osz~ is the result of an experiment on the mechanical functionality of the voice and is part of a series of works that follow the principles of oscil-
lation.A feature that is also found in the reed pipe.The work arises from an artistic interest in the ‚objets trouvés‘ and uses objects such as valves,
compressors and plastic tubes.This alienation gives rise to a pneumatic instrument. It has 9 individually controllable valves which, powered by air
pressure, function as ‚natural‘ oscillators, in which the sound source itself develops movement. Consisting of 21 small musical pieces, the compositi-
ons are exploring the acoustic and kinetic characteristics of this instrument.
The sound sculpture locate itself in the discourse about the general social participation in technology.This is metaphorically embedded by the use of various industrial technologies and its transformation
into a sound sculpture.This appropriation of technologie emerging from a consuming industrie and the appropriation of computer language, the code, is the central starting point of this work. This
idea strives for a social participation of technology in society.The desire behind this, is that structural inequalities should not be carried forward.That we create a technological guild which frees itself from
hegemonic relations.Technology should be here to enable a world that is able to resist its capitalist bene ts and to offer the world the possibility to see it as a tool to make another advance against social
segregation. Is that a utopia? But utopia has to be drawn to make it reality. osz~ is the attempt to breathe life into the objects.To give them a spirit and create a sculpture that may free itself from its past
and reinvent itself, far from any capitalist thought. osz~ is a plea to enjoy the blurring boundaries between machine and organism.
