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VERWURZELTE FREQUENZEN (ROOTED FREQUENCIES)

Western culture is dominated by the idea that humans and nature are separate and that nature is dominated by humans. Paradoxically, we often view our environment solely as a resource, destroying and exploiting it, even though our lives depend on it. This situation must be questioned. A change in how we treat nature requires a change in how we think and feel, i.e., a shift in the way we experience nature and how we feel connected to it. So how can nature be experienced differently than we usually do in our everyday lives?

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Western culture is dominated by the idea that humans and nature are separate and that nature is dominated by humans. Paradoxically, we often view our environment solely as a resource, destroying and exploiting it, even though our lives depend on it. This situation must be questioned. A change in how we treat nature requires a change in how we think and feel, i.e., a shift in the way we experience nature and how we feel connected to it. So how can nature be experienced differently than we usually do in our everyday lives?

Plants surround us as living beings they breathe, grow, and react to and with their environment and yet their existence remains largely silent and soundless to us. In addition to the obvious changes, such as the change of color throughout the seasons, the growth or movements that result from the continuous process of growing and wilting, there are also smaller, more subtle, and hidden levels. Processes, activities, and movements that escape our human perception, imperceptible without technical aids but nevertheless real. The fact that these processes are not accessible to our senses influences the current relationship between humans and nature, which is often characterized by underestimation, disregard, distance, and alienation.​

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Photo: Marcus Wildelau

In my audiovisual installation, I work with scientific audio files of plant processes and activities that we cannot perceive without technical tools. After extensive research and a wide variety of experiments, I was able to record the sap flow in a birch tree using special audio technology and make it audible through post-production processing. Plants lacking water emit frequencies in the ultrasonic range, which were recorded in scientific experiments conducted by the BW Foundation in collaboration with Hahn-Schickard and Fraunhofer IGB. Former university professor and bioacoustician Helmut Kratochvil kindly made his recordings of the sounds of photosynthesis in underwater plants available for use in my work. ​​​​​​​​​​​​​​​​​​​​​​​​​​​​​

In my audiovisual installation, these sounds, which are imperceptible to us, are not only made audible, but also visible and tangible. After intensive artistic research, a dark water basin has been created in which the water is set in motion by the vibrations of certain frequencies of the sounds, simultaneously revealing patterns on the water's surface.

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Photo: Marcus Wildelau

Since my aim is not to present an accurate representation of the informative, scientific sounds of plant processes, I have artistically transformed the original audio material. This creates a space-filling, atmospheric, experiential soundscape that forms a unity with the visuals.

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Photo: Marcus Wildelau

Technology plays a central role in my work. I am aiming for a perception of nature that is responsible and conscious. I do not use technology to manipulate or control nature, but rather to make plant processes and activities audible and transform them artistically. In my installation, technology creates conditions that mediate between humans and nature and enable a sensory relationship. The result is an interplay between the technical and the natural.

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Photo: Dennis Böddicker

In the installation, nature can be experienced as an independent force. The large and deep effect of the dark water basin makes the power and inherent logic of nature tangible in connection with the hierarchical relationship between humans and nature. A moment of uncertainty and confrontation with something that is not completely controllable or transparent. The installation creates a new relationship in which humans no longer dominate. The levels of perception blur between fascination, irritation, and the awareness of questioned power imbalances.

Photo: Dennis Böddicker

The installation goes far beyond purely visual and auditory perception. It enables a physical sense of atmosphere and resonance, and thus a new way of relating to the world and nature. When the inaudible and invisible aspects of plants become more present, they may also gain in significance and value.

Press releases:

„Pflanzen machen Geräusche, man muss halt nur genau hinhören."

— [University of Applied Sciences and Arts (HSBI), 08/21/2025]

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„Durch Heuers Installation schaffen es manche Pflanzen nun sogar, Geräusche und Formen zu erzeugen, die wir mit Augen und Ohren wahrnehmen und die uns faszinieren können."

— [Neue Westfälische08/26/2025]

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„Alina Heuer hat hier Kunst und Wissenschaft in Gestalt einer Installation neu zusammengebracht"

— [Westfalen-Blatt08/27/2025]

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