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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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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.