La Prairie celebrates the launch of its Skin Caviar Nighttime Oil with a digital installation offering an entrancing trip into the twilight zone at Art Basel and Frieze London
For three days in New York City an immersive multi-room sensory experience designed by the studio Dave & Gabe for Sonos in partnership with Google Assistant invited visitors to delve into interactive installations of sound, music, and light to explain the properties and experience of sound.
Today, the role of sound in science extends beyond the range of audible frequencies: Ultrasonic and other silent acoustic waves have made their way into researchers’ repertoire, helping them push the boundaries of conventional medicine and research.
In examples from four Stanford labs, scientists are investigating the full spectrum, harnessing the nuances of noise and the power of acoustics to generate inventive, if not unexpected, technologies that show just how potent the combination of sound and science can be.
Through Totemic Sculptures and Sound Art, Guadalupe Maravilla Explores the Therapeutic Power of Indigenous Ritual. Maravilla works across painting, sculpture, and sound-based performances all veiled with autobiography, whether informed by the Mayan architecture and stone totems that surrounded him as a child or his cancer diagnosis as a young adult. His pieces are predominately therapeutic and rooted in Indigenous ritual and mythology,
A locative audio work that explores the idea of surveillance within the context of the museum.
What do states keep secret? What secrets do other states attempt to uncover with their intelligence services? How is this information passed on, compiled, evaluated? When can state secrets become valuable currency? The value of every piece of information changes at the very moment it is shared with someone else: when does it become worthless?
A radio work and immersive sound installation that explores the emergence in 1963 of the earths newest land mass – a small island off the coast of iceland.
In 1963, off the coast of Iceland, an island has emerged after an underwater volcanic eruption, a rare event that occurs on average twice a century. It was given the name Surtsey, after Surtr, the fire giant of Norse mythology.
Elevator Pitch is inspired by Kim’s childhood memories of crowding elevators with her Deaf friends, and shouting so loudly that they could feel the vibrations of each others’ voices. Meanwhile, elevators are often known to hearing people as sites of “awkward silence,” thus the concept of this installation challenges when and where various people have a voice. Born Deaf herself, Kim approaches Elevator Pitch by investigating how Deaf communities of New Orleans experience a city so deeply defined by music, and by highlighting how Deaf people are vital to this culture of sound.
a sound performance, conceived around and in reaction to a series of night bombing videos that the artist has collected on youtube, which are edited into a video that is stripped away of all sounds. These footages originate from a variety of sources including news reports, archival footages, and video captured and uploaded by amateurs. Throughout the performance, the performer watches this silent video on a monitor, and attempts to accurately restore its soundtrack of explosions, gunshots and debris, by playing a live foley set using a series of regular household objects.
The STEEL-FONICS attempts to shed light on a hidden contribution to Pittsburgh’s industrial past. In this culture, African Americans are typecast dancing, singing or marching against a backdrop of poverty, crime or packed arenas in order to be recognized. This installation employs the power of stereotype and reimagines a creative collective of black industrial steel workers called The STEEL-FONICS. The African American contribution to the enormous expansion of the American steel industry has been all but invisible. This exhibition is a new kind of labor strike against historical omission.
Some examples of voice as textural sound
Link to the Page on Psychoacoustics
The COVID lockdown did not shut down the desire to share sound with the world. While the pandemic closed concert and exhibition venues worldwide, undoubtedly damaging many artists financial prospects, it has not kept them from sharing their work. Numerous venues have created platforms for sharing adventurous sound – some of them free, some of them requiring a donation to help the performing artists.
Sometimes you don’t have access to a quality recording device and you want to capture something quickly. Most of us own a recorder that we have with us at all times — a smart phone.
The global Covid pandemic has changed our listening, this is particularly true for those of us living in urban and industrialized areas. What do we hear when the trucks are not rumbling down our street? What do we pay attention to when people are tucked away in their homes and not out on the street in their vehicles? This might mean a heightened awareness of nature, particularly birds, it also might highlight the man-made sounds that were once so prevalent that we simply ignored them — when the trucks are less frequent suddenly we pay attention to them.
Originally from the Navajo Nation, Raven Chacon is a composer of chamber music, a performer of experimental noise music, and an installation artist. He performs regularly as a solo artist as well as with numerous ensembles in the Southwest and beyond. He is also a member of the Indigenous art collective Postcommodity, with who he recently premiered the two-mile-long land art/border intervention, Repellent Fence.
Kevin Beasley engages with the legacy of the American South through an installation that centers on a cotton gin motor from Maplesville, Alabama. In operation from 1940 to 1973, the motor powered the gins that separated cotton seeds from fiber. Here, the New York-based artist uses it to generate sound as if it were a musical instrument, creating space for visual and aural contemplation.
Onyx Ashanti is a Berlin-based artist who fuses electronic, free-jazz, and science fiction, creating live performances with instruments he invented.
An introduction to the surround panner in Adobe Audition
A simple “getting started” video
“Red Bird” (1977) is a 45-minute piece of musique concrète in four movements. Made for the most part of bird sounds, body sounds, and selected mouthed words, it weaves an intricate network of symbols. Completed in 1977, it was made with traditional electro-acoustic techniques.
Soundwalk Collective was given unprecedented access to the halls of the emblematic nightclub Berghain / Panoramabar in Berlin.
A re-incarnation of the legendary Ostgut club, the focal point of Berlin’s techno subculture, the Berghain building is a former East German power plant that is remarkable for its enormous dimensions, 18m high dance floor and minimalist constitution of steel, glass and concrete.
Believe it or not, there’s a long history of plants and sound.
Here’s an article in the great art blog Hyperallergic that talks about the exhibition Sonic Succulents: Plant Sounds and Vibrations by Adrienne Adar at the Brooklyn Botanical Garden
An incomplete list of different types of musical instruments. There are many sub categories that could be formed beyond this simple list.
Wildlife recordist Chris Watson begins a three-part journey into the sonic environment of the ocean, celebrating the sounds and songs of marine life and investigating the threat of noise pollution
Two Postcommodity members, along with composer Guillermo Galindo, are partnering with members of a fast-gentrifying Santa Monica neighborhood to produce a sound-based artwork of contested histories.
Oliver Beer’s “Vessel Orchestra” includes 32 objects, ancient to modern, chosen for the sounds hidden within them.
Dr Helen Czerski investigates the extraordinary science behind the everyday sounds we hear and those that we normally cannot hear.
The global engineering firm Arup and BLOXAS Architects collaborated on a soundscape installation to demonstrate what our everyday environment might sound like to a dementia sufferer.
Benjamin Gale is a freelance Sound Editor, Field Recordist and Sound Designer from Bristol, UK currently living in the south of France. He has been developing a series of immersive audio books for children using binaural recordings and SFX to accompany voice acting and illustrations.
Sound artists have experimented with everyday noises for centuries. Now this music is making a comeback.
In her visual and audio work, Jennie C. Jones revels in the affective power of silence and lack, staging encounters with forgotten histories and extra-visual phenomena through the bodies of her viewers.
THE BOUNCY BEEPS of Pac-Man. The percussive build-up in Legend of Zelda. The effusive gibberish of The Sims. The sounds in videogames tell us to speed up, start over, and of course, to keep playing. But how does one set of beeps so effectively tell you you’ve gained power, while another indicates your character has died? And how, exactly, does someone create the sound of the Dark Knight punching the Joker in the face? The answer: Genius sound design.
In honor of May Day, Ultra-red release the PDF of our latest workbook for militant sound inquiry, “Five Protocols for Organized Listening” (5.8MB). The workbook compiles protocols for collective listening developed by multiple teams of investigators from 2009 to 2011 in cities across North America and Europe. “Five Protocols” is also accompanied by links to related sound objects on the School of Echoes Soundcloud page. Please feel free to download and distribute. We only ask that you send us feedback on your experiments with organized listening and militant sound investigation.
Hong-Kai Wang is an artist who works mainly with sound. Her practice includes processes involved in the production and performance of sound as well as their political and social contexts, and, not least, the organisation of listening. In several of her pieces she has employed collective processes, discussions and workshops.
Anna Mlasowsky is a German-born glass artist who works across many media including video, installation, and performance. As the description below for the project “Resonance” attests, her work with sound emerges from her own challenges with hearing perception.
An aural journey from the source of the river, in the high peak area of the Adirondacks, downstream to the Lower Bay and the Atlantic Ocean; Lockwood traces the course of the Hudson through on-site recordings of its flow at 15 separate locations. Annea Lockwood has recorded rivers in many countries to explore the special state of mind and body which the sounds of moving water create when one listens intently to the complex mesh of rhythms and pitches. The listener will find that each stretch of the Hudson has its own sonic texture, formed by the terrain, varying according to the weather, the season and downstream, the human environment whose sounds are intimately woven into the river’s sounds. 71 minutes 33 seconds
The Icelandic artist Ragnar Kjartansson uses music as a key focus of many of his performance and video works. In the work entitled A Lot of Sorrow (2014) for example, he staged a performance at MOMA PS1 in which he invited the American band The National to play their well-known song Sorrow repeatedly for six hours.
Humans come into contact with sound all the time. Our first tactile listening experience is in the womb, feeling our mother’s heartbeat. This kind of physicality continues into our everyday: We feel our own hearts beating, we hear the sound of our footsteps. By its very nature, direct contact with music through its natural vibrations introduces us to an experience we’ve been missing, one that is crucial to our proper understanding of it.