In the realm of sonic experimentation and the therapeutic potential of low-frequency sound, the project BODIES AND SUBWOOFERS (B.A.S.) by Stefanie Egedy emerges as a distinctive exploration. Originating from the concept of a “vibrational experience,” this series comprises site-specific installations and concerts, each tailored to the unique characteristics of its location.
The foundation of B.A.S. lies in a meticulous analysis of the spatial specifics, subwoofer arrangement, and the selection of low-frequency sound waves. This process considers sonic elements such as resonances and reverberations, which interact with the architectural nuances of the space. The result is an immersive experience, a stimulation for the entire body, inviting individuals to connect with diverse vibrations and to be enveloped by them.
The effects of B.A.S. extend beyond mere auditory perception, manifesting as a form of sound massage felt on the skin and throughout the body. This unique encounter provides the sensation of being touched and embraced by invisible sound waves, creating a profound and multisensory engagement.
Each B.A.S. installation boasts a bespoke subwoofer arrangement, meticulously calculated based on the dimensions of the space and the type of subwoofer employed. Through precise measurements, the artist creates “living zones” characterized by varying acoustic pressure and “dead zones” with no acoustic pressure. The liveliness of an area is determined by the expression of acoustic pressure, allowing bodies to perceive or remain unaffected by the acoustic signal.
Imagine the experience akin to a therapeutic sound massage or a warm sound hug, where the environment is tailored to elicit specific sensations and interactions.
The genesis of B.A.S. finds its roots in the artist’s deep affinity for low-frequency sound as a sonic medium. The methodology, as both a work title and a creative approach, evolved from the desire to present sub-bass in a manner that mirrors the artist’s personal experience and appreciation of this genre within club settings.
Influenced by a history of clubbing and its impact on personal well-being, B.A.S. serves as an extraction of the dancefloor experience, redefined within the context of art. It represents a curated exploration of how sub-bass resonates within the human body and the unique ways individuals can engage with this form of sound.
As B.A.S. approaches its fifth anniversary in 2024, the artist reflects on the rapid evolution of the project. What began as a vision for sonic output in compositions and live performances has flourished into a distinct methodology and artistic identity. The decision to focus exclusively on low-frequencies and the subsequent development of a clear conceptual framework has shaped the trajectory of B.A.S. over time.
The conceptualization of B.A.S. took a definitive form in March 2020, solidifying as both a concept and a methodology. The artist’s prior utilization in live presentations laid the groundwork for its formalization. A commitment to adapting sub-bass to room acoustics and specific subwoofers led to a refined understanding of achieving a desired aesthetic within the low-frequency sound spectrum.
The creator’s background is a mosaic of experiences, combining a passion for club culture since high school, academic studies in Philosophy and Public Administration, and growing up in the dynamic cultural landscape of São Paulo. This amalgamation of influences from the realms of music, body movement, and intellectual exploration contributes to the unique perspective brought to the B.A.S. project.
Looking ahead to 2024, B.A.S. is set to unfold in a series of shows worldwide. These performances will manifest in diverse formats, ranging from installations to live concerts and accompanying contemporary dance shows. While specific details remain undisclosed, B.A.S. stands as an innovative intersection of art, architecture, and sonic exploration, inviting audiences to embark on a sensory journey through the profound effects of low-frequency sound.
