Janet Cardiff
The Forty Part Motet
Using this piece of secular music as a starting point and working with four male voices (bass, baritone, alto and tenor) and child sopranos, Cardiff has replaced each voice with an audio speaker. The speakers are set at an average head height and spaced in such a way that viewers can listen to different voices and experience different combinations and harmonies as they progress through the work.
Janet Cardiff The Forty Part Motet
Thursday, May 8, 2008
Wednesday, May 7, 2008
Steve Roden
when stars become words, 2007 when stars become words
above the sand, flown and undone (levitation), 2006
above the sand, flown and undone (levitation)
moonfield, 2003
moonfield
airforms 2004
airforms
above the sand, flown and undone (levitation), 2006
above the sand, flown and undone (levitation)
moonfield, 2003
moonfield
airforms 2004
airforms
Brian Eno
Brian Eno's 77 Million Paintings
“When I started working on visual work again, I actually wanted to make paintings that were more like music,” he says. “That meant making visual work that nonetheless changed very slowly.” Eno has been sculpting and bending light into living paintings for about 25 years, rigging galleries across the globe with modified televisions, programmed projectors, and three-dimensional light sculptures.
Brian Eno: Let There Be Light
“When I started working on visual work again, I actually wanted to make paintings that were more like music,” he says. “That meant making visual work that nonetheless changed very slowly.” Eno has been sculpting and bending light into living paintings for about 25 years, rigging galleries across the globe with modified televisions, programmed projectors, and three-dimensional light sculptures.
Brian Eno: Let There Be Light
David Webber
David Webber
Organic Interface #5
Organic Interface #5 is an interactive sound sculpture that uses two Dwarf Alberta Spruce trees as tactile antennas of a Theremin-like instrument. The trees are housed in a rolling speaker cabinet unit and are automatically engaged when a human body is within close proximity. Body contact with the plant increases pitch. Depending on how the plant is touched, one a can create a range of frequencies. The simultaneous connection of the two trees creates inter-modulations between two oscillators. A wall text explains proper interaction and suggests ideas on how to make music involving multiple participants.
Organic Interface #5
Organic Interface #5 is an interactive sound sculpture that uses two Dwarf Alberta Spruce trees as tactile antennas of a Theremin-like instrument. The trees are housed in a rolling speaker cabinet unit and are automatically engaged when a human body is within close proximity. Body contact with the plant increases pitch. Depending on how the plant is touched, one a can create a range of frequencies. The simultaneous connection of the two trees creates inter-modulations between two oscillators. A wall text explains proper interaction and suggests ideas on how to make music involving multiple participants.
Jeff Talman
Jeff Talman
Steam Space Lacing 2002
Steam Space Lacing
1.05 seconds of the stream's audio frequency data, the rate of frequency fluctuation, has been selected from an analysis. All installation sound, extracted from the rush of the stream, is mapped to the frequency content of that 1.05 seconds of data. In effect the stream sound is frozen in time.
Audio speakers suspended eighteen inches above the stream are angled to bounce sound off the water. The brook corridor becomes a 389 foot long natural resonating tube that resounds with its own distiilled native sounds.
Keiko Takahashi
Birds In Space, Resonance Factor, Saturday Night WIth Steve,
birds in space (2004)
audio: bird wing flaps, bird song
resonance factor II (2002)
audio: resonant frequencies of cylinder
saturday night with steve (2001)
audio: resonant frequencies of cigar tubes,
the same frequencies extracted from breathing
Steam Space Lacing 2002
Steam Space Lacing
1.05 seconds of the stream's audio frequency data, the rate of frequency fluctuation, has been selected from an analysis. All installation sound, extracted from the rush of the stream, is mapped to the frequency content of that 1.05 seconds of data. In effect the stream sound is frozen in time.
Audio speakers suspended eighteen inches above the stream are angled to bounce sound off the water. The brook corridor becomes a 389 foot long natural resonating tube that resounds with its own distiilled native sounds.
Keiko Takahashi
Birds In Space, Resonance Factor, Saturday Night WIth Steve,
birds in space (2004)
audio: bird wing flaps, bird song
resonance factor II (2002)
audio: resonant frequencies of cylinder
saturday night with steve (2001)
audio: resonant frequencies of cigar tubes,
the same frequencies extracted from breathing
Rebecca Horn
Turtle Sighing Tree 1994
The tree emits a piercing scream, and one has only to stand near any of the funnels to hear a barely audible voice detailing the miseries of contemporary life. At regular intervals, these monologues are abruptly interrupted by a resounding crash, as the turtle-shaped platform shifts its weight and the tree tilts precariously to one side.
copper, steel, motors, wire, audio, 14x27x31 ft.
Rebecca Horn
The tree emits a piercing scream, and one has only to stand near any of the funnels to hear a barely audible voice detailing the miseries of contemporary life. At regular intervals, these monologues are abruptly interrupted by a resounding crash, as the turtle-shaped platform shifts its weight and the tree tilts precariously to one side.
copper, steel, motors, wire, audio, 14x27x31 ft.
Rebecca Horn
We’re Not Gonna Take It/ Protest Karaoke-Style
We’re Not Gonna Take It (Click for the "cached text" only.)
It is an interactive public art project that allows you to record your own protest songs using the telephone.
You can create a song about issues you wish to protest (such as corporate globalism, your landlord's poor repair record, or bad produce at the supermarket). You record your song by using the telephone like a karaoke machine, singing along to rock music. Your personal protest song will then be delivered to the politicians of your choosing.
How To Participate
1. Call the local phone number for your location. (Currently: Toronto, San Francisco)
2. You'll be asked to record your name and a song dedication.
3. Record your protest song. It will be sung to the tune of Twisted Sister's We're Not Gonna Take It. You should sing along with the choruses and make up your own verses. See the lyrics to prepare your song.
4. Select one or more politicians to receive your protest song.
It is an interactive public art project that allows you to record your own protest songs using the telephone.
You can create a song about issues you wish to protest (such as corporate globalism, your landlord's poor repair record, or bad produce at the supermarket). You record your song by using the telephone like a karaoke machine, singing along to rock music. Your personal protest song will then be delivered to the politicians of your choosing.
How To Participate
1. Call the local phone number for your location. (Currently: Toronto, San Francisco)
2. You'll be asked to record your name and a song dedication.
3. Record your protest song. It will be sung to the tune of Twisted Sister's We're Not Gonna Take It. You should sing along with the choruses and make up your own verses. See the lyrics to prepare your song.
4. Select one or more politicians to receive your protest song.
Jeff Hoefs
Scala Media (2006)
Scala Media consists of four wooden vessels in a semi-circular arrangement. The top portion of each vessel is filled with a shallow pool of water. A speaker embedded within the base of each form releases sound when the water is touched.
Beat Blocks (2007)
The user is able to create and manipulate an 8-track drum loop (4 tracks in the featured prototype) on the fly by physically re-arranging blocks within a matrix.
Recycled Beats (2005)
2 hacked Nintendo PowerPad controllers serve as interfaces for a simple music creation system designed in collaboration with a local music producer. By stepping/dancing on the pads people were able to create musical compositions.
The Typewriter Project (2004)
...if the user types a passage to convey sadness, sad music will be played; if the mood of the text shifts to a more cheerful vein the sound will shift as well. In many cases the resulting compositions will vary considerably from one user to the next due to the various moods expressed by the participants.
Dreamspace (2002)
Dreamspace is a sonic exploration of the relationship between body and space. Moving between two forms reveals a direct relationship between the participant's motion and the nature of the changing sound. Two or more sites can be networked to transpose the sounds between them. Thus creating an environment where people from various locations can sense each other's presence through sound.
Jeff Hoefs
David Byrne
David Byrne
Playing the building is a sound installation in which the infrastructure, the physical plant of the building, is converted into a giant musical instrument. Devices are attached to the building structure — to the metal beams and pillars, the heating pipes, the water pipes — and are used to make these things produce sound. The activations are of three types: wind, vibration, striking. The devices do not produce sound themselves, but they cause the building elements to vibrate, resonate and oscillate so that the building itself becomes a very large musical instrument.
Gun Holmström
OMPHALOMIN, 2006, a permanent, interactive sound sculpture by visual artist Gun Holmström.
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