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.
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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.
An 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.
– 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