken. By putting the bones of industrial chickens into the polluted water-oil solution, Sonoseismic Earth announces the replenishing of fossil fuels in the distant future. However, it cannot announce human existence.

Production and development of the project: KID Kibla (2015), Aksioma (2017)
Associate professionals: Mirjan Švagelj, Anil Podgornik, Blaž Berdnik, Shlosart Metalart

Saša Spačal (SI)

Saša Spačal is a postmedia artist working at the intersection of the living systems research, contemporary and sound art. Her artistic research focuses on entanglements of the environment-culture continuum and planetary metabolism. By developing technological interfaces and relations with organic and mineral soil agents, she seeks to address the posthuman condition that involves mechanical, digital, and organic logic within biopolitics and necropolitics. Her work has been exhibited and performed at venues and festivals such as Ars Electronica Festival (AT), Prix Cube Exhibition (FR), Transmediale Festival (DE), Athens Digital Arts Festival (GR), Perm Museum of Contemporary Art (RUS), Onassis Cultural Center Athens (GR), Chronos Art Center (CHN), Eyebeam (USA), Cynetart Festival (DE), National Art Museum of China (CHN), Museum of Contemporary Art Metelkova (SI), Kapelica Gallery (SI), Device_art (CRO), Art Laboratory Berlin (DE), Kiblix Festival (SI), Gallery of Contemporary Art Celje (SI), Museum of Contemporary Art Vojvodina (SRB), Lisboa Soa Festival (PT), Sonica Festival (SI). She has received various awards, including the Prix Ars Electronica Honorary Mention, nomination for the Prix Cube, and the New Technological Art Award.


Ida Hiršenfelder (SI)

Ida Hiršenfelder works in the fields of sound art and media art. From 2011 she is a member of Theremidi Orchestra sound collective. She and Saša Spačal are co-initiators of ČIPke – Initiative for Women with the Sense for Technology, Science and Art. With media artist Robertina Šebjanič and sound artist Aleš Hieng – Zergon she presented her work at Ars Electronica (2016). Her sound works under the alias beepblip were aired on radioCona in