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light art

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I am drawn to the works by Pablo Valbuena by the way he allows the viewer to straddle both the real and virtual/digital realms.  His subtle carefully placed interventions are eloquent and respond to the existing patterns of the architecture whilst break and ask the the viewer to build understanding through their own experiences.

Here is the article written on the Creative Application website:

Created by Pablo Valbuena, Time Tilings are four site-specific interventions created for Artefact festival, STUK Kunstencentrum. Leuven, BE in 2013. Like in most of his projects, time tilings is about time, space and perception. He explores the overlap of the physical and the virtual, the generation of mental spaces by the observer, the dissolution of the boundaries between real and perceived, the links between space and time and the use of light as prime matter.

Time Tilings includes projection mapping onto existing surfaces that are physical patterns in themselves. The projections add a new dimension of time where the projected geometries are carefully and precisely mapped over the physical ones. The installation is site-specific each time, formulated as a direct response to the perceptual qualities, physical conditions and surrounding influences of a certain location or space.

Architecture is judged by eyes that see, by the head that turns, and the legs that walk. Architecture is not a synchronic phenomenon but a successive one, made up of pictures adding themselves one to the other, following each other in time and space, like music. — Le Corbusier. Modulor I.

Project Page | Pablo Valbuena

See also quadratura and para-site [mattress factory]

Pablo is a visual artist with an architectural background. Born in Spain and currently based in the south of France (Toulouse), his work has been presented internationally in public and private institutions, biennials and galleries as exhibitions and site-specific commissions. He has developed large-scale interventions in the public space in locations across Europe and America.

 

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WORKSHOP DAY 8 – FINAL PROTOTYPE

Re-blogged from Sound Tectonics Blog

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The concept of the final prototype was developed around the matter of collective experience through auditory senses. The goal was to reinforce the user’s empathy and communication with space and inhabitants through emotional canals. Memory was considered to be the key element that could lead to stronger social bonds so as to reactivate the urban space as a place of interaction. Transforming the observer in to a listener and the act of listening in to an active agent of cross-fertilization, we pursuit a feedback that triggers one’s personal experience of collective awareness.

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Working  on  the  metropolitan  city  of  Athens as the  case  study, we  strategically  divided  the  city  in  layers  that  represented different  ambiences  according  to topography, built environment  and  voids, natural  elements  and  inhabitants. The analysis of each area was achived by documentation process recordings, to represent the relationships between site specificity and our final prototype of an artificial interactive environment.

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Through a critical engagement with technology, the Sound Tectonics team created an interactive environment that was build upon the idea of using one’s own experience as the influential agent that ‘organically’ emerges from the navigation of the user within the structure. Five boxes of different sizes were placed in different distances from each other, each representing one of the previously analyzed areas of the city. Their different volumes were reflecting the diverse perception of distances between the sound source and the position of the listener.

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As part of one system created and installed in an indoor space with the absence of light, the interactive environment used controlled light sources as an inviting component that attracts people to enter part of their body in each hollow box structure. Eager to become part of the experience, the visitors were triggering motion sensors that in their part, were turning the lights off to give their turn to reproduced and edited sounds of the city. In this system, light and darkness were reversely related to sound and silence. The chosen sounds were manipulated in order to expose some highlights of our city drift, incorporating the city’s ambient sounds. One’s own experience could affect the listening experience of the rest of the users. This state was noticeable only when all boxes were occupied, through reproduction of an ironic composition of sounds that suggested enforcement power contradicting with sounds of individual joy. A composition that aimed to highlight the political extend of a social gathering that is occasionally considered by police to be a threatening constitution, especially in the so-called, by some,  ’wastelands’ of the urban environment.

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The visitor’s experience was based on their physical presence in space, together with their acoustic experience. In this way we meant to isolate the senses, only to combine them again when they all reach the state of starting to experience a social assembly. Along these lines, laid one of the main notions of the project that is to force the user to re-evaluate his sensory perceptions and understand the social impact that these may have. This chain reaction contributes to the formation of an emotional state, based not only on memories, but on gathering empirical evidence of how we could effectively reconnect with spaces and people around us.

Project Team :

Tutors: Daniel Canogar, Javier Pena Galiano, Jon Goodbun, John Grzinich, Santiago Vilanova, Nota Tsekoura, Nastazia Spyropoulou, Anna Laskari, Tassos Kanelos

Participants: Ioli Belezini, Natalie Barton, Daphne Dimopoulou, Maria Galani, Yoranda Kassanou, Marirena Kladeftira, Konstantinos Kosmas, Dimitrios Mavrokefalos, Dickie Webb

Special thanks to: Konstantinos Souvatzoglou, Marilena Georgatzi, Nileta Kotsikou

Venue: The British Hellenic College -Athens

Raw sounds from Sound Tectonics workshop research could be found at:  sound tectonics soundcloud and at Radio Aporee  maps under the search : sound tectonics

Sample sound from sound tectonics field recordings:

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ANALOG | GROUP EXHIBITION

30 November 2013 – 1 February 2014

Berlin

Bruce Nauman, Jannis Kounellis, Max Neuhaus, Lawrence Weiner and Gilberto Zorio are among the eight artists featured in Blain|Southern’s next exhibition, ANALOG, a group show which seeks to question our experience of sound through a range of immersive installations and augmented environments.

Examining the relationship between auditory and visual perception, as well as the extent to which sound functions as an affective trigger of personal memory and emotion,ANALOG demonstrates how artists have and continue to use noise as a powerful aesthetic in itself. Some of the works, which range in date from the 1960s to the present day, invite the viewer to actively participate – generating the echo of their own voices through recording equipment, or becoming immersed in a cacophony of fragmented arias.

Among the numerous works on display, Carsten Nicolai’s 334 m/s (2007) is specifically designed to visualise the speed of sound, which is around 334 m/s. To reflect this, propane gas is set alight within two translucent tubes, which produces a sonic boom and in turn issues wild flashes of fluorescent blue light as the flame burns from one side to the other. Minimalist in form, the work consists of cylindrical tubes, gas cylinders and wires, exploring the artistic potential of chemical processes.

Cyril de Commarque will be exhibiting Migrants (2013), a work that consists of bottles containing organ-like apparatuses, attached to a vascular system that resembles the shape of a boat. The piece represents a poetic limbo, being a metaphor for the forced emigration of peoples from their native countries, and the subsequent voyages that were undertaken in a desperate struggle for survival. The work emits the sounds of anonymous overlapping vocal messages, which become obscured by their own multitude, creating a sense of confusion and disorientation. These voices are incongruous to the pulsating organs from which they emanate, depersonalising the piece to the point that it becomes a collective allegory.

In Ignacio Uriarte’sThe Beach (2012), the sound of a typewriter carriage moving from right to left is presented stereophonically. This repetitive, formulaic process of typing acquires a new dimension, as its constant patterns begin to take on the hypnotic lull of a rolling tide. The audience thus becomes focussed on the unique qualities of the sound itself, now isolated from its mode of production.

Music is the primary subject of both Lawrence Weiner’s Deutsche Angst/The Memories of Stu Irwin (1981) and Jannis Kounellis’ Untitled (1971). Weiner’s piece is a musical collaboration with experimental composer Peter Gordon, which fuses the stabs of electronic synthesisers with elements of free jazz, percussive beats and spoken word. The result is a unique avant-garde composition in which disjointed elements compete for the listener’s attention, creating a distinctive soundscape in which the human voice becomes the remote protagonist of an unsettling musical narrative.

Unlike Weiner’s work, Kounellis’ Untitled incorporates physical performance, in the segmentation of a Divertimento by Wolfgang Amadeus Mozart.  Played by students from the Leo Kestenberg Music School and Studio a’415 two days a week, the Divertimento is staged in fragmented form, with students only performing the same five minute section of the piece for a three hour duration. This structural dissolution of the Divertimento denies the listener the enjoyment and progression of the full piece, transforming rich classical melodies into an emotionally distant and unnervingly mechanical rendition. This process ties in with Kounellis’ use of fragmentation to express feelings of alienation in contemporary society.

Bruce Nauman’s Doppelgänger/UFO (1988) is comprised of a rotating steel beam to which two audio cassettes have been attached, exploring the aural phenomenon of the Doppler effect, where sound waves become distorted as the object is put into motion. Nauman urges the viewer to engage directly with dynamic sound, encouraging us to consider the everyday noises that flash past us with greater aesthetic appreciation, such as the rush of moving vehicles, or the fragments of overheard conversations that fill our ears within urban environments.

Exhibited for the first time outside of Turin is Max Neuhaus’ Three ‘Similar’ Rooms (1989), courtesy of Galleria Giorgio Persano. The large-scale installation – staged in the upper level of the gallery – comprises three seemingly identical rooms through which the viewer wanders, though each room actually contains a distinct aural experience as determined by its individual acoustics. The spaces themselves offer no indication of the origin of each sound, causing the viewer to experience these decontextualised noises in a pure, unfiltered manner.

Gilberto Zorio’s Microfoni (1968) presents a number of concrete breeze blocks on bases of ball bearings, above which microphones hang from the ceiling. Viewers are encouraged to stand upon the blocks and speak into a microphone, with their voice then echoing back through speakers in looped, distorted form. Via this abstraction of the human voice, Zorio’s work causes us to scrutinise the sound of our own speech and the ways in which we use verbal communication.

Through the exploration of these artists’ varying engagement with sound, ANALOGchallenges the audience to perceive the noises of our daily life with greater reverence, triggering both a re-assessment of our aural experience of the world and a renewed appreciation and understanding of the nature of sound as an integral aspect of our sensory existence.

http://www.blainsouthern.com/

Image:

Carsten Nicolai
334m/s
2007
Perspex tubes, gas, igniting mechanism
Room installation/dimensions variable
Image Courtesy of Galerie EIGEN + ART Leipzig/Berlin and Pace Gallery

So Catriona Gallagher and myself wrapped up our time here on the SNEHTA residency with a small exhibition titled Unsettled Certainties.  Over the two days we had some interesting conversations with people we had met and others we had not from our time here in Athens.  It was a great way to finish our two months and hopefully will see either of us or both returning sooner rather than later.  I will post some images over the coming week.  For now here is a little GIF teaser from a sign piece I made which is the start of a new series of work titled “Concept Of Since”.

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“Unsettled Certainties”

Catriona Gallagher and Dickie Webb

Opening, Friday 29th November 6:30-9pm
(Open Saturday 30th November 3-8pm. Open Sunday 1st December by appointment.)

Gallagher and Webb have both been occupied with the notion of place, comprehending what it is to be settled or grounded and equally seeking intermediate sites to challenge their knowledge. Through certain and uncertain exploration they have found different places to work within the Athenian landscape.

Gallagher has been making interventions that highlight absurdities in the preservation of heritage and trying to understand the notion of shelter when that becomes necessary.

Webb has concerned himself with liminal spaces, sites that were but are not now, since certain events occurred. He has created reflective intermedia works that question what now, post since.

“Unsettled Certainties” is a synopsis of their research and time at Snehta and points towards possible resolutions in the future.

 

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“Ακαθόριστες Βεβαιότητες”, Catriona Gallagher και Dickie Webb

Εγκαίνια Έκθεσης την Παρασκευή 29 Νοεμβρίου 3-8 μ.μ
Ανοιχτά Κυριακή 1 Δεκέμβριος, κατόπιν επικοινωνίας

Βασικό θέμα έρευνας των εικαστικών Ghallager και Webb είναι η έννοια του τόπου, ο τρόπος με τον οποιό αντιλαμβάνεται ο καθένας τις ρίζες του, και τη βάση της ζωής του, που συναρτάται με κάποιο χώρο. Η τυχαία και πολλές φορές συμπτωματική διαδικασία που οδήγησε τους καλλιτέχνες στην ανακάλυψη τέτοιων σημείων-τόπων, τους ώθησε να επικεντρωθούν καλλιτεχνικά σε διαφορετικά σημεία της Αθήνας.

Πιο συγκεκριμένα, οι παρεμβάσεις της C.Galagher, τονίζουν τους παραλογισμούς στην συντήρηση της Ελληνικής κληρονομίας και φανερώνουν την προσπάθεια της εικαστικού να κατανοήσει την έννοια του καταφύγιου όταν αυτό είναι παρόν, ή όταν αυτό μοιάζει απαραίτητο.

Ο D.Webb ερευνά χώρους περιθωρίου-ενδιάμεσους χώρους και μή τόπους. Μέρη που κάποτε κυριαρχούσε η ζωή αλλά τώρα μένουν κενά ανθρώπινης χρήσης και παρουσίας. Βρίσκει τρόπους να φέρει στην επιφάνεια το χρόνο που μεσολάβησε ανάμεσα στις δυο διαφορετικές καταστάσεις και βάσει αυτού δημιουργεί έργα που έχουν ως βασικούς άξονες δύο καίρια για τον ίδιο ερωτήματα: «Τώρα τι? Από τότε τι?»

Η επιβεβαίωση του άστατου και συμπτωματικού χαρακτήρα που διακρίνει τον τόπο και το καταφύγιο συνοψίζουν την έρευνα που έγινε μεταξύ των δύο μηνών που οι καλλιτέχνες αφιέρωσαν στη Snehta. Μέσω της ερευνητικής αυτής διαδικασίας, δίνεται η δυνατότητα σε καθένα από τους δυο καλλιτέχνες να προχωρήσει και άλλο την εργασία του στο μέλλον προς την κατεύθυνση αυτή.

So this week spent on Sound Tectonics is coming to an end. A week I will not forget, spent with one great team of artists, architects, sound artists, composers, theorists and just generally inspiring people. The week has been focused on discussing the relationship with sound as a material and its relationship and use within the architecture of Athens and beyond.

So today, Sunday 24th November, will see the unveiling of a prototype which encompasses some of the thoughts, skills and discoveries made these past 8 days. If you would like to come and see and meet some of those involved we will be having an opening at 6pm at the British Hellenic College here in Athens.

Please see the photo for more details of the location.

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I am well over half way through my residency here in Athens.  The experience has given me time to reflect and focus not just on the proposed new works I hope to start working on but give me new perspectives on continuing themes within my practice.  The city has given me plenty more new ideas for future works and added to existing ideas, bolstering concerns ongoing.

As I posted recently I attended Urban Lightscapes Symposium which definitely gave me a wake up on certain areas of my practice and again reminded me to consider a wider practice.  This past weekend I started some workshops for the upcoming Sound Tectonics that is happening this coming week.  These workshops introduced both Processing and Arduino which I have used before but allowed me to understand further the benefits of such tools.  The workshops were long but really good and I feel a little more capable with these tools now, even considering future projects using Processing that prior to these I would of tried other methods first.  So I am getting excited for the whole week coming up which should give me new thoughts and ideas as to where I am going with sound within my practice.

The Glitch works I have been working on have started to come together.  I have had to really think before starting these new works of how to order my process.  Considering a language that will allow me to find each sample and know where I found it and where I could use it.  This has meant I have had to label each sample either using a systematic approach of 1-28/A-S or more descriptive BW Slow Fade Whisper Crackles, Silent Double Beeps.  I have attached a test run of a track that I am in the process of putting together based of the image above.  The abandoned airport here in Athens, Ellinikon.  The track uses 12 samples currently of this image mainly Black and White though some colour samples as well.  I have not yet used any effects on these samples so the track is pure Glitch image with only the volume adjusted.  Have a listen and let me know what you think, I will post the track in its next form once I use a bit of artistic license and use effects to manipulate the sounds a little and add some midi samples.

 

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Really drawn to these text works by STEFAN BRÜGGEMANN.  I am not sure whether it is because I feel familiar with his approach or whether I am just quizzical about the sincerity of them.  Having made text works myself and continuing to do so currently they bridge an odd gap in the art world.  A chance to state the obvious whilst also hinting at more.  Whether one should be confrontational or just suggestive I am still at odds with. I do think that BRÜGGEMANN is clear in the intention and decisive in the application.  The meaning though will always be unending as people read what they will.

To see more works check STEFAN BRÜGGEMANN website.

 

 

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