Natura Machina

Soundform No.1
“Soundform No.1” is a minimalistic soundscape and kinetic art installation that transforms heat energy into a poetically evolving, spatiotemporal composition. All the sound in this installation is created thermo acoustically by activating heating elements inside quartz glass tubes hung in the space. As the glass warms, a nickel-titanium spring reacts instantly, pulling the cylinder upright. At the correct angle, airflow becomes unrestricted, and a thermo acoustic phenomenon, known as a Rijke effect (named for the professor who discovered the phenomenon in 1859), creates an audible tone.

Stillness

THINK AND SENSE

Under the theme of Zen, this artwork represents a part of the philosophy of Zen with three-dimensional data created with photogrammetry technology composed of the most minimalistic landscape of “dots” and the soundscape of “undulations,” with the cooperation of Toryo Ito, vice priest of Ryosokuin, Kennin-ji Tacchu temple, Kyoto. The generated image reflecting the environmental information of the exhibition space creates “interaction between the environment and the image,” just like the trees and leaves swinging in the silence in the garden of a Zen temple.

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Credit Concept / Technical Direction: Shuhei Matsuyama Point Cloud System Design:Takamitsu Masumi Sound Design: Intercity-Express (Tetsuji Ohno) Photogrammetry Shooting: Naoya Takebe Photogrammetry Engineering: Katsuya Sakuma

Signe Lidén and Espen Sommer Eide

Vertical Studies
Vertical Studies: Acoustic Shadows and Boundary Reflections; Water Tower Sint Jansklooster In their new collaborative work, Vertical Studies: Acoustic Shadows and Boundary Reflections, Signe Lidén and Espen Sommer invite participants on a journey to a 46-metre-high abandoned water tower in Sint Jansklooster. The tower has been re-imagined as a vertical field-lab where Lidén and Sommer discuss their ongoing research into connections between sound, history, wind and weather. To this end they have constructed a range of special instruments to record and playback sounds in the vertical dimension. The participants on this journey will experience live outdoor vertical studies and a vertical soundscape shaped by Eide and Lidén that ascends the tower’s spiral staircase.

Onformative

True/False
True/False is a kinetic sculpture composed of arrays of circular black metal segments set in mechanical columns. Interlocking and rotating around fluorescent light tubes, the cylinders cover or expose the light to display an endless number of patterns. The transformation of the sculpture is based on the shifting elements and their correlation to each other. As the segments do not move independently, for any of the cylinders on a column to change, the segments affected must work in unison to achieve the command. Reminiscent of devices originally used for calculations, such as Turing machines, the sound originates from the mechanical movement of the moving parts thus making the algorithm audible. The rhythm of »true/false« is captivating as variations in the visual choreography result in distinctive changes in its soundscape. Through the generation of algorithmic patterns and the repetition of endless tasks, »true/false« transforms itself into something more than the sum of its elements to reveal the beauty hidden within a basic algorithm.

Andreas Lutz

Binary Supremacy
Binary Supremacy is the continuation of Lutz´s previous album Zwölftonform from 2016. The initial investigation and visualisation of abstract sounds now led to a more concrete, rhythmic and narrating soundscape.

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.

FABIO ANTINORI AND ALICJA PYTLEWSKA

Contours
London-based creative laboratory Bare Conductive was invited to team up with designers Fabio Antinori and Alicja Pytlewska in order to develop a large-scale metaphor for the idea of breathing life into a collection of responsive textile skins. ‘Contours’ is at the core of the interactive tapestry installation; a series capacitive sensors are applied to the suspended fabric substrates using conductive paint. These sensors react to the presence of a person within the vicinity and track their movements, outputting a constantly modulated ambient soundscape reminiscent of medical research environments. The abstract geometric ornamentation connects the tapestries’ individual sensors to form giant panels, serving as an acoustic feedback loop that alludes to the relationship between science and the body.

Future Deluxe

“My goal is always to create work that has impact and enhances and emboldens the emotions of the performances, editing and soundscape of the work it is part of. I constantly strive to find new ways of approaching subjects and to find new creative angles – whether through lighting, technique or composition – to capture the imagination of an audience.” more

SASHA FROLOVA

САША ФРОЛОВА
TELEPATHOR
via highlike submit
Sasha (who also performs as Aquaaerobika) dreams up such wonderfully magical & pure poetry and sculptural worlds, that it makes it so easy for me to be inspired and compose soundscapes for our collaborative work

kathy hinde

Tipping point
Tipping Point forms both a sculptural sound installation and the basis of a live performance in which Kathy Hinde controls all the aspects of the installation live including the speed of the motors, the positions of the mechanical arms, the water levels, and how many glass vessels are resonating. She works with a range of guitar pedals to re-pitch the sounds, accentuate different frequencies, and add reverb to augment the soundscape to create an immersive composition.

bongsu park

core
dancer – Yoomi Ahn
soundscape – Raymond Delepierre

Park’s most recent works are both a continuation and a development of her earlier videos. There is an added complexity to the structure of her material as well as a larger scope to her narrative.more

haris epaminonda

le plateau
The exhibition at le plateau marks an important and new step in Epaminonda’s practice, which, as the title suggests, shall be seen as one large work building up over time through different volumes and chapters. For this occasion the artist has devised an extensive environment that occupies the cleared spaces of le plateau with a series of cubicles, platforms and screens conceived both as sculptures and presentation devices. Including other elements, films and sound—the soundscapes of the installation will be composed by the music duo “Part Wild Horses Mane On Both Sides”, with whom the artist often collaborated in the past—, the whole set exceeds the exhibition space itself with parallel and temporary appearances connecting the inside and outside of le plateau. Like an emphatic homage to the Japanese filmmaker Yasujiro Ozu, these performed interventions shape a kind of inhabited archipelago in constant evolution.

WANG FU-JUI

Perceived Soundscape

BRIAN ENO

Брайан Ино
브라이언 이노
ブライアン·イーノ
בריאן אינו
براين إينو
Брайан Ино
Music for Airports
Initially, he referred to these quiet soundscapes as “discreet” music, and on Discreet Music (a wry deconstruction of “Pachelbel’s Canon in D”) demonstrates his basic tools: minimal melodies, subtle textures, and variable repetition. Around this time, he had also been collaborating with the German synth duo Cluster on a pair of moody, coloristic electronic albums, selections from which may be found on the Begegnungen and Begegnungen II compilations. But it was Music for Airports that finally codified these experiments into an aesthetic, and even provided a label for the sound: ambient music.