On a metaphysical level, sound can be described as an omnipotent language that transgresses native barriers, giving it a mystic and unmatched ability to create an environment for both inner and communal exploration; a binding tool to evoke our most repressed emotions. This remarkable quality allows the ancient but ever-evolving practice of sound therapy to be rooted in society as an immortal method of healing, tapping into our primal instincts as humankind. 

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The first documentation of sound healing can be traced back thousands of years to a multitude of civilisations around the world. From the healing vibrations of the didgeridoo - an ancient instrument originally utilised by the indigenous peoples of Australia, to the Shamanic tradition of looping drum patterns to facilitate a spiritual realm of communication, to the use of Tibetan singing bowls in stress-reducing meditation.

Stefanie Egedy responds to this historic ritual with her work ‘BODIES AND SUBWOOFERS (B.A.S.)’: an immersive installation (and occasional live performance) that inspires audiences to experience a new depth of sonic connection. In a state of flux, the subwoofers are meticulously placed, ensuring the spatial design is subject to external factors. 

Growing up Jewish, Stefanie’s family was deeply involved in Kabbalah, an esoteric method, discipline, and school of thought in Jewish mysticism. From a young age, the artist learned from an energetic perspective, marking her with an awareness of staying in contact with the universe. ‘My father helped me understand that matter is energy and we are in a dialectical relationship to it.’ The artist’s spiritual upbringing inspired an ongoing quest to study energy techniques and their subsequent effect on the self and others.

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This hyper-appreciation of energy led to an increased sensitivity to vibrations and frequency. The artist’s exposure to sound systems in club culture perpetuated an inevitable cosmic connection between herself and bass-driven music, arousing an innate curiosity to explore the limits of sound pressure and what this can do to the body. ‘With dance music, it felt as though there were limits and rules. It was at this point subwoofers provided the means of exploration. I felt I could free myself from expectations and dive into the lowest frequencies possible.’ 

While the holistic, spiritual power of sound remains untempered, we are now able to approach the field of sound healing with an increased scientific understanding of the granular effects of sound frequencies, honing in on their nuances and capacity to impact electromagnetic activity within the brain. In Hertz (Hz), sound frequencies are measured by the number of repetitions per wave every second. Just like any electrical object, our mind operates in electromagnetic frequencies, processing thoughts and emotions with a variety of different signals. Using subwoofers, Stefanie’s technique of sound manipulation offers a new, technologically advanced strain of what some might consider sound healing. Explaining how the low-frequency vibrations are felt through our body, the artist states that ‘sound waves change air pressure levels, which we perceive through our skin and other body parts’.

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Distinguishing the difference between listening with your body and listening with your mind, Stefanie goes on to describe the deep layers of focus that can be achieved with this level of pressure. ‘Sensoriality is so broad that we can enter into mental states that are not guided by our rational thoughts but rather by our bodily perception of an external source.’ 

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Achieving this level of listening, combined with the bodily impact of low-frequency sound waves, leads Stefanie to describe subwoofers as her favourite instrument. ‘I have a low-frequency addiction. For me, composing and listening to low frequencies is one of the highest levels of pleasure out there. I noticed improvements in my mood when I started exploring sub-bass and somehow felt more relaxed and happy.’

Research shows that both high and low-frequency sound waves have different focal points when it comes to healing. The high frequency stimulates circulation in the mind, whereas the low frequency fosters a bodily approach, targeting our tissue and muscles. One illustration of such inquiry is the scientific exploration into the Solfeggio frequency (528 Hz). This vibration, resonant with notes found in sacred music like Gregorian chants, was demonstrated by Reid to have the capacity to modify our brain chemistry. 

Coining the impact of subwoofers as a ‘sound massage’, low-frequency vibrations crawl over the skin, prompting the audience to listen with both their body and mind. ‘Low frequencies are shown in studies as potential treatments for diseases like Alzheimer’s, Parkinson’s and depression. Bearing this in mind, the sub-bass massage takes your body to sensorial places you haven’t been before. In popular terms this is called a “trip”, a moment of disconnection to our thoughts prompted by the immense pressure. It’s what I call a form of meditation.’ 

Unique to the practice of B.A.S is the necessity to understand immense technical intricacies while absorbing and directing an energy flow that advocates the audience to connect with the vibrations of low frequency. Channelling the energy-centric facet of her identity, while considering the dimensions of a room, she is then able to successfully implement a spatial plan. ‘When considering the room, the subwoofers should be placed in a way where the frequency response and wave dispersion are as enhanced as possible.’ 

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Experienced either individually or communally in a range of environments, Stefanie’s B.A.S. compositions are able to quickly trigger a deep level of listening, transporting the audience to a realm of introspection through a collective soundwave embrace. While each inward journey remains individual, the exhibition presents a rare occasion, opening the possibility of a synchronised meditative state, induced by the 20 to 63 Hz sub-bass (and occasional infrasound below 20 Hz). Commenting on this unusual condition, Stefanie remarks: ‘This brings me to one of my biggest points of reflection in life: nothing can be seen as absolute. One might feel relaxed, excited, or even stressed. The feeling depends, but everyone participating does feel something.’

Stefanie will be showcasing B.A.S at FIBER Festival 2024. A time slot reservation is needed. More information.