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.
“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