Somatic Echo
“Somatic Echo” is an experimental sound art and research project that utilizes bone conducted sound as a method to investigate human audition and create an unusual and mesmerizing aesthetic of the body as a medium of sound. The installation uses a reclining chair and a sound mask to play an 8-channel sound composition through 8 transducers placed on the user’s head: 6 channels in the face and 2 in the back of the head. The transducers transmit sound through the bone structure of the skull directly to the listener’s inner ear, bypassing the outer ears, which normally are the gateway for auditory signals. The listeners experience the soundscape through both their auditory and tactile senses perceiving a sonic image shaped by the sound traveling through the head structure and through vibrations applied to the skin. This set up lets us experience sound through our body and our body through sound.

ROTOЯ
The Rotor is equipped with a four channel speakersystem and a 360° camera. The artists control the speed of it’s rotation which directly influences the projected video-images as well as the sound-characteristics and the perception of the object itself. Acceleration & deceleration become main parameters, which enables the artists to compose an otherworldly piece that seems to follow it’s own logic. A strange communication between audio, video, object and light establishes itself and seduces the audience. There is the hypnotic movement of the sculpture while inevitable auditory and visual feedback is used as a central aesthetic element: The rotating speakers are amplified by static microphones, provoking complex feedback loops and patterns, that trigger psychoacoustic sensations.

Brazil Now
BRAZIL NOW is a composition that addresses increasing militarization and surveillance within urban areas. Its geographical and acoustic reference is São Paulo, the largest megacity in Latin America. The piece is based on field recordings that capture the symptoms of a Latin American variant of turbo-capitalism with its distinctive acoustic features. Eruptive public demonstrations on the streets are often accompanied by loud, carnivalesque elements. These are controlled by a militarized infrastructure, openly demonstrating a readiness to deploy violence. The sonic documents are analyzed by machine learning algorithms searching for acoustic memes, textures, and rhythms that could be symptomatic for predominant social forces. The algorithmic results are then used as a base for a score and its interpretation through a musical ensemble. The piece drafts a phantasmatic auditory landscape built on the algorithmic evaluation of urban conflict zones.

Eunoia II
It is an interactive performance and installation that attempts to display invisible human emotion and physiological changes into auditory representations. The work uses a commercial brainwave sensor to visualize and musicalize biological signals as art. The real-time detected brain data was used as a means to self-monitor and to control. The installation is comprised of 48 speakers and aluminum dishes, each containing a pool of water. The layout of “Eunoia (Vr.2)” was inspired by an Asian Buddhist symbol meaning ‘balance.’ The motif of number 48 comes from Spinoza’s ‘Ethics’ (Chapter III), classifying 48 human emotions into three categories – desire, pleasure, and pain. In this performance, water becomes a mirror of the artist’s internal state. It aims to physically manifest the artist’s current states as ripples in pools of water.

White Circle
»White Circle« consists of fluorescent tubes that respond to musical impulses and illuminate the room. Five dedicated compositions by alva noto, byetone, frank bretschneider, and kangding ray playing in a continuous loop (one set takes ca. 45 minutes) model the interrelation between sound, light, and architecture in different ways. Each piece represents an independent and self-contained conceptual proposal by the respective composer. All tracks are multichannel compositions based on the idea of creating a vivid immediate experience of auditory space and visual stimuli. With acoustic material routed to twentyseven speakers placed throughout the gallery, sound itself takes on a threedimensional and indeed sculptural quality.

尤里铃木
يوري سوزوكي
Garden of Russolo
‘Garden of Russolo’ is an interactive sound installation by Yuri Suzuki allowing visitors to have a sonic experience using their own voice. The auditory installation, shown at the V&A during the 2013 London design festival, is based on Suzuki’s previous series of sound-activated work ‘white noise machines’. Influenced by futurist painter and composer Luigi Russolo – one of the first experimental composers – the series of phonograph-like wooden boxes compose the exhibition, re-interpreting audio inputs into a muffled atmospheric output, twisting and amplifying the original soundtracks.

chromo sapiens
Icelandic artist Hrafnhildur Arnardóttir / Shoplifter has transformed a warehouse in Giudecca into a multi-sensory, cavernous environment with a cacophonous amount of her signature material, synthetic hair. Color, sound and irresistible textures guide visitors through three distinct chambers provoking an immersive experience of visual and auditory stimuli.

جيمس توريل
詹姆斯·特瑞尔
ג’יימס טורל
ジェームズ·タレル
설치작품 제임스 터렐
Джеймса Таррелла
Bindu Shards
Bindu Shards is a “fully immersive visual and auditory work to be experienced by one person at a time.” One is strapped down and sealed in for 15 minutes in this white chamber and exposed to monotone sound and color.

undulations
The combination of kinetic visual beauty and auditory irritation animates the gallery space. Undulations’ form and sound compliment the motorized bow of the nearby Violinist, thereby creating an unusual object-based performance within the gallery space.

فلوريان هيكر
フロリアン·ヘッカー
Sound Installation
In his installations, live performances and publications, Florian Hecker deals with specific compositional developments of post-war modernity, electroacoustic music as well as other, non-musical disciplines. He dramatizes space, time and self-perception in his sonic works by isolating specific auditory events in their singularity, thus stretching the boundaries of their materialization.
Their objectual autonomy is exposed while simultaneously evoking sensations, memories and associations in an immersive intensity. Some of his works incorporate psycho-acoustic phenomena, disorienting listeners’ spatial perceptions and expanding their conception about sound. Hecker’s most recent recording, Speculative Solution ( Editions Mego, 2011), brings together Hecker’s sonic practice and psychoacoustic experimentation with philosopher Quentin Meillassoux’s concept of ‘hyperchaos’ – the absolute contingency of the laws of nature.
During his residency at MIT, Florian Hecker will research a new sound piece that takes the concept of the “auditory chimera” as point of departure. Originally developed at MIT by Bertrand Delgutte, senior research scientist at the MIT Research Laboratory of Electronics, the concept of the auditory chimera inspires an exploration of the relationship between pitch perception and sound localization. Hecker will create a text and sound piece that incorporates the recordings of material read by students. Using an anechoic chamber he will work with students to explore the experiential nature of psycho-acoustic practice.

جيمس توريل
詹姆斯·特瑞尔
ג’יימס טורל
ジェームズ·タレル
설치작품 제임스 터렐
Джеймса Таррелла
Bindu Shards
Bindu Shards is a “fully immersive visual and auditory work to be experienced by one person at a time.” One is strapped down and sealed in for 15 minutes in this white chamber and exposed to monotone sound and color.