Onyx Ashanti is a Berlin-based artist who fuses electronic, free-jazz, and science fiction, creating live performances with instruments he invented.
“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.
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.
Ultimately, all sound that we perceive is psychoacoustic. As soon as sound passes through the ears, it stops being a physical phenomena and becomes a matter of perception. What we hear is almost by rule different from what is actually sounding, due to the peculiarities and limitations of our hearing. And what we hear can largely differ from what we think we are listening to, due to the many tricks that perception plays on our awareness.
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.
The ground is in motion. GROUND acts as a LOOKING GLASS, as an AMPLIFIER for what we normally can´t perceive – tectonic plates are continously shifting … the permutations of landscapes constitute an infinite process of becoming… geosphere is a complex system that interferes with biosphere but also with anthroposphere, that part of the environment, that is made and modified by humans.
GROUND is moved by immense mechanical forces. The motion can be felt, heard and seen. Rough sounds are mechanically produced through friction between the concrete elements … visitors might experience the loss of their visual reference points, it becomes unclear what is still and what isn´t… there is an afterglow of a moving ground in the visitors physical memory after leaving the installation.
Audible Spaces presents three sound installations that encourage participants to explore the subtleties of listening. Tristan Perich, Zarouhie Abdalian, and [The User] have each created immersive environments using seemingly uniform sounds that dissolve into tonal, tactile, and temporal variations as participants engage with them.
A 40-metre wall with a 1.5-metre gap at each end is built to bisect the gallery. Hidden
inside the wall are a series of microphones connected to a PA system. The entrance side of the gallery is empty. On the other side of the gallery, coming out from the bisecting wall a baseball bat is attached to a steel chain. The audience is invited to strike the wall. Their action is amplified at 120db.
Maryanne Amacher was an experimental sound artist who composed music and created site-specific sound installations. Early in her career she played music on multiple tape machines and mixed them live. She was interested in the experience and perception of sounds in particular spaces.
Tremulously I stand in the subways, absorbed into the terrible reverberations of exploding energy. Fearful, I touch the forest of steel girders loud with the thunder of oncoming trains that shoot past me like projectiles. InertI stand, riveted in my place. My limbs, paralyzed, refuse to obey the will insistent on haste to board the train while the lightning steed…
Pressure sequence is an exploration of movement, a question of presence, a reconnaissance of body language. Pressure Sequence started out as a question: Dancing is body language at its purest. But can you transform, translate this language?