Abel Enklaar and Amy Johnson

MetaSensorium은 멀리 있는 사람들 사이에 새로운 수준의 연결을 생성하는 웨어러블 기술의 능력에 대해 추측함으로써 전염병에 만연한 사회적 고립에 대응합니다. 분리, 단절, 타인과 물리적으로 존재하고 싶은 욕망에 대한 디자이너들의 자전적 경험에서 출발한 MetaSensorium은 가상 수단을 통해 물리적, 감각적 연결을 구성할 수 있는 방법에 대한 질문에서 출발했습니다. 그 결과 웨어러블은 두 명의 착용자가 멀리서 서로를 마주할 때 활성화되어 그들의 장치가 스펙트럼 포용으로 상대방의 존재감을 전달하도록 트리거합니다.
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MetaSensorium started with the question of how to build physical and sensory connections through virtual media. As a result, wearable is activated when two users face each other from a distance, triggering their devices to convey each other’s presence with spectral inclusion.

UVA United Visual Artists

Great Animal Orchestra
The Fondation Cartier invited United Visual Artists to collaborate on The Great Animal Orchestra, exhibition that celebrates the work of musician, bio-acoustician and scientist Bernie Krause. Krause has been recording animals for 45 years and has amassed a collection of more than 5,000 hours of sounds  recording of over 15,000 individual species in their natural habitats from all over the world. UVA’s creative approach linked together the various exhibition content elements throughout the basement space — soundscapes, spectrograms and art works — into a cohesive, immersive experience that three-dimensionalises Krause’s recordings and suggests scenes from the natural world. The spectrograms form an abstract landscape, an interpretation of the various global locations and times of day that Krause made the original recordings in a way that envelops the audience and encourages them to linger in the space.

Field.io

Spectra-3
The piece is the latest instalment of their ongoing Spectra series, a merging of physical and virtual sculptures that take inspiration from space, technology, and our relationships to them, to provide elegant and sensory experiences using sound, light, and reflection. Spectra-3’s design and movement is inspired by the radio telescopes of the Very Large Array (VLA) located on the Plains of San Agustin in New Mexico. The piece combines computer-aided design with real-time input from the public’s movements, to inform its physical actions as it rotates on motors, augmenting the space with the enchanting hues and patterns of reflected light and spatialized sound.

DUMBTYPE

LIEBHABER (LOVERS)
Computergesteuerte Fünfkanal-Video- / Toninstallation mit fünf Videoprojektoren, einem Achtkanal-Soundsystem und Diaprojektoren […] Als Bild  schlägt ein Liebespaar häufig eine Burg der Ausgrenzung vor. Mit der sexuellen Befreiung der letzten Jahrzehnte hat das Wort nun mehr mit körperlicher Kopplung zu tun als mit der Erhabenheit der „wahren Liebe“. AIDS hat dieser Paarung eine neue Dimension der Vorsicht hinzugefügt. Die lebensgroßen Tänzer in Lovers haben kein Leben mehr. Die nackten Figuren werden auf die schwarzen Wände eines quadratischen Raums projiziert und haben eine spektrale Qualität. Ihre Bewegungen sind einfach und sich wiederholend. Sie gehen hin und her, laufen und rennen mit tierischer Anmut. Ihre Handlungen werden im Laufe der Zeit vertraut, so dass es eine Überraschung ist, wenn zwei der durchscheinenden Körper in einer virtuellen Umarmung zusammenkommen. Diese angeblichen Liebhaber – mehr überlappend als berührend – sind physisch nicht miteinander verflochten.

DUMBTYPE

LOVERS
Computer-controlled, five-channel video/sound installation with five video projectors, eight-channel sound system, and slide projectors […] As an image, a pair of lovers often suggests a castle of exclusion. With the sexual liberation of the last few decades, the word now has more to do with physical coupling than with the sublimity of “true love.” AIDS has added a new dimension of wariness to this pairing. The life-size dancers in Lovers are drained of life. Projected onto the black walls of a square room, the naked figures have a spectral quality. Their movements are simple and repetitive. Back and forth, they walk and run with animal grace. Their actions become familiar over time, so that it is a surprise when two of the translucent bodies come together in a virtual embrace. These ostensible lovers–more overlapping than touching–are not physically entwined.

RYOJI IKEDA

池田亮司
이케다 료지
Редзи Икеда
Spectra
spectra is a series of large scale installations employing intense white light as a sculptural material. The installations are designed in response to specific gallery spaces or public sites selected by the artist. White light is one of the purest forms of transformation from electricity. We see a pure state of energy. Through these installations we witness how the pure transformation transforms the environment itself and ourselves.

James Tenney

Cellogram
composed by James Tenney
performed by Ashley Walters – cello
James Tenney made significant early musical contributions to plunderphonics, sound synthesis, algorithmic composition, process music, spectral music, microtonal music, and tuning systems including extended just intonation.

IANNIS XENAKIS

Metastasis (Spectral View)
Xenakis wished to reconcile the linear perception of music with a relativistic view of time. In warfare, as Xenakis knew it through his musical ear, no individual bullet being fired could be distinguished among the cacophony, but taken as a whole the sound of “gunfire” was clearly identifiable.

Tim Otto Roth

Heaven’s Carousel
Mit dem »Heaven’s Carousel« scheint im Herzen der Karlsruher Innenstadt vor dem Naturkundemuseum ein leuchtendes Klang-UFO gelandet zu sein, das antike Sphärenmusik unter den Vorzeichen der Astrophysik des 21. Jahrhunderts neu interpretiert.In zehn Metern Höhe schwebt an einem Kran eine luftige Karussell-Konstruktion, von der an zwölf Strängen insgesamt 36 kugelförmige, leuchtende Lautsprecher hängen. Das »Heaven’s Carousel« hebt in den Abendstunden ab: In Rotation versetzt, drehen sich die in Leuchtkugeln integrierten Lautsprecher mit einem Durchmesser von bis zu 16 Metern über den Köpfen der BesucherInnen. Sie sind eingeladen, sich unter der Installation frei zu bewegen, um das sich kontinuierlich verändernde Klanguniversum zu erkunden. Auch wenn aus den einzelnen Lautsprechern »nur« reine Töne erklingen, so rekombinieren sich diese im Raum zu komplexen Klanggebilden. Aufgrund des Doppler-Effekts klingt dabei ein Ton höher, wenn die Klangquelle auf die BesucherInnen zufliegt, und tiefer, wenn sie sich wieder entfernt.Die Illumination der Lautsprecher vervollständigt das als Auftragsarbeit der Europäischen Raumfahrtagentur (ESA) für das Hubble Space Telescope entstandene Gesamtkunstwerk. Die Helligkeit zeigt nicht nur die relative Lautstärke und Aktivität einer Klangkugel an, sondern die gespielte Tonhöhe wird auch in eine spektrale Farbe übersetzt.

KARINA SMIGLA-BOBINSKI

SIMULACRA
file festival

“SIMULACRA” is an optophysical experimental arrangement. At its heart are four LCD monitor panels, which are assembled in the form of a hollow square, and installed at eye level in the middle of the room. The ensemble appears internally gutted, overgrown and embraced. A tangle of cables and control devices pours out of the middle of the square. All around it several magnifying lenses dangle from chains. The imageless glaring ray of the monitors looks as if the images had fallen out of them. What remains is the essence of the medium: Light.It is an impressive, wondrous experience when images suddenly appear from the pure white by the mere glance through a seemingly transparent film. But if you turn the lens in front of your eyes, the polarizing structure of the film creates wild color shifts or even complementary negative images.

JAMES TENNEY

Spectral Canon for Conlon Nancarrow

“The piece consists of a 24 voices canon, where all voices share a same series of decreasing durations (accelerando), and superimpose to one another following a precisely determined pattern. When a voice reaches the end of the series, it begins playing its own retrograde.” Charles de Paiva Santana, Jean Bresson, Moreno Andreatta