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.
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.
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).
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?