1,721,863 research outputs found
Litus Expromo
Full text linkThis work is derived from five hours spent at Enderby's Wharf on the Thames foreshore at Greenwich, recording the river flow and tides in the area under the Enderby’s Wharf jetty. These recordings were used to create a series of contrasting soundscapes (Litus Expromo) exploring rhythm and frequency. A first version of the work, Litus Expromo External, was played through speakers attached to the Wharf over the weekend of 13th and 14th September 2014, stopping passers by in their tracks and making them question the veracity of sounds they were hearing. On the evening of Saturday 13th, members of the public and the Hackney Secular Singers choir were invited to perform the vocal work Fundamental 94 based on the resonant frequency under the jetty. At the gallery, all five sections of Litus Expromo were available on a listening post: 1. Fundamental 94 (4’53”), 2. Tidal Liminal (4’02”), 3. Hammer 143 (5’57”), 4. Over Heard (4’58”), 5. Deep Breath (6’19”). The work was again played through speakers in the Kings Presence Chamber at the Queen’s House on September 26th 2014
Arrival Time
Full text link“Arrival Time”, is a multi-channel sound installation. This is a durational composition, in which open data from Transport for London (in this case bus route arrival information) is used to control a SuperCollider patch, creating a generative sonic composition that progressively changes according to the pattern of bus traffic within a geographical radius selected via a GoogleMaps web interface.
The work is coded for multichannel installation, and can support up to 16 channels, although 4-8 are sufficient to create a sense of immersion and spatiality in relation to an audience’s listening position. It is intended as a gallery (rather than performance) piece and could theoretically run indefinitely (at least until TfL change the format of their data feeds).
Arrival Time was developed with funding from the University of Greenwich’s Digital Grand Challenge research programme, exploring the potential to use open data as a source for music composition. The piece also considers the threshold between purely sonifying data (for meaningful interpretation) and using data as material for musical composition, detached from its original meaning
Sonos Localia
Full text linkSonos Localia (Latin for spatial sound) is a digital music label, established with support from the University of Greenwich's Seedling Fund for enterprise.
It features recordings produced using spatial recording techniques (such as binaural stereo) of music and sound works that specifically feature sonic diffusion, localisation and immersion. These are available for digital download via the bandcamp.com platform for a small fee.
The label is an ongoing project, and more outputs will be added to this dataset as they are released. It operates on a not-for-profit basis, with any surplus from sales being distributed to artists, composers and producers.
In addition to bringing recordings of work by internationally renowned composers and established artists to wider audiences, Sonos Localia also provides support for teaching and research pertaining to sound design and related activities in the School of Design
Chronicle (Paterson, NJ), Vol. 30, No. 36, Sept. 7, 1958
No full textLocal information pertaining to Paterson, N.J. and surrounding Passaic County. Issues may include events, government, business, political cartoons, engagement and marriage announcements, and birth announcements. This publication was also known as the Paterson Chronicle (1952) and the Paterson Sunday Chronicle (1951-1952)
Participation in EMPIRE II, an international touring exhibition, 2017 - 2019
Full text linkArtworks produced in collaboration with Sarah Sparkes for EMPIRE II, an artist-led international touring exhibition.
EMPIRE II was launched at Brussels Art Week, April 2017 and was a major collateral event at 57th Venice Biennale, Italy, 2017. It ended at Museo de Arte Contemporáneo de Oaxaca, Mexico, 2019.
The body of work in the exhibition is:
'Peninsula', digital video, 2017
'Almost An Island', digital photograph, 2018
'The Backswimmer', digital video, 2018
The work was made in response to the theme 'The Age of Anxiety'.
Over 21 months, the works have been shown at venues in:
Brussels, Venice, London, Kendal, Berlin, Madrid, Zagreb, Tallinn, Hastings, Oaxaca
RISE
No full textA new site-specific durational performance and sound installation with the Blackpool High Tide organ and melting ice.
Breathing Space are a collective who create site specific performances in non-traditional spaces, using improvisation, choral voices with electro-acoustic soundscapes and live experimental instrumentation. We use improvisation and performance to uncover and discover the stories, history and physical resonance behind the spaces we work in to shape content and form. Through working outside the traditional performance space we often perform to unsuspecting audiences, inspiring people to re-imagine spaces and adding new memory and story to sites. Our backgrounds are a vibrant mixture of classical training and self-taught musicianship.
Whilst in Blackpool for Other Worlds festival last year we visited the High Tide Organ which sewed the seed for this year’s performance. It is a unique part of the city and we were inspired by its elemental nature, how it is played by water, air and time. We became intrigued with the idea of sounding along with nature and what it is to be connected to nature in this way, in contrast to our urban everyday disconnect from natural forces, until they come to the forefront through environmental ‘disasters’ such as flooding, rising sea levels and the melting of polar ice caps. We want to join the organ’s voice and explore this wider context further.
Breathing Space will perform with the organ for two hours around high tide, from approx 12 until 2pm, Saturday 9th April. We will sound the notes of the organ in a call and response to the sea, echoing the pitch of the pipes, singing the sea back at itself in a sonic meditation on the natural pace of time and the continuous movement of the tide. The audience will be invited to participate with pieces of text about rising sea levels and the environmental impact of melting ice.
Simultaneously, the High Tide Organ performance audio will be live streamed into an installation environment with a quadraphonic sound system in non-traditional venue in the city centre. Melting ice will be the sound source for a live improvisation alongside the audio stream. Transmitting an audio feed away from the coast and into the centre of town brings the voice of the organ, and therefore the sea, and the sound of ice melting into an urban environment, uncovering another layer of disconnection, in order to create an opportunity to foster a new connection.
Performing with the High Tide Organ will slow time to a natural pace whilst the content of the piece explores larger notions of running out of time. The live stream element investigates notions of time, space and performance across a virtual platform
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