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Entries in installations (110)

Friday
Apr032015

Sonify... Earthquakes Worldwide

We often think of sonification as an algorithm that translates data into an often abstract, often digital sound. R x2 by Moscow-based media artist Dmitry Morozov a.k.a. ::vtol:: is different in that aspect. In the “Sonify…” series, we look at different ways of sonifying data. This time: Earthquakes!

R x2 is a kinetic sound sculpture collecting data on the shocks in the earth’s crust (earthquakes) and capturing all of them above 0.1 Richter magnitude scale. On an average day there are up to 200 of these quakes.

The data is converted into signals that control motors connected to a bunch of Thunder Drums acoustic drums. These Thunder Drums consist of a spring attached to the skin of the drum, so when it’s shaken the spring moves and creates a continuous resonance through the body of the instrument, not unlike the rumble of thunder. The rumble that sounds fits the character of an sonified earthquake quite well.

Monday
Feb232015

Long Wave Synthesis

The Sonic Acts festival which starts next week is a very unique festival in the Netherlands which focuses not only on music and art, but also on science & society. One can expect lectures by theorists, but also installation art and various performances by artists focusing on the same theme. This year, that theme is The Geological Imagination. “How much do we actually know about the ground beneath our feet?”. The constantly increasing influence of the human race on the world. Climate, nature, night… Everything.
(footage from the preparations of Long Wave Synthesis)
This year, one of the most promising works is Raviv Ganchrow’s Long Wave Synthesis. A huge land-art scale sound art installation that investigates infrasound, and probes the relations between how we perceive the landscape and long-wave vibrations. 
(footage from an earlier version)
Infrasound is the range of frequencies below the actual hearing threshold. Like all sound waves, infrasound is vibrating air, the only difference is that this sound is just very low frequency. Ganchrow’s work focuses on the experience that we might not be able to hear the actual slow vibrations of air, but the “pressure wave”, and objects in the field which might vibrate with that low frequency. Just below the threshold of hearing.

According to Ganchrow, infrasound is what connects the skies, oceans and earth. “Micro-movements in the earth crust can translate and arrive at mountain ranges. These move a nanometer backwards and forwards. That movement translates to a movement of air, that air produces a tone.” It’s a tone below the threshold of hearing, but still there’s a sensation of it, as it can shape the clouds coming over that mountain range, for example. You can view an interview with Raviv explaining infrasound here:

Sonic Acts starts next Thursday evening the 26th of February, and ends on Sunday evening the 1st of March. The field trip to Long Wave Synthesis is on Sunday at 15.00 (more info).
Monday
Dec012014

Shimmering Beast

Nicolas Field is a musician, composer, and more recently, active in fine arts. He studied percussion in Amsterdam and The Hague, and is a founder of N-Collective, who strive to support and promote adventurous music.

His work “Shimmering Beast” is a huge, upside down triangle, formed by sixty cymbals and stands, bass-transducers and light. This monumental and visually stunning collection of cymbals strike eachother lightly because of a resonating floor, and produce a shimmering sound. “Shimmering Beast” was created during a residence in the Swiss Institute in Rome and was a part of the Needcompany performance Caligula.

This installation is one of many which can be seen at Orkest! a group exhibition featuring works by Rutger Zuydervelt, Julian Sartorius, Oliver Beer, Rubén D’hers, Michael Schmid, and Konrad Smoleński. Orkest! can be seen from the 7th of december 2014 until the 6th of march 2015 at the netwerk / centre for Contemporary art in Aalst, Belgium. We’ll feature some other works from this exhibition in the coming weeks.

Wednesday
Nov122014

Frequencies (Light Quanta)

Nicolas Bernier is a Canadian artist creating sound installations and performances. We’ve covered his work Frequencies (A) last summer. His “Frequencies” series is an ongoing process focusing on basic sound generation systems. For this iteration, Frequencies (Light Quanta), Bernier taking the quantum -the smallest measurable value of energy- as his conceptual basis. The project uses basic quantum physics in a metaphorical way to create 100 sound and light fragments that develop themselves organically, generating “an never expanding but yet disruptive form in time and space”.

Always good to see an artist develop an idea further, and look at it in different ways.

Tuesday
Oct212014

4DSOUND

Last week, during Amsterdam Dance Event, 4DSOUND presented their system with artists like Vladislav Delay, Max Cooper, an evening with artists from the Raster Noton label, and various talks and workshops. 
Looking like something which could’ve been next to the Philips Pavilion at the World’s Fair back in ‘58, the structure alone is already quite amazing, even before any sounds are heard. It is said it was inspired by Tesla, and it shows.
(photo by Georg Schroll)
The way the audience listened, with such pure focus, is rarely seen these days and got me thinking about what 4DSOUND does to the listening experience. The freedom to walk around, feel the resonating pillars, sit on the ground, etc. doesn’t distracts one from the listening experience, but rather keeps the audience focused in some way. The design is simple and transparent enough to not “dictate” a certain style.
I’ve visited the room for four different sets, all with very different feelings and ways the space was used. Furthermore the fact the pillars vibrate makes it wildly different than a wavefield-synthesis system, for example. More physical.
Could this be the future of active listening in a concert setting?
Sunday
Aug312014

Electrostatic Bell Choir

Darsha Hewitt is a Canadian artist who makes electromechanical sound installations, drawings, videos, an experimental performances. See her other unique work here (take the brilliant “20 Oscillators in 20 Minutes” for example, which is part experimental music performance, technical challenge, and comedy act!). She has an interest in demystifying the invisible systems embedded throughout domestic technology. This is also visible in the above artwork, Electrostatic Bell Choir (2012).

 

Static electricity affects everyday materials in curious ways – hair stands on end when rubbed with a balloon; laundered clothing clings together if an antistatic sheet is not tossed into the dryer; a static shock transmits from a finger after one drags their feet across the carpet…
The Electrostatic Bell Choir is an electromechanical sound installation that plays with the static electricity emitted from discarded CRT TV monitors. This static, that can be felt when one places their hand on the screen when the TV is turned on, is gleaned for it’s potential to generate subtle movement. Sets of static bells are mounted in front of twenty television sets. A control circuit cycles the TVs on and off, which causes static to build up on the monitors. This static charge agitates hanging pith balls, causing them to lightly strike the bells ‐ resulting in quasi‐melodic compositions.


The TVs are muted, tuned to various channels of white noise and physically spacialized in order to devise a dynamically layered soundscape textured with the sound of the cathode ray tubes warming up. The glow of the screens and the subtle resonance of the bells magically punctuate the dark surroundings of the installation.
Thursday
Jul312014

Maelstrom

Some art just sticks in your mind. In 2012 I saw Roman Kirschner’s / Els Viaene’s Maelstrom at the DEAF Festival in Rotterdam in the Netherlands, and last year I found myself thinking about it a couple of times. Seeing the work; the subtlety of it, and not knowing how it worked left a big impression on me.

The work is inspired by the Edgar Allan Poe story “A Descent into the Maelstrom”, in which a man reminisces about surviving a storm, shipwreck and a whirlpool. Over time, memories are transformed and imagination comes into play. Our memories are liquid.

In Gaston Bachelard’s description of the most important travel of human beings, namely the one between the real and the imaginary, he states that when art takes us to this travel, it is not about the stay in one of the two realms. But instead the journey, the movement, the border crossing and the mutual exchange is what we should pay attention to. The dark line in Maelstrom is the vehicle of this travel and the border at the same time. It doesn’t show us one of the two realms. It shows us the process of trying to make sense, its materiality, its movement, its buildup, decay, turbulences, and fluidity.

When I saw the work, I had the revalation that because of not being able to understand the technology, I could focus more on the actual meaning and thought behind the work, as if it had been a painting. I did not “get” how the fluids worked, and the sounds tied in very nicely and came from within the object. If this would’ve been a projection, speakers and some visual algorithm, this would not have been possible.

Sunday
Jul062014

Frequencies (a)

Nicolas Bernier is a Canadian sound artist who we’ve seen before. His “Frequencies” is an ongoing process focusing on basic sound generation systems. “Frequencies (a)” is a sound performance combining the sound of mechanically triggered tuning forks with pure digital soundwaves. The tuning fork, producing a sound closest to a pure sinewave, provides a historical link between science, tonal instrument works, and electronic music. The performer is triggering sequences from the computer, activating solenoids that hit the tuning forks with high precision. Streams of light burst in synchronicity with the forks, creating an intense sound and light composition.

Friday
May232014

300 speakers, pianola and vacuum cleaner

John Wynne is a sound artist currently based in the UK. His untitled installation for 300 speakers, player piano and vacuum cleaner plays with contrasts in size: the work is monumental and huge, while the sounds the installation produces are very delicate. In this way he is able to craft an immersive environment where the sound really becomes part of the space itself. The pianola plays some notes of Franz Léhar’s 1909 operetta Gypsy Love at a very low tempo. Synthetic sounds add to this and both the vacuum cleaner as well as the sound spatialisation are controlled through the space by contemporary digital technology. In that way the installation is about bringing together the old and the new, playing with themes like obsolescence and nostalgia.

At the moment, there’s a new show in London with site-specific works by John Wynne as well as Yoonjin Jung exploring one’s inner “movement” in relation to their surroundings. “The Flux, and I” seeks to provide a platform for the audience to detach themselves from the effects of time in order to understand and embrace the inevitable progression of events that we have little or no control over.

“The Flux, and I” is at the Gazelli Art House in London and runs until the 22nd of June.

Tuesday
May132014

Carileon

On Everyday Listening we hardly every post about novel instruments. I don’t exactly know why. Is it because most instruments are not as aesthetically pleasing to the eye? Do they not get documented that well?

In any case, this half-instrument, half-installation is definitely pleasing to the eye. New York-based sound artist Sebastien Leon created the Carileon, which can be played by the wind and a performer simultaneously. In the video you see multi-instrumentalist Loup Barrow (who plays some awesomely strange instruments) with the Eiffel Tower as a backdrop.

Some say wind chimes are the most basic form of generative music. In this installation, the generative nature and performance come together, which I think is quite interesting.