The sound installation “SINUSINUS” can be seen as a model or visual example of two or more different ways of presenting sounds. The analog section presents the highly complex vibration behaviour of “real” tuning forks as a piece of metal which sends three-dimensional vibrations in all directions of the air-filled room. Facing the analog section is the digital section consis- ting of a 64-channel loudspeaker system whose loudspeaker diaphragms are integrated into two cylindrical cases that radiate in all directions. Its dimensions are proportionate to the sound box on which the 64 tuning forks are mounted.The tuning forks fixed to all four sides (4 times 16) rotate on a revolving table.This changes the effect filling the space of the slightly (microtonal) out-of-tune tuning forks. Depending on the position of the listener, the vibrations caused by the dissonance create highly varied resonances.The loudspeaker system is fed with recordings of the same tuning forks coded in Dolby-Digital (AC3). In order to increase the complexity of the reproduction, the digital system is controlled by the sound of the analog system.The individual channels of the recordings are then directed to the individual loudspeakers at high speed.The listeners can move freely between the two parts of the installation.They can try to justify to themselves the technical complexity of an attempted simulation or enjoy the barely audible part on the other side, interspersed with many supposedly disruptive interruptions.This concept poses the question whether the result of a reproduction of the original fulfils the criteria that make it equal to the original.
