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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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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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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