Alter-Projects and Servaire & Co
Alter-Projects and Servaire & Co have partnered to design Metronome, an oscillating installation at the London Design Biennale created to trigger memories through sounds and smells. The installation is a room with a scent-diffusing physical metronome at its centre accompanied by an ASMR soundscape by designer Steve Lastro.
StickMan is a minimal but full-body exoskeleton that algorithmically actuates the artist with 6 degrees-of-freedom. It is a gesture generating system capable of 64 possible combinations. Sensors on StickMan generate sounds that augment the pneumatic noise and register the limb movements. A ring of 6 speakers directs and circulates the sounds.
Sean Kerr and Judy Darragh
“In Kahoots is an ever-changing 3D experience that in a sense feeds on itself – by reworking the artists’ source material, the algorithm constantly regenerates its own sounds and images into new art. This is the first time In Kahoots has been to Christchurch – but really, everyone who visits will experience a first. In Kahoots encourages people to literally be a part of a truly unique work of art, and create lifelong memories for audiences of all ages. It’s fun for kids, and food for thought for everyone looking for a little extra.” Nathan Pōhio
micro | macro
micro | macro transforms Hall E in the MuseumsQuartier into an oversized world of moving images and sounds. In his immersive installation, multimedia artist Ryoji Ikeda creates a field of imagination between quantum physics, empirical experimentation and human perception. In collaboration with nuclear scientists at CERN, Ikeda has translated complex physical theories into a sensory experience. The Planck scale is used by scientists to denote extremely small lengths or time intervals. Concepts like space and time lose their meaning beyond this scale, and contemporary physics has to rely on speculative theories. And on art. Visitors to micro | macro enter a world of data, particles, light and sound that makes the extremes of the universe perceptible to the eye and ear. In the micro world we penetrate the smallest dimensions of the unrepresentable, while in the macro world we take off into cosmic expanses that allow us to experience the infinite space beyond the observable universe. In this maelstrom of data, an acoustic and visual firework bridges the gap between theoretical understanding and sensual perception.
Multiversum is written for two solo instruments and orchestra, for two instruments of the same family: the traditional organ with its rich but static colours and the modern Hammond, which can continuously change colours. It was very important for me that the sound of the two organs could completely wrap around the audience, like we imagine the cosmos envelops us. The traditional organ sounds from the front, the Hammond from the back. If we visualise the two organs as our galaxy, then the different groups of the orchestra can represent different galaxies. That’s how the “Universe” becomes the “Multiversum”.
As a unique site-specific commission for the Donum Estate, Los Angeles-based artist Doug Aitken has created the ethereal work Sonic Mountain (Sonoma), three concentric circles of suspended stainless-steel pipes whose differing lengths form a wave at their base, mirroring the free Euler-Bernoulli shape that describes the chime’s frequency. Installed in the eucalyptus grove, measuring forty-five feet in diameter and twice human height, and comprising 365 chimes — one for each day of the year — Sonic Mountain (Sonoma) works with one of Donum’s most persistent elements, the Carneros breeze that cools the grapes and creates a temperate zone for growing Pinot Noir. Each day, the warm wind begins its soft whisper, rustling through the vines and trees, building in strength through the day until mid-afternoon, and then gradually diminishing in force. Known to have been used since at least the ancient Roman period in Europe and the second century in India and China, wind chimes create chance, inharmonic music. At Donum, Aitken has teamed up with his friend the composer Terry Riley to compose chords in the chimes to be played by the wind , depending on how it blows, so the lyrical work sounds throughout the estate, demonstrating the artist’s practice of making installations that synthesize many media and are never constrained by tradition.
Imagination Dead Imagine
An androgynous head is projected as if contained within a minimalist cube. Sounds of the head slowly breathing fill the space. The head is serene, waiting. Suddenly a substance pours over it from all sides, drenching it in what appears to be a bodily fluid. The spectator wants to turn away but can not, the gaze is compelled through the invocation of the scopic drive. Horror at the repulsive nature of the substance (the abject) is replaced by fascination with the beauty of what might be considered a contemporary sublime.
Drawing on Pantone Color of the Year 2020 Classic Blue’s inspirational qualities, “Celestial” takes visitors on a journey beyond the skies. This technology-powered, multi-sensory installation transcends space and time— pushing the limits of our imagination and opening up a new realm of possibilities. Submerge yourself in the sights, sounds and sensations of Classic Blue.
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.
Riccardo Torresi, Maxime Lethelier, Asako Fujimoto
Sun Outage is a degradation or temporary interruption of satellite signal caused by solar radiation. In these moments satellites occur to be in between the Sun and the Earth, producing with their shadows an invisible eclipse. Satellarium II shows these astronomical events through a variation of visuals and sounds in the room in which it is exhibited. The installation consists of a set up of multi channel surround speakers and graphics projected on a disk above the viewers, representing the fragment of the visible sky from the location of the artwork. Visuals and sounds are based on real time tracking of the satellites position and magnitude (brightness of a satellite as it appears in the night sky from Earth). The gradient on the background of the projection represents the sun and it is related to its real-time position in the sky.
Ekman talents extend to the lighting and stage design and his eye for structuring an environment is unerring. There is no set as such, excepting the plaster cow which dangles overhead, but the stage surface has its share of movement as little island-blocks rise up and pits sink down. The extreme tilting of the stage at one point causes unfortunate Bauch to roll, cow-like, almost into the pit. COW has its iconic Ekman moment in the scene that opens on a stage full of swirling dancers in white skirts set in a magical silvery mist. Mikael Karlsson, whose music partners the piece provides a subtle and evocative soundscape. He offers a hint of percussive rhythm picked up by the dancers who launch into an ecstatic dance: a stage full of whirling dervishes, until they collapse exhausted.
Ekmans Talente erstrecken sich auf die Beleuchtung und das Bühnenbild, und sein Auge für die Strukturierung einer Umgebung ist unfehlbar. Es gibt kein Set als solches, außer der Gipskuh, die über ihnen baumelt, aber die Bühnenoberfläche hat ihren Anteil an Bewegung, wenn kleine Inselblöcke aufsteigen und Gruben sinken. Das extreme Kippen der Bühne an einer Stelle führt dazu, dass der unglückliche Bauch kuhartig fast in die Grube rollt. COW hat seinen legendären Ekman-Moment in der Szene, die auf einer Bühne voller wirbelnder Tänzer in weißen Röcken in einem magischen silbernen Nebel beginnt. Mikael Karlsson, dessen Musikpartner das Stück ist, bietet eine subtile und eindrucksvolle Klanglandschaft. Er bietet einen Hauch von perkussivem Rhythmus, der von den Tänzern aufgenommen wurde, die einen ekstatischen Tanz beginnen: eine Bühne voller wirbelnder Derwische, bis sie erschöpft zusammenbrechen.
MYMK Bruno Sres
…But the best thing about MYMK is his music needs no adornment; the bonuses are simply icing on the cake…We’ve referred to MYMK as drone, electronic and experimental... spreading his sounds like Sodeoka’s spilled paint. Garlands are decorations we associate with victories; Garlands is one of them. (Richard Allen)
visual designer and artist: Yoshi Sodeoka
FILE SAO PAULO 2017
BLACK HOLE HORIZON
The nucleus of the installation is the invention of an apparatus resembling a ship horn. With the sounding of each tone, a huge soap bubble emerges from the horn. It grows while the tone sounds, peels off the horn, lingers through the exhibition space and finally bursts at an erratic position within the room.
DI MAINSTONE AND TIM MURRAY-BROWNE
The result of a cross-disciplinary investigation spanning fashion, technology, music and dance, the Serendiptichord is a wearable musical instrument that invites the user (or movician) to explore a soundscape through touch and movement. This curious device is housed in a bespoke box and viewed as part of a performance. Unpacked and explored on and around the body, the Serendiptichord only reveals its full potential through the intrepid curiosity of its wearer. Adhering to the body like an extended limb, this instrument is best described as choreophonic prosthetic. Referencing the architectural silhouette of a musical instrument and the soft fabrication of fashion and upholstery, it is designed to entice the movician to explore its surface through touch, physical manipulation and expressive movement. Although this acoustic device can be mastered alone, it also holds subtle openings for group interaction.
A Symphony of Noise
Created by Michaela Pnacekova, Jamie Balliu
Herbert’s everyday sound sources are the inspiration for A Symphony of Noise VR. This interactive virtual reality experience is a journey through four sonic landscapes. The first centers on breathing, which immediately makes you focus on listening to the world differently. This is followed by an arctic environment full of scraping and crunching sounds, and finally a shop interior. Using the controllers or by blowing or singing, you can add sounds to the audio palette, which is visualized as waves and colors in three-dimensional space. In the fourth and final landscape, all the sounds are combined in an ultimate symphony.
The Raft depicts at life-sized scale a group of ordinary people casually standing together. Suddenly, they are struck by strong blasts of water that rush in, overtake them, and then, just as unexpectedly, recede. In the aftermath of the deluge, the victims huddle together, seek protection, and help those who have fallen. The viewer experiences this event in an immersive setting, standing in a darkened room and surrounded by the roaring sounds of the water. Meticulously captured in slow-motion, The Raft arouses a visceral experience of human calamity and shared humanity, provoking a consideration of the range of responses to crisis.
Ronald van der Meijs
Odoshi Cloud Sequence
A symbiosis between nature and culture is created against the backdrop of the Japanese garden in the pond of the Amstelpark. This artwork explores new possibilities to generate sound and composition that are controlled by slow, unpredictable and unexpected elements of nature which are highly respected in Japanese culture. The diversity of natural sounds gives the work an almost meditative character, while the dependance on natural factors evoke a tension between longing and acceptance. This sound installation engages, as a natural sequencer, in a dialogue with the water, sun wind and clouds. It refers to Japanese garden culture by using the principle of the Japanese bamboo water tumbler.
Measuring 30m x 30m x 2.4m and featuring LED lights and 8 audio channels, Frame Perspective transforms a cavernous space at the Maison de la Région. On specific dates throughout the Constellations festival Ratsi has prepared a light programme in the space, accompanied by a sound composition played by Thomas Vaquié (see the festival programme for more details). Frame Perspective continues Ratsi’s interrogation of reality through the creation of exploratory and peripheral spaces. The installation’s repeating forms create new dimensions in the Maison de la Région, interrupting the lines of the architecture. Meanwhile the composition of interacting lights and sounds disrupts the sonic and visual textures of the space and resonates with the visitor on uncharted frequencies. The effect is to immerse the visitor into a fluctuating environment which connects digital technologies with physical spaces and raises questions about how reality is constructed and experienced in digital, physical and other realms.
Marshmallow Laser Feast
In the Eyes of the Animal
In the Eyes of the Animal, a journey through the food chain, is an artistic interpretation of the sensory perspectives of three British species. Created using Lidar scans, unmanned aerial vehicles (UAVs) or drones & bespoke 360° cameras, the piece is set to a binaural soundscape using audio recordings sourced from Grizedale Forest in the north of England.
João Martinho Moura
WIDE/SIDE is an interactive installation in which shapes, images, and sounds are joined and interdependent. A visually engaging block, captivating in its monochromatic conception and minimalist lines, serves as a projection screen and teems with conglomerations of lines and shapes. As a result the installation is always changing and acquiring countless different forms.
The individual forms of the projections in reality are based on the surrounding environment, responding to the movements and gestures of the viewers. Visitors and passersby therefore themselves become part of the work and define its appearance.
Ljós (Icelandic for ‘light’) has been conceived in continuity with the research carried out by fuse* in the field of digital and performative arts, which explores the deep connection between light, space, sound and movement. In Ljós, the performer is the means that allows the viewer to access a surreal and dreamlike space, a dimension with no gravity nor time, made by sounds and images reacting and interacting in real time. A shape-changing universe, which evolves from amniotic fluid in the beginning – protecting and supporting the performer – to the setting for violent explosions and transformations later – leading her to a direct contact with ground and Earth.
Your double my double our ghost
The installation acts a space for the consideration of intimacy and meditation– both alone and with others that may share the space – through the merging of the viewer’s own reflections articulated through a composition of shifting light and emerging sounds which fill an otherwise dark chamber. Functioning similarly to the classic funfair mirror– the flexible silver two-way mirror sheeting forming an ethereal hanging centrepiece– the work invites the viewer to consider representations of themselves which appear distorted and transient, and which merge with those around them to form ‘new presences’. In this sense the viewer may see themselves multiplied or doubled with another viewer, or find themselves alone in a rare moment of literal reflection providing a contemplative space or eliciting a hallucinatory fantasy bringing forth ideas in neuroscience around the Self and Other.
A familiar childhood location on the Essex marshes is reframed by inserting images randomly generated by a neural network (GAN*) into this tidal landscape. Initially trained on a photographic dataset, the machine proceeds to learn the embedded qualities of different marsh birds, in the process revealing forms that fluctuate between species, with unanticipated variations emerging without reference to human systems of classification. Birds have been actively selected from among the images conceived by the neural network, and then combined into a single animation that migrates from bird to bird, accompanied by a soundscape of artificially generated bird song. The final work records these generated forms as they are projected, using a portable perspex screen, across the mudflats in Landermere Creek.
Sounds of Silence
Inside the exhibition, there’s not a word of written text, and few traditional photos or videos. Instead, you get abstract spatial graphics. Tracking systems respond as you navigate the exhibit, and an unseen voice hints at what you might do. There’s a snowy cotton-like entry, radio-like sound effects, and then a pathway to explore silence from the start of the universe until this century.
Iwai Toshio and Nishibori Ty
Media artist Toshio Iwai and and Yu Nishibori of the Music and Human Interface Group, Yamaha Center for Advanced Sound Technology, have collaborated to design a new digital musical instrument for the 21st+century, TENORI-ON. A 16×16 matrix of LED switches allows everyone to play music intuitively, creating a “visible music” interface. It consists of a hand-held screen with a grid of LED switches, any of which can be activated in a number of ways to create an evolving musical soundscape. The LED switches are held within a magnesium frame, which has two built-in speakers located on the top of frame, as well as a dial and buttons that control the type of sound and beats per minute produced.
Immersed Garden is in its true sense a sunken world. Floating bodiless in an underwater garden, natural sounds guide you through an immersive surrounding, somewhere between calming and irritating, natural and artificial. It is a playful exploration of the individual conception of safety and confusion and a personal approach to aesthetic references to habits of introspection and retreat in digital environments. It was created by fusing different digital processes like photogrammetry of selected natural places around Karlsruhe and field recordings in a local natural reserve. Underwater videos hybridize with 3D scans of trees and plants while invisible frogs are croaking and humming birds are buzzing by synthetic flowers. The artistic aim was to explore the personal perception of calming and irritating, playing with the concept of immaterialness and attentiveness. The artwork creates aesthetic references to philosophical and scientific theories of introspection and identity.
Anders Lind and Ulla Karlsson
Skogen/The forest is an interactive sound art exhibition created by Swedish composer Anders Lind in collaboration with Swedish scenographer Ulla Karlsson. THE FOREST is created as a multiplayer orchestra platform for novices (or experts). Within THE FOREST the visitors becomes orchestra performers ready to explore preprocessed sounds from the Swedish forest in combination with sounds from a traditional symphony orchestra. THE FOREST was first exhibited at Norrlandsoperan, Umeå, Sweden in 2019.
The Hive Kew Gardens
“The proposal involves the idea of ’temporary’ in an interesting way. It uses the temporary aspect of the installation to carefully engage with the purpose and short and long-term needs of the land,” said the judges. Originally designed for the Expo 2015 from Milan, The Hive was transferred to Kew Gardens, in central London, for two years, where it was part of an event space. Designed to give visitors a glimpse into the life of working bees, the pavilion was built with 169,300 individual aluminum components equipped with hundreds of LED lights. As the meadow surrounding the structure grows, several species of plants begin to flourish, bringing with them the sounds of real bees that enhance the multi-sensory experience of the pavilion.The aesthetic and symbolic installation represents its namesake, with the aim of showing visitors the importance of protecting the honeybee.
The Robin Who Wondered If He Was a Nightingale
Various members of orchestra perform impressive improvisations based on your identity and the natural environment. The flutes combine their sounds with the rhythm of the percussion. The special acoustics of the forest played an important role. Every time an attempt is made to deliver the highest quality of improvisation and to achieve more than perfectly played notes. This creates a magical and unforgettable experience. Musicians: Nightingale, Cuckoo, Moorhen, Pigeon, Curlew, Black-billed Cuckoo, House Sparrow, Little Owl, Woodcock, Green Woodpecker, Great Spotted Woodpecker, Middle Spotted Woodpecker, Lesser Spotted Woodpecker.
REVITAL COHEN & TUUR VAN BALEN
A number of life-support machines are connected to each other, circulating liquids and air in attempt to mimic a biological structure.
The Immortal investigates human dependence on electronics, the desire to make machines replicate organisms and our perception of anatomy as reflected by biomedical engineering.
A web of tubes and electric cords are interwoven in closed circuits through a Heart-Lung Machine, Dialysis Machine, an Infant Incubator, a Mechanical Ventilator and an Intraoperative Cell Salvage Machine. The organ replacement machines operate in orchestrated loops, keeping each other alive through circulation of electrical impulses, oxygen and artificial blood.
Salted water acts as blood replacement: throughout the artificial circulatory system minerals are added and filtered out again, the blood gets oxygenated via contact with the oxygen cycle, and an ECG device monitors the system’s heartbeat. As the fluid pumps around the room in a meditative pulse, the sound of mechanical breath and slow humming of motors resonates in the body through a comforting yet disquieting soundscape.Life support machines are extraordinary devices; computers designed to activate our bodies when anatomy fails, hidden away in hospital wards. Although they are designed as the ultimate utilitarian appliances, they are extremely meaningful and carry a complex social, cultural and ethical subtext. While life prolonging technologies are invented as emergency measures to combat or delay death, my interest lies in considering these devices as a human enhancement strategy.This work is a continuation of my investigation of the patient as a cyborg, questioning the relationship between medicine and techno- fantasies about mechanical bodies, hyper abilities and posthumanism.
The data projector loads images of a leather bound tome onto a tablet which a light pen activates, animating the objects named in it – stone, apple, door, light, writing. The soundscore immaculately emulates the motion of each against paper, save for the syllabic glyphs of Japanese script, for which a voice pronounces the selected syllable. Stone and apple roll and drag across the page, light illuminates a paper-shaded desklamp; door opens a video door in front of where you read, a naked infant romping, lifesize and laughing, in.
The sound sculpture Ad lib. combines a medical machine for automatic pulmonary ventilation with a few organ pipes that play a musical chord to the constant rhythm of the mechanical breath, creating an artificial organ that is metaphorically a mechanical requiem that sounds incessantly. The title of the work Ad lib., an abbreviation of the Latin expression “ad libitum”, is a musical caption that gives the performer discretion of interpretation, allowing for instance to repeat “at will” certain bars of the score. The sculpture aims to refer to the situation in which people, who suffer from critical health conditions, see their survival tied to a breathing machine and, therefore, to the discretion of those who are taking care of them.
Disrupted Domains features new animations created with molecular visualization software and SARS-CoV-2 structures displayed in Quorum at the Science Center. The animations were developed in remote collaboration with uCity Square biotech company Integral Molecular for Splan’s Science Center Bioart Residency while “sheltering in place” for COVID-19. The work in the exhibition is part of Precarious Structures, Splan’s project that explores the interconnectedness of cultural and biological systems during the coronavirus pandemic. Accompanying soundscape by Frank Masciocchi recorded in collaboration with Splan over Zoom.
In the installation inflated silicone forms are suspended amidst an austere metal structure, and are prodded by automated rods. Set to contrastingly beautiful music by composer Alex Mills, which is punctuated by the industrial sounds of the mechanised device, the art work looks like a science experiment, or some kind of torture device, and you may find yourself anthropomorphising the poor, inflated bags which are at the mercy of their mechanical environment.
Marnix de Nijs
Lost Dimension Non-dimensional Cities is an immersive cinematic experience in which participants journey through an endlessly unfolding virtual cityscape that expands over all axes. This dimensionless cityscape is constructed from a large collection of point clouds and sounds. While the user is standing on the controller pod and navigates through this virtual world, a sense of physical instability takes over and the platform becomes an anchor to hold on to. The building blocks of the world are generated from depth map information and panoramic photographs obtained from Google Street View’s API. Depending on the user’s position in the virtual world these blocks are dynamically repositioned on a three-dimensional grid. By subtle manipulation of motion and sound, perspective distortion and shifts in balance Lost Dimension unquestionably re-calibrates the viewer’s perception of dimensionality.
Le Grand Macabre
In the mid-70s, Ligeti wrote his only opera, Le Grand Macabre, loosely based on the 1934 play, La Balade du grand macabre, by Michel De Ghelderode. It is a work of absurd theatre that contains many eschatological references.After having seen Mauricio Kagel’s anti-operatic work Staatstheater, Ligeti came to the conclusion that it was not possible to write any more anti-operas. He therefore resolved to write an “anti-anti-opera”, an opera with an ironic recognition of both operatic traditions and anti-operatic criticism of the genre. From its brief overture, a mixture of rhythmic sounds scored for a dozen car horns, to the closing passacaglia in mock classical style, the work evolves as collage of sonorities ranging from a grouping of urban sounds to snippets of manipulated Beethoven, Rossini and Verdi.
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.
Cloud, produced on-site at the museum using thousands of feet of red electrical wire, hosts a fourteen-channel composition that visitors listen to by wearing customized headphones. These devices, developed by the artist, contain magnetic coils that receive the magnetic fields circulating in the cable loops and make them audible. As visitors move around the installation, they look at the chaotic electrical wiring suspended in the gallery but hear the prerecorded sounds programmed into different segments of the sculpture.
Dans 13 Tongues
Choreographer CHENG Tsung-lung has always been fascinated by his mother’s stories about “Thirteen Tongues”: the street artist and legendary storyteller from their neighbourhood in Taipei was known for being able to slip into various roles. With his full-length work, CHENG succeeds in becoming a modern “Thirteen Tongues” himself: He transforms Taoist rites, festive parades and the bustling street life of Taipei into a fantasy world, blurring the past and the present, the real and the surreal. Against a mysterious soundscape of Taiwanese sounds, Japanese Nakashi melodies and the electronic music of LIM Giong, the dancers stomp and tremble in ecstasy like enchanted shamans in an endless festival.
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.
“When left alone with no audience, the object glows dimly as if it were asleep. Yet when visitors approach, the installation slowly comes back to life. Colour gradients pour into each shape, whilst mirrored surfaces start reflecting light – all to the orchestra of an encompassing soundscape. This project invites visitors to become part of something. An immersive light experience in which the audience directs the intensity, audio and colour palettes simply by approaching, moving around in and between the large geometric shapes of the installation. Truly, a merging of art, interaction design, sound, tech and vision. As visual architects, our aim with ‘TRIPH” is to demonstrate that a number of different techniques can be combined into a mix of unexpected shapes and materials, that in turn help to create a new truly unique way of experiencing a story. Both in daylight condition and at night. With our self-initiated work, we aim to find undiscovered methods of narrative, questioning the ways people discover and open themselves up to new conceptual work.” Circus Family
Reclining StickMan is a 9m long robot, actuated by pneumatic rubber muscles. Visitors at the AGSA can intuitively animate the robot from a control panel. At indicated periods, people online elsewhere can choreograph its movements and sounds. A background algorithm animates the robot intermittently if no-one intervenes, locally or remotely.
UVA UNITED VISUAL ARTISTS
Harmonics challenges our perception of light and sound unfolding at great speed, an illusion of time blending. As the two kinetic sculptures speed up, rotating beams of light blend to form volumes of colour, while multiple discrete sounds become a major chord. Unable to process extremely fast information, our brain reads sequential sensory inputs as a single event in time. A disconnected reality perceived as a continuum, a harmonious whole.
“Particle Waves” is a kinetic sound sculpture comprising of a 4×3 grid of 12 individual kinetic bowls. Within each bowl contains tiny metal beads of various sizes, creating “noises“ as the bowl rotates in various angles. The noise from a single bowl forms collectively to become a soundscape, reminding us of waves and oceans. The bowls are arranged in a 4×3 grid and controlled as a whole by a microcontroller running a wave algorithm. This creates a continuous wave-like kinetic motion over the grid, at the same time creating a spatialized soundscape. This installation is a continuous attempt of exploring the correlation between sound and nature.
“Blooming” is an interactive audiovisual installation that highlights the importance of human connection. It takes the form of a life-size 3D Cherry blossom tree, which is a common symbol of social ties and transience of life in East Asian culture. As a response to participants’ skin-to-skin contacts, heart rate, and gestures, “Blooming” blossoms according to their intimacy. As audience members hold hands or embrace, the digital Cherry tree flowers bloom and scatter. When they let go off their physical contacts, the flower return to its pre-bloom state. The color of the flowers turns white or red based on participants’ heart rate as they interact with each other. (the faster the heart rate, the redder the tonality; the slower the heart rate, the whiter the tonality). In addition to the visual responses, sounds are also modulated according to the tree’s different stages: pre-bloom, blooming, petals falling.
In Latent Space fine lines weave virtual spaces around the viewers. The architecture that manifests is highly fragile — the space grows, shrinks, collapses. The acoustic dimension is also deeply spatial — slowly morphing soundscapes float around the dome, enveloping the observers in sound and image. The omnipresence of the virtual realm is transposed into the physical space of the dome to unmask the often proclaimed boundlessness of digital space. The work tests and investigates the spatial effects of the dome, which serves as a metaphor for the virtual net that always surrounds us.
Boris Chimp 504
Future Sound of Aveiro
Future Sound of […]” is a site specific interactive installation which explores the audiovisual landscape of a specific city. The inhabitants of [insert city] are invited to enter in a dark room where the characteristic sounds of their city life. Through the exploration of the space, they may find changes in the space-time continuum that will modify these sounds, transforming them [or not] in hypothetic sounds of the future of [insert city]. Could these [new] sounds draw their future?
Randomly selected, acoustically usable finds (electronic junk, relays, plastic toys,compressed air valves, pneumatically operated components) are combined with cables and tubes. Via a device controlled by computer, they are turned into interactive instruments. An improvised ensemble evolves, from which – per mouse-over and mouse-click -short miniature compositions of dense rhythmic clicks, hisses, whirs, hums and crackles can be elicited. A tapestry of sound bursts forth from the floral-like web of cables and tubes. The installation can be used by the projected mouse-cursor: rolling over the improvised instruments causes small sound events. Activating the installation by rolling over its parts enables the user to play spontaneous improvisations. Clicking these objects starts short programs of loop-like compositions. Small “techno-compositions en miniature”, rhythmic patterns of analog (or real) sounds; a physical low-tech simulation of electronic, digital music, perhaps an ironic comment on interactivity.
Electronic images of black and white alternating structures and contrasts are projected on a cuboid object in space. Passing through different metamorphosis, the abstract image themes gather momentum in the three-dimensional. Structural unities of image, sound and movement deconstruct the shape of the cube – images and sounds are mutually dependent and explore relations between form and meaning beyond medial image fronts.
Anne-Sarah Le Meur & Jean-Jacques Birgé
Omni-Vermille is based on computer-generated real-time 3D images. The programmed code allows light spots to oscillate against a dark background. The colors sometimes move dynamically, sometimes calmly across the projection surface; sometimes they evoke plasticity, sometimes depth. This continuous metamorphosis endows the contents of the images with a sensual, even lively quality. The metamorphosis designed by algorithms opens up a new time-based morphology of colors and forms for painting. The play of colors is accompanied by a stereophonic sound composition by Jean-Jacques Birgé (*1952, France). The sounds follow the shapes of the colors, only to stand out again the next moment: the combination of sound and image results entirely from the laws of random simultaneity.
Gaspard et Sandra Bébié-Valérian
Viridarium / Bioréacteur de spiruline
Gaspard and Sandra Bebie-Valérian will present Viridis. Viridis is a global project that relies on different modules, the main being an online video game, immersive, plus an installation made of spirulina bioreactors and a set of videos and sounds. While Viridis is mainly available on the internet, the two artists, at this occasion, will present it out of the screen, they will deploy and spread it in several modules.
Viridis is a unique game experience combining adventure, survival, and an actual operating spirulina community management. Through the video game, the community can directly affect and interact with a real operating spirulina farm, managed by the artists.
“Biomatrix” is an installation of endles scycles of eruptive cell bubbles emerging on the surface of liquid silicone oil. This circulation of the colored liquid evokes the behaviour of magma or blood, and due to the high viscosity of silicon oil, illustrates the movement of the material at a speed deceptively slower than the viewer’s expectation. The electrically controlled pool becomes an interface that amplifies visual impact, and infinitely produces cell patterns. An orderly grid formation appears as a digital matrix, while closer observation reveals irregularities such as sporadic and simultaneous effervescence and plosive sounds breaking the surface tension.
Christoph De Boeck
The intimate topography of the brain is laid out across a grid of 80 steel ceiling tiles as a spatialized form of tapping. The visitor can experience the dynamics of his cognitive self by fitting a wireless EEG interface on his head, that allows him to walk under the acoustic representation of his own brain waves.The accumulating resonances of impacted steel sheets generates penetrating overtones. The spatial distribution of impact and the overlapping of reverberations create a very physical soundspace to house an intangible stream of consciousness.‘Staalhemel’ (‘steel sky’, 2009) articulates the contradictory relationship we entertain with our own nervous system. Neurological feedback makes that the cognitive focus is repeatedly interrupted by the representation of this focus. Concentrated thinking attempts to portray itself in a space that is reshaped by thinking itself nearly every split second.
10.000 Moving Cities
Visitors can select any city or place, using a digital interface. About the chosen place, the Internet is searched in real time for latest text, image, video and sound informations. Four projectors and eight audio speakers project the results into the space. Visitors are able to walk through the model and experience the information in 3D. Attracted and inspired by images, sound, text and videos, visitors explore the places and perceive fragments of the immense amount of data. Additionally audio and visuals constantly change, they are never the same, always in movement as the place as itself. Just as all cities over the world are different, so different and alive appear the projections and sounds.
“Chijikinkutsu” is a coinage, specially created for the title of this work by mingling two Japanese words: “Chijiki” and “Suikinkutsu”.”Chijiki” means geomagnetism: terrestrial magnetic properties that cannot be sensed by the human body but that exists everywhere on earth. Since long before the Age of Discovery, people have traveled with navigation using compasses employing geomagnetism. In recent years, various devises that utilize geomagnetism have even been incorporated into smartphones[…] “Suikinkutsu” is a sound installation for a Japanese traditional garden, invented in the Edo period. The sounds of water drops falling into an earthenware pot buried under a stone wash basin resonate through hollow bamboo utensils. The concept of the work “Chijikinkutsu” does not derive from experimentalism of science and technology on which media arts rely, nor from architectural theory of western music upon which some sound arts lay their foundation. While utilizing the action of geomagnetism normally treated as a subject of science, this sound installation expands the subtle sounds of “Suikinkutsu” in the context of Japanese perspective on Nature.
The main idea of this project is to present exhibition visitors with the chance to destroy any object that might happen to be on their person, in order to transform it into a unique sound composition. The installation consists of five hydraulic presses, capable of crushing practically any object (a mobile telephone, pair of glasses, headphones or whatever). In the process of destruction, a special microphone records the sounds made as the object undergoes deformation, and in just a few minutes, a computer algorithm transforms them into a 20 minutes album.