Oliver Beer’s “Vessel Orchestra” includes 32 objects, ancient to modern, chosen for the sounds hidden within them.
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.
In the often derelict but delicate works of Rolf Julius, subtle noise vibrations become palpable, physical things.
Bohyun Yoon is from Korea and currently living in Richmond Virginia. He is an assistant professor at Virginia Commonwealth University. Inspired by the idea of sound from clear glass, he choreographed avenues for this glass to become a sonic instrument. His residency at Harvestworks included the use different materials like multi channel audio, contact microphones and amplifiers. His recent projects include Glass Helmet (2004), Glass Tube (2012), and Glassorganism (2013).
Very nice meditative lecture on the idea of the ephemeral in art by Christoph Cox. There is a strong sonic emphasis here, but also on other forces like wind, fire, electromagnetic energy, etc. He begins with an intro but the actual performative lecture begins around 8:11. The names of all of the artists and writers that he uses in the lecture are included at the end.
The idea behind Sonic Pavilion (2009) was this: boring of a 200-meter-deep well in the ground in order to install a set of microphones to capture the sound of the earth. By way of a sophisticated system of equalization and amplification, this sound is played in real time inside the empty circular pavilion, which was designed to create equivalence between the audio experience and ones relation to the surrounding space.
Using simple and functional components, Zimoun builds architecturally-minded platforms of sound. Exploring mechanical rhythm and flow in prepared systems, his installations incorporate commonplace industrial objects.
“The Glass Concert” given periodically between 1968 and 1973 (76 times, to be exact), Annea Lockwood’s 1973 LP The Glass World is the composer’s most recognized work. The original performances took place in the dark, with most of the sounds being produced offstage and amplified into the concert space. On-stage antics included “curtains of fine glass tubing; trees of bottles inverted in a spiral pattern; a mobile of large panes of wired glass, surrounded by mirrors.”