Benedigt Heigle

In 3D par­ti­cle syn­the­sis, par­ti­cle sys­tems can be used to gen­er­ate large amounts of sound objects in vir­tu­al-acoustic space. With this method it is pos­si­ble to sim­u­late com­plex, real­is­tic spa­tial sound scenes.

With a study for twelve par­ti­cle sys­tems, Benedikt Hei­gle inves­ti­gates the ques­tion of how to express the fun­da­men­tal dif­fer­ence between com­po­si­tion­al form and sound mate­r­i­al with­in a com­po­si­tion with this sound-gen­er­at­ing method. The ques­tion of dif­fer­ence refus­es the assump­tion of imme­di­ate iden­ti­ty between sub­ject and object and is deci­sive for the pos­si­bil­i­ty of indi­vid­u­al­i­ty in the sys­tem.
At the same time, it is the start­ing point for the cri­tique of the func­tion­al­iza­tion of art, for exam­ple in polit­i­cal art. Polit­i­cal art, inso­far as here, through the assump­tion of the same­ness of art and pos­i­tivist and pos­i­tivist state­ments, the auton­o­my of art dis­ap­pears and the con­straint under which the indi­vid­ual stands in the sys­tem is denied. Art thus becomes what it does not want to be, even in the polit­i­cal ver­sion : a mere affir­ma­tive recon­struc­tion of the existing.