In collaboration with Aron Rossman-Kiss
Based on a huge audio archive of testimonies from participants and statistics of victims from the Yugoslav Wars, the work questions the modalities of presenting this material as well as the power structures that condition their use and dissemination. Ironic and grave, it is both a memorial in the making and a reminder that describing events simply as “war” risks glossing over the imbalances, intricacies and causes of the conflicts. In conjunction with the uncanny ability of algorithmically-generated “fake” text to function as testimonies, the work serves to highlight the complexities inherent in the use of such material within the public sphere, education and documentary research.
Sound installation and performance
Sound is generally assumed to diffuse and fill an environment and be omnidirectional. Light is assumed to travel in a straight line and be more amenable to being directed such as in a laser or even a torch or a spotlight. We may not be able to see around a corner but we can hear around a corner. Ultrasound provides one means by which sound can be more directional and behave more similarly to how we imagine light to be, allowing us almost to “see” via sound.
Installation with video, 360-video with ambisonic audio and directional audio
The work explores various effects of the regeneration of Susaek-dong and Sangam-dong, Seoul, in sound.
Onomatopoeia are especially common in Japanese and Korean. Whereas their use in Indo-European languages is often considered superficial and childish and limited to providing effect, it provides a rich source of vocabulary integral to the East Asian languages where their use is much more common and varied. There are also many onomatopoeia (or “ideophones”) in both languages to describe phenomena which do not produce sounds e.g. how things look or feel and emotions.
Being literally untranslatable at times, it could be considered as an example of sounds contributing to the notion of Otherness of East Asia in general. It also operates in a symbolic realm not entirely based on conventional semantics. The practice of making the inaudible audible developed over centuries provides a fruitful source for rethinking sound and its presence beyond language and the purely symbolic.
Part 1 consists of a video of interviews carried out in Suil Market and the surrounding area. Interviewees were asked to describe Susaek using ideophones.
Live performance of soundtrack to film projection of Tony Conrad’s The Flicker, with Hangjun Lee.
Sound, noise and listening workshops and performances for people with mental disabilities and health issues
The Mental Health Noise Orchestra challenges public preconceptions concerning people with mental disabilities and health issues by demonstrating their potential for creativity and experimentation. Through workshops, the participants open their ears to the possibilities of sound and noise through listening. They culminate in performances which also confront the audience’s notions of what music and musicality are or should be shaped by the music industry and elitist traditions.
Immsersive audiovisual installation with 3D-engraving and printing
Click on images to view as slideshow.
The Korean and Japanese languages contain many onomatopoeia to describe phenomena which produce no sound e.g. how things look or feel and emotions. This mixed-media installation is based on this practice of “sound symbolism” of silent phenomena.
Immersive generative audiovisual performance
Click on images to view as slideshow.
Five Teletext art pages created for the International Teletext Art Festival – ITAF2015
Inspired by The Global Minotaur: America, the True Origins of the Financial Crisis and the Future of the World Economy by Yanis Varoufakis, the Greek finance minister from Syriza.
It is part of OCEAN, an online exhibition of animated GIFs.
Interactive audiovisual installation
Ethnic Diversity in Sites of Cultural Activity poses the question of whether computers can be racist by highlighting the potential for discrimination of face recognition technology. The interactive installation consists of a computer, a web camera, speakers, projectors and lamps. It locates faces, detects skin colour and alters the sound and image produced depending on the ethnic diversity of the visitors to the exhibition. Different music is selected depending on where the work is exhibited. The piece was originally developed in Vienna where it morphed between Fela Kuti’s Zombie for dark skin and Johann Strauss II’s the Blue Danube performed by the Vienna Philharmonic for light skin in reference to the orchestra’s lack of ethnic and gender diversity.
Available in limited edition digital format from Sedition.
Soundtrack to audiovisual installation in collaboration with Meital Covo.
Audiovisual work based on a modified Lorenz dynamical system.
Construction in Zhuangzi is a live “audiovisualisation”: the simultaneous sonification and visualisation of the same process and data in real-time. It is based on a modified Lorenz dynamical system, a three-dimensional model of convection that is non-linear and chaotic and has sensitive dependence on initial conditions or the “butterfly effect”.
A performance consists of an attempt at understanding and controlling the mechanisms of the near-autonomous generative system through an improvisation involving the modifications of the parameters of the Lorenz. Moments of human intervention are indicated by a colour inversion and an audio click. Lorenz stated that the equations do not produce realistic representations at large values of the parameters of the equations. In the work, these parameters are taken to beyond their original real-world limits in order to explore a speculative world. An appropriately machinic or post-human sensibility is evoked through a digital noise/glitch presentation of the emergent phenomena.
The work is featured in the Electronic Music volume of the Cambridge Introductions to Music series. A fixed-media version of the work was awarded 2nd prize at the Fresh Minds Festival, TX, and was part of the official selection for Videomedeja – 16th International Video Festival and MADATAC 04 Contemporary New Media Audio-Visual Arts Festival.
For more details, see the article “Audiovisual Harmony: The realtime audiovisualisation of a single data source in Construction in Zhuangzi“ Organised Sound 17(2), 2012. It is also featured in the Electronic Music volume of the Cambridge Introductions to Music series.
6 – 8 pm Wednesday 29 June 2011
Small Hall/Cinema, Richard Hoggart Building
Goldsmiths College, Lewisham Way, New Cross, London SE14 6NW
Tom Mudd feedback joypad
Ryo Ikeshiro new generative audiovisual work
Manabu Shimada glitched field recordings
The earthquake and tsunami of 11 March in Japan and subsequent after shocks have claimed over 15,000 lives, with 8,700 missing. Over 270,000 homes suffered damage, and almost 150,000 homes were completely or partially destroyed. Two months on, more than 100,000 are still living in evacuation shelters. The international response has certainly helped in starting the relief operation, but there is still much to be done. Any donations will be gratefully received.
The series will present two performances of each work with a talk/discussion in between. Program notes or explanations heard prior to experiencing a piece of music can sometimes affect how we listen in an unnatural way. On the other hand, they can give us useful pointers in appreciating music that might otherwise be difficult. Having two performances is a way of hopefully resolving these issues, with the first listening being unspoilt and the second more informed.
Please join us at any point in the evening. For the discussion, see links for blurbs and related articles. With kind support from EMS and SPR.
Genosong is an improvising ensemble with live sampling. It incorporates live electronics as an augmentation of traditional acoustic instruments in an improvisational context through live sampling alone: no pre-recorded sounds or synthesis methods are used. A natural and organic electroacoustic soundscape is produced that acts as an additional voice in the ensemble; this results in further development of the musical material by the players that is then also sampled. The creation of this feedback allows for extremely interesting emergent behaviour where smooth and gradual processes are juxtaposed against abrupt and chaotic changes.
Outsider Rehearsals 2009
Play each track separately, or download album as single zip file (flac) with artwork.
Chien-Chun Lin: soprano
I-Chin Li: piano, percussion
Guillaume Viltard: double bass
Tom Jackson: reeds (track 02)
Ryo Ikeshiro: acoustic guitar, laptop
Track 01 recorded 02 Dec 2009 (take 1)
Track 02 recorded 18 Nov 2009 (take 2)
– interactive sound installation demo
PulseCubes is an interactive sound installation. Visitors are invited to become part of an implicit feedback loop whose other components include a set of small cubes on a flat surface, computer vision and digital signal processing. The cubes are tracked by a web camera positioned overhead and processed through a partially opaque system implemented in the programming environment Max/MSP/Jitter.
Visitors have the opportunity to influence and interfere with the notion of time by playing with the cubes. Their placement and movement affect features of the audio such as rhythm, tempo and synthesis parameters as the passage of time is stretched and constricted. A chain of indelible “traces” are left in the position of the cubes and the resulting sonic environment and physical vibrations.
PulseCubes was part of The Dissolving Cube at the Portman Gallery, London in Nov-Dec 2009, re:new Digital Arts Festival, Copenhagen in May 2010 and Sound Travels Festival of Sound Art, Toronto in Aug 2012.
The Dissolving Cube opening night, featuring PulseCubes
Construction in Self is a generative work based on the Lorenz dynamical system. It has sensitive dependence on initial conditions, giving rise to what is commonly known as the “butterfly effect”. Its generative form is suggested by this property and the work takes an input prior to performance as initial conditions from which a different piece is produced each time. A diverse variety of behaviours are observed ranging from periodicity to chaos that yield interesting results as signal, control and meta data, suggesting a self-similar microcosm that is complex yet deterministic which can be replicated from the same initial input. The title is a reference to John Cage’s Construction in Metal series (1939-42) in which simple sequences of numbers – referred to as “rhythmic structures” – are used as a basis for structures at different time-scales.
Construction in Self has been performed at noise=noise the Basement Series 2009, London, ICMC 2010, New York, CONTEMPORANEA 2011 ‘Japan 2011′ Festival di Nuova Musica, Udine and 希/日 GR/JP at Het Nutshuis, Den Haag.
See “Generative, Emergent, Self-Similar Structures: Construction in Self“ for more details.
Tudor’s seminal work from the 1970s is a template for what is now called sound art today. It involves resonating sound sculptures, audience interactivity, collaboration, use of found objects and feedback loops and networks.
The group installation/performance took place in Area 10 Project Space in Peckham. It was a former Whitten’s warehouse which was used as an event space for several years before being closed for demolition and subsequent redevelopment.
All the material used for the sound sculptures were found within the vicinity of Area 10 which included remains from the timber warehouse, discarded objects from building and development sites and general junk. The event took place within the backdrop of the changing landscape of Peckham and the tide of gentrification that was to follow.
Album III (cs128; 2008) released on Creative Sources Recordings with ry-om, a live electronics duo.