Another research trip to Chinese jade (Room 33b), China and South Asia (Room 33) and Mexico (Room 27). Gallery here.
A first draft of how the four Space Rock objects will interact with each other, and with audience (‘actors’).
Thinking this week about echo location, in the context of the space objects ‘talking’ to each other and sensing the distances between themselves.
Found some inspiring projects in A Touch of Code. Most notably (so far):
- Markus Kison’s Touched Echo, using sound conducted through bones. Visitors put themselves into the place of the people who shut their ears away from the noise of the explosions. While leaning on the balustrade the sound of airplanes and explosions is transmitted from the swinging balustrade through their arm directly into into the inner ear (bone conduction).
- WhiteVoid’s ‘unstuck’ augmented game.
- “Experiencing Abstract Information” by Jochen Winker and Stefan Kraiss
- And Leonel Moura’s Robotarium. The first zoo in the world for artificial life.
Drawing Machine by Fernando Orellana. Explores the notion of generative art or art that makes art on its own. The piece consists of a three tiered mobile sculpture that is driven by the vibration of a motor.
- LITERALLY SPEAKING Torsten Posselt, Martin Kim Luge – transforms tweets from twitter-users into the sound of singing birds.
- Kathrin Strumreich’s fabric machine. Two fabric loops, driven by a motor, create a division in space. Light sensors measure the opacity of the textile.
Love the design and the sounds of these Bivalvia mini synths.
And some musical inspiration for the Space Rock objects from Hatis Noit; especially the way the first track here plays with voice – using various layers, some treated and distorted, some not.
Some sketches for possible installation of Space Rock objects.
Second text created using Markov chain text generation. Again, the text is in the order it was generated, although some slight edits have been made to give the text a bit more flow and ‘sense’.
was being much like those back home.
but maybe we’re not quiet.
shows not only family.
quite done with wandering after all.
Being from and surprises the edges.
in honour of the sounds of the object.
sparsely, tendency, finally around the screen.
much less of the object.
Under closely, which finally that.
the artist’s ranch.
When they all listen.
the council would change us all.
the moon landings.
and the small life deciphering the stars.
come riding horses.
the contact with wandering travel.
object is so near as macro.
would do the pictures from the lens.
heard the same from.
As he once again see scans them.
occasionally the Earth.
she notices that finally.
mission for survival.
Before static, waiting the home rest.
time has passed.
much; it was, but they weren’t enough the map.
some time to listen is.
a sort of us.
They played from memory and the edges.
and the bother means came naturally, tenderly.
and sounding like spider legs.
the rider closely.
communicating against the stars.
scanning their artists travel.
he came named.
Another collage set exploring the concept of future cityscapes or spaces. These were created using screenshots from some initial MAX MSP experiments during a recent workshop learning the program.
This text was written as part of a workshop based on a series of five randomly-selected images that were originally sent into space as part of the Voyager Golden Record in 1977.
The Quartet. 19/03/2018
Families gathered outside in the street. At the gate. Stopping for a while to take in the music. Many others also came to listen. Standing still. They wondered at the sound. They too had seen the moon landings. But it took some time to connect the sounds of the instruments to the pictures from the night before. The grainy capsule. The crackling voices beamed down, announcing the moment that would change us all. Or at least most of us.
Out in the Desert, a lonely figure wandered with this horse, scanning the horizon for signs of life. At his side was a small listening device. A radio, tuned to static, waiting to receive some sound. Occasionally the rider stops, tunes, looking for signals. As he tunes, he once again see scans the horizon. Once or twice he looks back at his trail. Where he came from. As he had little idea where he was going. Just had to find the end to this desert. He rode, stopped, tuned, rode again. He had food and water for a few days more.
In this immersive installation, Nigerian artist Emeka Ogboh makes a connection between the volatility of financial markets and the movement of people seeking better lives. A traditional Greek lamentation song is complemented with real-time stock market indexes moving across an LED display. The Way Earthly Things Are Going was commissioned by the art exhibition documenta 14. It was installed in a raw concrete auditorium within the Athens Conservatoire, an iconic building but one which has become a symbol of failed utopian modernism.
Taking its title from a lyric in the Bob Marley song ‘So Much Trouble in the World’, this work references the current financial crisis – particularly significant to Greece, but also of global relevance – and the migration of people fleeing war and economic hardship. The ticker tape displays financial data, transmitted live from dozens of stock exchange indexes around the world. This is slowed down to match the pace of the singing, recorded specifically for this work with a traditional polyphonic choir. The lamentation song ‘When I forget, I’m glad’, from the Epirus region of northern Greece, recounts a story of forced migration and relates to the present economic situation in Greece.
The feeling of wandering the perimeter of this piece was mesmerising. Each speaker seems to contain and project a different voice of the choir, the sounds melding and changing as you move around the vast echoing space. The human voices contrast with the cold hard facts of the stock prices on display. Both the singing and the prices are in a language (for me) that I find hard to understand, although the sentiment of both seems abundantly clear. The installation uses the large concrete space perfectly and I could happily have wandered from voice to voice under the slowly-flickering ‘scoreboard’ for much longer than I had time for. An inspiring yet simple use of sound and (moving) image.