»Playing Piano« (2008) is a stripped down, altered and refashioned piano with the addition of microprocessor-controlled machines and appropriated old piano rolls. By Marla Hlady.
»School of Velocity«, 1995, by Rodney Graham, combines the piano exercise of the same name with Galileo’s equation of the acceleration of falling objects. The result is the piano piece progressively slowing down, with longer and longer pauses between notes. Based on a few bars of music cobbled together out of the score of Wagner’s Parsifal by Engelburt Humperdinck, Wagner’s assistant, to compensate for a problem the opera company was experiencing in synching up its music and scenery. Graham adds a progression of repetitions, whose durations are determined by the prime numbers between 3 and 47, for each of the fourteen instrumental sections that would be playing Humperdinck’s interpolation. The result is an opera that doesn’t end until the year 38,969, 364,735.
“More of the Same” loads copies of one sound sample, causing the system to produce different sounds. By LoVid.
“Flight” by Meridith Pingree. The sound of the footsteps is pitch-shifted it so low that the sound is barely audible, then amplified enough to create the live flapping motion in the bungee-suspended giant subwoofer creature.
“Dead Room” by Camille Norment.
For 3 minutes and 33 seconds at a time, eight large sub-woofers pulse a rhythm of bass frequencies that are too low for the human ear to actually hear. The space is silent, but the sound can be seen as the woofers throb their play cycles, felt as the sound waves move through the body creating a subtle intangible disturbance, and heard in the ‘helium voice’ disruption of the visitors’ voices.
“Organism”, a combination of an organ concert and a time based lightshow, by John Dekron and Gonzales.
»Untitled (Headset)«, 2007. A pair of headphones is altered so that one earpiece becomes a microphone, picking up its own sound from the speaker and creating a continuous feedback loop, which is disrupted by attempts to listen closer.
»Nothing (for Robert Barry)«, 2007 (Power-bar, electronic pest control devices) by Dave Dyment.
“Asynchronous Jitter” (4 Channel Sound Piece with a 15 Channel computer controlled spatialisation system) by Florian Hecker.
“Alpha, Beta, Gamma” by Joe Gilmore. The installation converts data from 2 Geiger Counters into sound.
“Metronome Piece” by Akitsugu Maebayashi. The artist walks around the town bringing along a clicking metronome. The regulated clicks produced by the metronome works as ‘sonor’ which detects information of spaces, and the echoes of clicks are recorded binaurally through microphones that are placed on both of ears of him. This is how, the sound of clicks becomes the medium which transmits experience as a mixture of space and time.
»milch« (2000) by Carsten Nicolai. The basis of milch (milk) is a series of experiments, which examine the relationship between order and disorder by means of a surface of liquid that is under the influence of different frequency-oscillations. In the test series, milk was exposed to sinus waves ranging from 10 to 150 Hz. Sound, almost imperceptible to the ear, appears in this test series as a permanently moving visual structure. Herein the direct interrelation between acoustic signals and visual patterns becomes visible. Lower frequencies make liquids start to move. Dependent on the frequency, different patterns of movement appear. This complex phenomenon causes an interaction of regular and chaotic patterns that can also be compared with acoustic signal interference in a three-dimensional space.
» Earphones «, 2007, 960 earphones working as speakers and 40 working as microphones, making a feedback loop that can be controlled on the mixer. By Andre Avelas .
»Sousaphonograph«, (2005) Original four-valve Sousaphone mounted onto a delicate clockwork phonograph mechanism designed to play a 78 rpm recording of “The Stars and Stripes Forever” through the hon while the turntable and the horn rotate around the playing record, completing one exact revolution for every two sides played. By Paul Etienne Lincoln.
“Audio Monitors” by Simon Blackmore. Resembling speakers, each monitor the sound levels in the space. When the the sound level is low led counters start to count up in seconds, displaying the amount of quite time in the space.
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