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.
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.
Five Teletext art pages created for the International Teletext Art Festival – ITAF2015
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)
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.