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.
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.
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.
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.
Sound is made of waves that travel out (or propagate) from their source until they dissipate, bounce off a surface or are absorbed into a surface or substance.
“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.”
It’s been said that many make sacrifices for their music, but, in the recording of 4 Rooms, Jacob Kirkegaard went above and beyond. Almost 20 years after the Chernobyl disaster, Kirkegaard traveled into the villages surrounding Chernobyl, places largely uninhabited and still teeming with radiation, an unheard and unseen but never forgotten result of Reactor 4’s fateful meltdown in April 1986.
The most important thing for my field work is the possibility of describing the experience of landscape,” he reports. “I want to know how to fix the experience of landscape. It’s a different method to using photography to fix it. We can see the outline of objects clearly in photographs. But when recording, things are not so clear and it is difficult to distinguish what vibrations travel in the place. It’s like a moving sculpture.