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Visual Voice Virtual Reality
VVVR (Visual Voice Virtual Reality) is a voice controlled tool for self exploration and well being. It combines virtual reality and audio effects to temporarily free the mind from language and cultivate awareness of the present moment. In VVVR two people sit across from one another and are represented in the virtual space with corresponding avatars. When either person makes sound it is translated into glowing geometry that flows from their mouth. The vocal audio is harmonically processed and fed back through the headphones.

Symbiosia
With the premiere of ‘Symbiosia’ we give two trees in the iconic garden of Fondation Cartier a visual voice about one of the most important topics of today, climate change. The work addresses the relationship of the trees with the visitors, the environment and each other. The real time data installation is a collaboration between artist Thijs Biersteker and world renowned botanist and scientist Stefano Mancuso and his International Laboratory of Plant Neurobiology in Florence. As a pioneer of plant neurobiology he is an advocate of the concept of plant intelligence. Mancuso provided the science behind the artwork.

After All
After All is a wooden, robotic interpretation of the Phonautograph, a 19th century apparatus created by the Frenchman, Édouard-Léon Scott de Martinville. His invention predated Edison’s phonograph by 17 years and promised a new kind of visual literacy for those who could learn to read, translate, and recite its mechanically created marks. The air pressure from a voice speaking into a cone pushed and deformed the surface of a sensitive diaphragm to which a boar’s bristle was attached. Inflection in the voice moved the diaphragm and the bristle touched a revolving soot-covered wheel, scratching marks in response to air pressure changes. The marks could be ‘read back’ by those literate in a sound-to-writing technique.

Марк Хансен и Бен Рубин
마르크 한센과 벤 루빈
Listening Post

Listening Post is an art installation by Mark Hansen and Ben Rubin that culls text fragments in real time from thousands of unrestricted Internet chat rooms, bulletin boards and other public forums. The texts are read (or sung) by a voice synthesizer, and simultaneously displayed across a suspended grid of more than two hundred small electronic screens.Listening Post cycles through a series of six movements, each a different arrangement of visual, aural, and musical elements, each with it’s own data processing logic.Dissociating the communication from its conventional on-screen presence, Listening Post is a visual and sonic response to the content, magnitude, and immediacy of virtual communication.

Lenna
Focusing on the orientation and dispersion of sound images, this spatial musical work was made using multiple audio channels, and only the human voice as a sound source. It represents at once an attempt to encourage the creation of multichannel acoustic contents, and the theoretical and practical development of audiovisual environments.

Voices of Aliveness
This project, upon the initiative of l’Ecole des Beaux-Arts de Nantes, has been conceived as a meta-monument where are gathered video sequences recorded by a camera with GPS. People are screaming while biking in a 500 m circle in the countryside. The traces of this route can be visualized thanks to lines that form a sort of tower in the virtual space, where it can go on indefinitely. On these lines, in an order that looks more like a music score than a succession of shootings, mobile video screens simultaneously display the image of the performances.

FALA
File Festival
It is an autonomous and interactive talking machine, designed to establish automatic communication and synchronization between humans and machines, and between machines and machines. At installation, a microphone interfaces with a “chorus” of forty cell phones. All devices are in a listening state to capture voices and other sounds The autonomous talking machine analyzes the information and establishes equivalence with its memory. If so, the machine generates an audiovisual result with a semantic meaning similar to the sound captured, that is, it speaks and displays on the screens a word identical or similar to the word heard. Speakers and visualization of words on the screens of cell phones allow a “dialogue”, and for humans, to listen and see the machine conversation.

アン·ハミルトン
앤 해밀턴
the event of a thread
Ann Hamilton is a visual artist internationally recognized for the sensory surrounds of her large-scale multi-media installations. Using time as process and material, her methods of making serve as an invocation of place, of collective voice, of communities past and of labor present. Noted for a dense accumulation of materials, her ephemeral environments create immersive experiences that poetically respond to the architectural presence and social history of their sites.

Post Silentium
Stony Brook Symphony Orchestra
Jens Goerg Bachmann

24 Preludes for Piano, Op. 41
Performed by Hyeri Choi

Ludwig’s Nightmare
Performed by Yael Weiss

Born in the Russian city of Chelyabinsk on the border of Siberia, Russian-American composer,
concert pianist, poet and visual artist Lera Auerbach has become one of today’s most sought
after and exciting creative voices. She has published more than 100 works for orchestra, opera
and ballet, as well as choral and chamber music.

Flesh
Lippard’s practice explores the voice as a medium. Her education in graphic design informs how language can be visually powerful; her texts are visual, rhythmic, and performative rather than purely informative, and her work is conveyed through a variety of disciplines, which include short films, sound pieces, installations and performance.more…

Amelia

Edouard Locke

“Directed and choreographed by Locke in 2002, Amelia, is a beautiful piece of dance on film that won awards and critical acclaim at numerous festivals when it came out. Amelia features a hypnotic, original, minimalist score written by David Lang for violin, cello, piano and voice, and lyrics from five of Lou Reed’s most famous works that he created in the 60s for the Velvet Underground. It is beautifully shot from multiple angles, some dizzying and swooping, in a space that was tailor-made for the film itself. The shadows and lighting in tandem with the shots and the movement add layers of beauty to the stark visuals.” Sarah Elgart

מרדיית המונק
Мередит Монк
ميريديث مونك
16mm Earrings
Meredith Monk’s groundbreaking performance work, 16 Millimeter Earrings, was a seamless integration of live performance, objects, film, vocal and instrumental music, movement, text, recorded sound, and light. It marked several, notable “firsts” for Monk: thinking of sound as an overall environment, working with her voice and visual images as primary elements, creating a full sound score, and incorporating film into a live work. The piece was a breakthrough in her quest to discover a visual/sonic/poetic performance form that could weave together multiple modes of perception. Responding to the original performances in 1966, art critic John Perrault wrote in the Village Voice, “Images, movement, film, words and sounds in Miss Monk’s new work are so skillfully interwoven and inter-related that no description can substitute for the kind of magic that she has managed to produce. The whole stage is her canvas and she uses every bit of it. 16 Millimeter Earrings has to do with surfaces, all seen as if through glass or reflected in a mirror. The surface of the human body. The surface of the erotic and the emotional. The radical juxtaposition of apparently contradictory surfaces- film, flesh, colors, and sound- becomes a witty method of deliberation and deliverance, and of complete art.”
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