The Cabinet of Curiousness is an antique wooden card catalogue with 20 drawers. Functioning as an interactive piece, the opening of each drawer activates a voice or piece of music from within the cabinet. The audience, assuming the role of a DJ, may experience the clarity of sound from one drawer or a cacophony of sounds from numerous drawers opened simultaneously as the cabinet is played like an instrument. A contrast emerges between the obsolete system of cataloguing single pieces of data and our current tendency to inundate ourselves with excessive information. An investigation of knowledge, time, and our relationship to objects and music.
Work by Janet Cardiff & George Miller
Materials: Unique oak card catalogue with speakers and audio
Dimensions: 52 X 17 1/2 X 27 inches (132.08 X 44.45 X 68.58 cm)
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Installation and Performance
Fabricating the interfaced machine.
Interview created and produced by Sue Costabile for Cycling ’74.
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An interactive installation by Quiet Ensemble that have mice running wheels playing music boxes. I love the low tech sophistication of this piece. While they run around they can play a lullaby by Brahms, Schubert or Mozart.
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Korinsky Studio consists of Abel, Carlo and Max Korinsky. They mainly focus on their shared passion: exploring the possibilities of using sound in vertical surfaces. 3845 m/s is their newest installation using their own software, in a former coal power plant in Berlin. See the Korinsky Studio website for more information about their work.
Documentary about the work of Berlin-based art collective “Korinsky – Atelier für vertikale Flächen” and their sound installation 3845 m/s
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Omnivisu was a temporary interactive installation which took place at the S/U station Warschauer Str. from july 7th through 17th — Tower of Light in Oberbaum city
The S/U station Warschauer street is one of Berlin’s most important interchange stations, especially at night. From the Warschauer bridge, a wide panorama over the center of Berlin presents itself and near the bank of the river Spree, where the Berlin wall used to run. Here the characteristic tower of the former light–bulb industry Narva rises. This is not only a symbol of the desolated GDR–industries, but also a relict of the new–economy boom in berlin and its ending as well as the arrival of media corporations like MTV and Universal.
A gazing tower
The unmistakable landmark of the area is transformed into a building with human character, equipped with the eyes of the people who interact with the installation. They can participate directly and in real-time through a showcase which is placed on the busy site of the bridge. Once somebody looks into it, their eyes are filmed. The video signal is transmitted and projected on the facade of the building. A big brother who sees the world with your eyes.
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Semiconductor is artist duo Ruth Jarman and Joe Gerhardt. Through moving image works they explore the material nature of our world and how we experience it, questioning our place in the physical universe. Their unique approach has won them many awards and prestigious fellowships such as the Gulbenkian Galapagos, Smithsonian Artists Research and the NASA Space Sciences. Their work is part of several international public collections and has been exhibited globally including Venice Bienniale, The Royal Academy, Hirshhorn Museum, BBC, ICA and the Exploratorium.
20Hz observes a geo-magnetic storm occurring in the Earth’s upper atmosphere. Working with data collected from the CARISMA radio array and interpreted as audio, we hear tweeting and rumbles caused by incoming solar wind, captured at the frequency of 20 Hertz. Generated directly by the sound, tangible and sculptural forms emerge suggestive of scientific visualisations. As different frequencies interact both visually and aurally, complex patterns emerge to create interference phenomena that probe the limits of our perception
05.00 minutes / HD / 2011
HD single channel and HD 3D single channel.
A Semiconductor work by Ruth Jarman and Joe Gerhardt.
Audio Data courtesy of CARISMA, operated by the University of Alberta, funded by the Canadian Space Agency. Special thanks to Andy Kale
20Hz is co-commissioned by Arts Santa Monica + Lighthouse . Supported by the British Council.
Commissioned for the Invisible Fields Exhibition at Arts Santa Monica, Barcelona. 2011-2012.
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Sound installation (related to sound art and sound sculpture) is an intermedia and time based art form. It is an expansion of an art installation in the sense that it includes the sound element and therefore the time element. The main difference with a sound sculpture is that a sound installation has a three dimensional space and the axes with which the different sound objects are being organized are not exclusively internal to the work, but also external. A work of art is an installation only if it makes a dialog with the surrounding space. A sound installation is usually a site-specific but sometimes it can be readapted to other spaces. It can be made either in close or open spaces, and context is fundamental to determine how a sound installation will be aesthetically perceived. The difference between a regular art installation and a sound installation is that the later one has the time element, which gives the visiting public the possibility to stay a longer time due possible curiosity over the development of sound. This temporal factor also gives the audience the excuse to explore the space thoroughly due to the dispositions of the different sounds in space. Sound installations sometimes use interactive art technology (computers, sensors, mechanical and kinetic devices, etc.) but we also find this type of art form using only sound sources placed in different space points (like speakers), or acoustic music instruments materials like piano strings that are played by a performer or by the public (see Paul Panhuysen).
Kim Kichul has continuously been working with sound, against more traditional, visual forms of art. To Kim, sound itself is the subject rather than an added element that composes a part of the whole sculpture, and it is a continuum already inherent with a meaning.
Kim first started using sound in his work through an experience he had while listening to the radio. He experienced temporal-spatial qualities of sound, and felt as though he were looking at the actual physical sound coming from a radio. His work 11-Faced Avalokitesvara presented in his first solo exhibition in 1993 departed from the word Avalokitesvara, which explains feeling the subject as if to see it. Kim was deeply moved by a verse from Bomunpum, the 25th chapter of The Sutra of the Lotus, which stated that if Sattva, in their suffering, chanted the Avalokitesvara with a simple concentration, they could reached Nirvana. By placing 10 statues of Avalokitesvara on radios each tuned to different channels, he presented a compositional method of observing sound through synesthesia.
It’s clear to see that sound itself is Kim’s main subject of interest especially through his earlier work Sound Looking (1999), which visually materializes the properties of sound dependent on the auditory senses. In this work, particles in a clear tube move according to the waves of the generated sound, and all things visible are mobilized in order to reveal the invisible sound.
Sound Gear, Rain drop Sounds, Eight Channel Speaker
“Sound Looking – Rain” is a sound installation that investigates the nature of perception and representation in relation to the Buddhist concept of emptiness. Suspended from the gallery ceiling is a matrix of audio speakers, wires and monofilament, the audio that fills the space is a sound collage of falling rain. Kim’s sound landscape induces us to float between the opposing forms of sight and sound. Kim also references a formal minimalism as we experience the shifting relationships between sound, speakers, the gallery space and our bodies.
Wooden Bell, Sound Gear, Water Drop Sound, 2000 Seoul, Korea
2008 Center for Integrated Media, CalArts, CA
Sound Gear, Voice Activated Servo Controller, 2006, Seattle, WA
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Nervous System is a design studio founded in 2007 by Jessica Rosenkrantz and Jesse Louis-Rosenberg. They work at the intersection of science, art, and technology, and create using a novel process that employs computer simulation to generate designs and digital fabrication to realize products. Drawing inspiration from natural phenomena, Jesse & Jessica write computer programs mimicking processes and patterns found in nature and use those programs to create unique and affordable art, jewelry, and housewares. In this talk at Eyeo they discuss their obsession with the way patterns form in nature and their attempts to adapt those methods for design.
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Missing: An interactive installation by The xx, Kyle McDonald, Aramique and Matt Mets explores the concept of the album “Coexist” through the relationship of man and machine. 50 robotic Sonos players follow movement inside Missing’s dark emotional landscape.
Visit the Sonos Studio (145 N. La Brea in Los Angeles) from Nov. 15th – Dec. 23rd to see the installation in person and sign-up for e-mail invites to upcoming events: http://www.sonos.com/studio
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Tony Orrico is a visual artist, performer, and choreographer. He’s created his own unique style of “endurance drawings” that draw upon his years of experience as a dancer. These “Penwald Drawings” have been presented and exhibited internationally, attracting attention from prominent collectors and institutions. Here, he discusses his mesmerizing process as you, the viewer, get to watch him work.
Orrico presents the first public performance of his 8 circles drawing from his Penwald Series at the National Academy of Sciences, Keck Center in Spring 2010. Film by Becky Beamer (www.beckybeamer.com)
graphite on paper
240 x 240 inches
The following is an article reposted from the Barcelona Metropolitan.
Tell me a little bit about your background – how did you get started, what training have you had in either art or dance?
I’m in the mood to elaborate on this one- please don’t mind, take what you wish…
My mother’s father is a painter. He’s 94 now, living with Alzheimer’s, and I had the great pleasure of painting side by side with him just weeks ago, just as we did only once in the past. I was very young, and he taught me how to paint flowers. My memory of that day is very vivid, a moment I deem to be the true conception of my creativity. I was fascinated with the studio space he had set up in his apartment. I asked my parents if I could have my own art room and they proved to be listening. When I was eight, we moved from an apartment to rent a house from my uncle. My father and I shared the boiler room in the basement, a bench for his tools and crafts, and a desk for my creations.
I began to take private lessons throughout my adolescence from a retired woman in our community. I began with charcoal drawing, then pastels, pen and ink and finally oil painting.
My girlfriend at college was a dancer and I was very interested in her studies. During my first year of school, I was in a night class and I overheard someone say that there was an audition in the dance department. I literally walked out of the class without thought. By the time I found the building, the audition was finished but the faculty asked me to just improvise. With my street clothes on, I did exactly that, and the next day I was cast in two dances, untrained. I began taking a few classes in my second year and by the second semester had received a full tuition waiver for my remaining years. This was god sent, as I was affording school by myself- it filled me with a great sense of personal power and sudden burst of creativity. I loved choreographing, and I was also continuing to paint- they felt the same.
My last semester of graduate school, I was interested in auditioning to attend the American Dance Festival and seek out New York based choreographers. I received a phone a few days after my audition, but not to attend the summer school. It was Shen Wei, and through a series of contacts, he was interested in me joining his company. I left graduate school early and took the job.
You mix the mediums of visual art and dance—how, for you, are the two disciplines related?
It is one sight; how I see and interpret movement looks the same to me as how I interpret my ideas mechanically from my hands. Point, line, plane, intersection, shape, color, texture, pattern, design, architecture, etc. I am not looking at these disciplines separately right now. I am deriving at these drawings either through movement improvisations or sketching in my journal.
Your most recent piece – Penwald – Unison Symmetry Standing is a visually arresting sight, can you tell me a little about the journey from original idea to execution?
This was my fourth drawing and I was eager to start elaborating on how I could fill the space within my arm span. Simultaneously, I wanted to challenge my hand dominance and further equalize tensions. I noticed that my right hand seemed to carry a sense of choice making or navigational dominance. I practiced my first circle on my kitchen wall in Brooklyn with two markers, switching between the lead hand while maintaining bilateral unison and symmetrical (spontaneous) motion. Then, I began to discover what the sensation of dual dominance felt like; what if no hand was making choices? From there, I considered variable into the direction of freeing the stabilization of certain joints to create greater range beyond the span of my arms. This collection of research lived on my kitchen walls for many months. I knew I wanted to create this drawing for a determined duration of time in three parts, three circles. I photographed my mock up and photoshopped an image of it to show potential venues. I produced my center circle (dual dominance, bending of knees and rising to toes) in two places, and nearly a year later, I produced an installation of all three circles at Dance Theater Workshop. The left circle is right hand dominant, no other variables. The right circle is left hand dominant, with no variables as well. Each circle is four hours long, over the course three consecutive days.
How do you prepare for the Penwald events?
Several of the drawings require measuring out the starting point by leaving behind my graphite sticks in a marked position. Sometimes this requires careful measuring both with a measuring tape and my physical body. For the longer duration drawings, I don’t eat or drink for at least an hour and half before the performance. I like to condition my body for about an hour before performance and center myself. I have system of personal techniques I developed that I cycle through. I use the rest room in the remaining minutes and then enter. I like to fill my heart with gratitude and love before I perform.
I watched your piece Sunken Ship where you used the alarm tones of the audience’s mobile phones, how much does sound play a part in your work?
Sunken Ship was a personal improvisation score, masked by the joy of participation. Ingenuity was hiding in the room, and I wanted to confuse the audience’s interpretation of devices and their context. The ship for me was dance, and the inflated dream and overturned path. I am interested in subtle ways to orchestrate sound from within performance, but also how sound and rhythm can earn the attention of the viewer, or not. I begin my live drawings without much warning and witness the evolution of the sound in the space. In shamanic drumming, I like how the rhythm has an organic pace, the cycles become dense and hypnotic, and I can begin to sense slight variations and even silences. Reason to stay engaged.
You previously worked with the Shen Wei Dance Arts and the Trisha Brown Dance Company how much does their interdisciplinary approaches inform your work?
I am proud of my professional heritage. I feel fortunate to have studied with two choreographers who have visual art practices, and compose in terms of line, quality, form, precision and play (in any dimension). I attribute much of my curiosities to these experiences, yet you recognize what your learning as if you’ve all ready been there, when the information satisfies your same intrigue and brings you joy. It is the dialog between these experiences that further fascinates me, bringing to surface dichotomies such as proximal and distal initiation, continuous and dynamic phrasing, centrifugal force and cantilevering, control and release, the individual and the collective.
Based in New York, how is your work received in different places – are there certain places that seem to ‘get’ it more than others?
It seems that the audience can enter this work with ease because it displays the body in course and the experience is captured in some sense. The intensity of it, what I or the audience has endured can be traced and proven. The artifact resonates for them, referencing images of nature, biology, geometry, anatomy. I think they can sense how they are accidents even to me. These themes translate. So far, they are not political, social, abstracted, narrative. I am enjoying these performances because the audience provides so much energy during them.
Have you performed in Barcelona before?
I have only visited, and I am delighted to be here performing.
What’s next for you?
I am preparing for my first solo exhibition of my drawings. It will take place May 21- July 9 at Shoshana Wayne Gallery in Santa Monica, CA. I am also collaborating with choreographer John Jasperse on a design for Canyon, to premiere at the Brooklyn Academy of Music in November, 2011.
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