Laurent Grasso

OttO (solo exhibition)
OttO (the film)
ether
Structured around a set of brand-new works and around the eponymous film, the exhibition interconnects sacred spaces, animistic beliefs and scientific theories. Each of these works concerns imperceptible and yet active phenomena that have in common the real or supposed effects of electromagnetic waves, vibrations and frequencies. Perrotin Paris

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éther

Structurée autour d’un ensemble d’œuvres inédites et autour du film éponyme, l’exposition interconnecte espaces sacrés, croyances animistes et théories scientifiques. Chacun de ces travaux concerne des phénomènes imperceptibles et pourtant actifs qui ont en commun les effets réels ou supposés des ondes électromagnétiques, des vibrations et des fréquences. Perrotin Paris

JONNA KINA

Arr. pour une scène
La force sonore de la scène de meurtre la plus célèbre du cinéma est étudiée. Deux artistes foley recréent la séquence de douche d’Hitchcock, déconstruisant les associations de signifiants auditifs et le pouvoir synesthésique du son. Jonna Kina contextualise ce phénomène étrange – la qualité trans-sensorielle du son – à la fois dans l’œuvre de Kina, ainsi que dans d’autres œuvres historiques et contemporaines à l’intérieur et à l’extérieur du domaine de l’art. Dans Arr. for a Scene (2017), Kina explore les structures et les formes du son cinématographique – en transformant une image emblématique – la scène de douche horrible dans Psycho d’Alfred Hitchcock (1960) – en fréquences sonores d’objets domestiques originaux et apparemment innocents.

Jonna Kina

Arr. for a Scene

“The sonic force of cinema’s most famous murder scene is investigated.Two foley artists recreate Hitchcock’s shower sequence, deconstructing the associations of aural signifiers, and the synesthetic power of sound. Jonna Kina contextualize this uncanny phenomenon — the “trans-sensory” quality of sound – within both Kina’s oeuvre, as well as other historical and contemporary works inside and outside the realm of art. In Arr. for a Scene (2017), Kina explores the structures and forms of cinematic sound – transforming an iconic image — the horrific shower scene in Alfred Hitchcock’s Psycho (1960) – into the sonic frequencies of quirky, seemingly innocent, domestic objects.” Melissa Ragona

 

David Bowen

Tele-Present Water
This installation draws information from the intensity and movement of the water in a remote location. Wave data is being collected in real-time from National Oceanic and Atmospheric Administration data buoy station 46075 Shumagin Islands Alaska (53°54’39” N 160°48’21” W). The wave intensity and frequency is scaled and transferred to the mechanical grid structure resulting in a simulation of the physical effects caused by the movement of water from this distant location.

KAZUHIRO YAMANAKA

sound cloud
London-based designer kazuhiro yamanaka has created the ‘sound cloud’ a light-emitting quantum glass speaker system installation for saazs ‘a glass house’ program. the structure is composed of five interactive monolithic glass panels, formed with the intention of modelling the integration of innovative glass within architecture and design. the sound and light radiating from ‘sound cloud’ shift in unison, their synchronization may be altered by the viewer as they adjust their aural and visual experience by means of a touch-screen controller.
yamanaka aspired for the visitors to ‘be able to hear the sound move from one to another, jumping back and forth and echoing from the panels.’
a sound module is attached to each panel. as it vibrates,the three layers of glass move at a frequency, which creates optimum sound quality. the sound for the installation was developed by the france-based sound designer, gling-glang. yamanaka and gling-glang devised a soundscape by which ‘sound cloud’ visitors were able to sense the sculptural construction of the music in walking through the installation’s glass-paneled pathway.
the glass is outfitted with a light-emitting system known as ‘LED in glass’, invented by quantum glass. through this technology, the panels become a source of light. the ‘sound cloud’ is illuminated as the LED bars are fitted around the edge of the panel in order to direct beams of light through the edge of the extra clear glass sheet. as a result, light refraction occurs from the front side by means of a white enamel screen print on the opposite side.
yamanaka chose to slightly obscure the brightness of the glass sound system by creating a thin layer from millions of light dots, culminating in a cloud-like shape.

Nicolas Bernier

FREQUENCIES (A)
Sound performance combining the sound of mechanically triggered tuning forks with pure digital soundwaves. The performer is triggering sequences from the computer, activating solenoides that hits the tuning forks with high precision. Streams of light burst in synchronicity with the forks, creating a not quite minimal sound and light composition.

Nicolas Bernier

frequencies (light quanta)

The project is part of an ongoing process entitled «frequencies», exploring basic sound and light dichotomic systems. Here, frequencies (light quanta) stems from a fascination towards science, light, and granular synthesis allowing to create clouds/grains of sounds. The conceptual focus lies in the quantum — the smallest measurable value of energy —, on the smallness of matter. The whole project is based on the possible conceptual relationships between basic quantum physics principles applied to the audio-visual creative process: particles, probabilities, wave/particle duality and discontinuity. Metaphorically structured around these notions, the audio-visual composition stems from 100 sound and light micro-sequences that develop themselves, generating an ever expending but yet disruptive form in time and space. With the use of randomness, the vectorial graphics are always creating new ways to look at the visual, physically superimposing pattern images.

MIGUEL CHEVALIER

Мигель Шевалье
ミゲル·シュヴァリエ
מיגל שבלייה
미구엘 슈발리에
Power Pixels
L’exposition Power Pixels se compose de deux installations de réalité virtuelle génératives et interactives : Complex Meshes 2020 et Oscillations 2020, oeuvre présentée pour la première fois au public. Oscillations 2020 permet une visualisation graphique en 3D de la musique de Michel Redolfi. Une forme d’onde se génère en temps réel selon les fréquences et les amplitudes de la musique. Ces spectres sonores des différents sons de la musique génèrent des paysages imaginaires à l’infini. Image et musique se répondent dans une fusion de nature émotionnelle qui participe à une véritable synesthésie.

Lina Ghotmeh

Light in Water Installation
‘Light in Water’ is a site-specific installation intended to provide an immersive and emotional experience. It was previously presented at Milan Design Week 2011. The installation took advantage of the unique status of the venue – one of the oldest concrete domes in Paris. The installation was thus adapted to the circular form of the space, defining the inner sanctuary as a ‘place to be’ and an outer area as a space for a bystander. There are sixteen rings of slotted tubes on the ceiling. From each hole, 60 drops of water fall every minute; in total 3 tons of water circulate in the space. The LED lights vibrate between on and off, with frequencies ranging from the shortest interval possible, at 7μs, allowing the viewer to materialise a point of light in water, up to 6000μs, where light becomes the line of water.

DAAN BRINKMANN

16 pillars

Skinstrument is a musical instrument which can be played by two players. By means of a tiny imperceptible current the players become part of a circuit. When the players touch each other on the skin this circuit starts to generate sound. The intensity of the touch determines the frequency of the sound.

Clausthome & Martins Ratniks

UNKNOWN PLANET
The Latvian sound artists collective “Clausthome” (Lauris Vorslavs, Girts Radzins) and video artist Martins Ratniks will present a sound and video modulation performance unclosing saturated sound landscapes and collages of the electromagnetic waves, created by scanning and retranslating a real-time audio and video signal modulations. In their daily practices “Clausthome” collective is engaged in experiments with modulations and sound feedback as well as in collecting diverse radioa signals and scanning of radio frequences. Martins Ratniks is one of most renowned Latvian video artists, whose experiments in the field of art and technologies has been acknowledged both in Latvia and abroad. This will not be the first collaboration between “ Clausthome” and Martins Ratniks, previously they have been working togeher on such projects as “ Spectrosphere” (2006) and “ Unknown Planet” (2012).

RAFAEL LOZANO-HEMMER

Рафаэль Лозано-Хеммер
拉斐尔·洛萨诺 – 亨默
ラファエル·ロサノ=ヘメル
라파엘 로자노
רפאל לוזאנו, המר
Pulse Spiral
“Pulse Spiral” é um parabolóide espiral tridimensional composto de 400 lâmpadas dispostas de acordo com as equações de Fermat, – uma distribuição espacial eficiente ao longo de uma superfície que é encontrada na filotaxia da planta (arranjo de folhas e células nas raízes, por exemplo). A peça registra e responde à frequência cardíaca dos participantes que seguram um sensor por baixo. Encomendada para a inauguração do Centro de Cultura Contemporânea de Moscou na construtivista Bakhmetevsky Bus Garage, a peça é inspirada no engenheiro Vladimir Shukov que trabalhou com Melnikov neste edifício emblemático de 1926-28.

MANUELA DONOSO AND LUISA PEREIRA

The Harmonic Series

File Festival

Created by Manuela Donoso and Luisa Pereira, The Harmonic Series is a collection of mechanical devices , software, sculptures and prints that explore the relationship between musical and visual harmony.Inspired by the nineteenth century mathematician Jules Lissajous who invented a device to visualize sound vibrations using two tuning forks and a beam of light reflected from one mirror to the next to a screen, Manuela and Luisa have re-created and extended this experiment using recent tools. An electronic version of the device replaces the tuning forks with microphones and speakers, allowing people to sing different musical intervals, and contrast the resulting figures with the more chaotic ones generated by percussive sounds. An application plays groups of three notes and plots 3d Lissajous figures for their frequency ratios. The frequency ratios for major, minor and diminished chords are 4:5:6, 10:12:15 and 20:24:29 respectively. These chords were plotted using the app, and then printed as posters and sculptures that reveal a tight relationship between aural and visual harmony.