For three days in New York City an immersive multi-room sensory experience designed by the studio Dave & Gabe for Sonos in partnership with Google Assistant invited visitors to delve into interactive installations of sound, music, and light to explain the properties and experience of sound.
A locative audio work that explores the idea of surveillance within the context of the museum.
What do states keep secret? What secrets do other states attempt to uncover with their intelligence services? How is this information passed on, compiled, evaluated? When can state secrets become valuable currency? The value of every piece of information changes at the very moment it is shared with someone else: when does it become worthless?
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.
THE BOUNCY BEEPS of Pac-Man. The percussive build-up in Legend of Zelda. The effusive gibberish of The Sims. The sounds in videogames tell us to speed up, start over, and of course, to keep playing. But how does one set of beeps so effectively tell you you’ve gained power, while another indicates your character has died? And how, exactly, does someone create the sound of the Dark Knight punching the Joker in the face? The answer: Genius sound design.
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.
John Oswald’s piece de resistance. Twenty minutes of some of the most insane editing, cross-fading, beat matching, cultural name dropping and sampling. No other work even comes close to the intensity of Plexure. John Oswald proves he is a virtuoso of Pro Tools, over a thousand different artists edited, spliced and mixed together.
Long before sampling, hip hop, needle drops and mashups John Cage had created his incredibly dense magnetic tape cut-up masterwork Williams Mix (1952).
For those of us who have trouble staying in tune when we sing, Deutsch has some exciting news. The problem might not be your ears, but your language. She tells us about tone languages, such as Mandarin and Vietnamese, which rely on pitch to convey the meaning of a word. Turns out speakers of tone languages are exponentially more inclined to have absolute (AKA ‘perfect’) pitch. And, nope, English isn’t one of them.
