This video documents the illegal sound art of Johannes Kreidler.
Featured in the video are:
- Complete Beethoven symphonies, played in one second.
- All Beatles songs ever released, played in one tenth of a second..
- Marcel Proust: In Search of Lost Time audiobook, played in one second. (Hommage à Monty Python’s Flying Circus, Episode 31).
- 130 000 songs, played in four seconds.
- Entire audio track of Rambo 3, played in one third of a second.
- Entire audio track from a pron video, played in one third of a second.
- Britney Spears: Baby one more time, played ten times in one second.
- Britney Spears: Gimme more, played 400 times in one second.
- A high pitch, played through the Adam’s apple of an illegal immigrant.
- The mp3 coded, read as a waveform.
- Stock reports from thousands of banks, transformed into video game melodies.
- The pope, played using a condom as a speaker membrane.
- The Bible (as an audiobook), played in one third of a second.
- The Qur’an (as an audiobook), played in one third of a second.
- The Torah (as an audiobook), played in one third of a second.
- The Complete Works of Friedrich Nietzsche (as an audiobook), played in one third of a second.
- All four at the same time.
- Immanuel Kant: Critique of Pure Reason, played 22,000 times in one second (audible only to bats).
- An explosion, played at a speed determined by the death toll in the Iraw War as of 1 April 2009, one microsecond for every death.
- Hitler pronouncing the word Reich, twelve times slower than original speed.
- Ther code for illegally ripping DVDs, read as a waveform.
- An oven pipe imported in 1972 from Alaska to New Zealand, vibrated at 574 cycles per second using a gasoline motor. Then, in 2003, this recording was manipulated and filtered on an old atari computer using hacked software.
- A sound whose origin will never be revealed to anyone.
- A completely neutral tone devod of all meaning.
- Compression Sound Art, played 3000 times per second.
Kreidler’s work, like Wojciech Kosma’s Blowjob, uses shock value as a tool to entice you to consider the ideas underlying the work.
Kreidler’s sound art is technically illegal in many countries because of the way it samples and reuses existing recordings. But Kreidler’s extreme compression of these recordings highlights the absurdity of rigid application of sampling and copyright laws.