There is something in the wind that is mystical: how it sounds, how it moves things. The ethereal, this effect that leads you to memories because deep inside you want things to last, we cling to what we call the root of our existence and we want to pass this on.
But just as the wind, we do our reinterpretations of phenomena, and disappear. We are forever stuck in the cycle of our perception weaving our past and colliding with our present.
“Sonic Water,” by artists Sven Meyer and Kim Pörksen, is an interactive cymatic installation that explores the visualization of sound though water. The audience can walk up to a container of water, which is set atop speakers, and introduce their own input sound: voice, a song recording, or another sound source. The result of these sound vibrations is unique patterns in the water that are photographed from above. This exhibit is an interesting example of how feedback can create and alter a physical medium to visualize something so invisible as sound.
This interactive art installation or “reactive environment,” to use the artist’s term, was first shown at the William Nelson Rockhill Gallery of Art in Kansas City as part of the Magic Theater exhibition in 1968. Developed with the assistance of Robert Moog, the pioneering inventor of electronic musical instruments, Electronic Peristyle employs digital circuits to control a sound synthesizer, fans, and lights. Twelve electronic columns surround a transparent globe set on a cylindrical base. Light beams emitted from the base, like spokes on a wheel, strike sensors on the columns. By breaking the beams, the participator alters the sound, light patterns, and wind effects.
Jean Dupuy really begins to take advantage of and enhance our perception of the world around us. Dupuy does this by transducing one sense into another, allowing the viewer to experience that sense in a different way than ever before. For example, the work Heart Beats Dust, exhibited in "The Machine" in 1968, takes an organic process […]
[video src=http://www.youtube.com/watch?v=bIPU2ynqy2Y align:left]EEG electrodes attached to the composer/performer Alvin Lucier’s scalp detect bursts of alpha waves generated when the performer achieves a meditative, non-visual brain state. These alpha waves are amplified and the resulting electrical signal is used to vibrate percussion instruments distributed around the performance space.1
scale is an interspecies art project: an audience-interactive installation that involves nocturnal electric fish from the Amazon River Basin. Twelve different species of these fish comprise a ‘choir’ whose sonified electrical fields provide the source tones for an immersive audiovisual environment. The fish are housed in individual tanks configured in a custom-built arc of aluminum […]
Drei Klavierstücke op. 11 is a reinterpretation of Arnold Schoenberg’s 1909 op. 11 Drei Klavierstück; 100 years after the piece was written, Cory Arcangel decided to remake it editing together youtube videos of cats playing the piano. The work has been realized cutting and pasting roughtly 170 different cat videos. On his website the artist […]
From the artist’s website:
Sheng High is the creation of kinetic sculptor, sound artist, musician and composer Trimpin (1951).
[video src=http://vimeo.com/11140136 height:220 align:left]Camera Lucida is an interactive “sonic observatory” that directly converts sound waves into light by employing a phenomenon called sonoluminescence. The project was conceived both as an artwork and as a musical instrument that allows its player to see and shape sounds while moving through space….
The project began as a speculative reverie on observing sound waves with the naked eye. The idea of using a gas that would luminesce when irradiated by sound converted into voltage was very appealing to us. However, as soon as we came upon the phenomenon of sonoluminescence, it became quite clear that we had struck virgin soil.
Ryoji Ikeda al MiTo SettembreMusica Festival 2009, il Festival Internazionale della Musica (3a edizione).
I am witnessing a sensation of dislocation from my immediate environment by its alternative representation in the data of position, the figures of longitude and latitude updated every second as I move. What place is there for my sensations, my phenomenology, my conscious and unconscious awareness of space if this knowledge is so efficiently and functionally made redundant by the technologies of satellite navigations? – Yolande Harris
Blue Morph is an interactive installation that uses nanoscale images and sounds derived from the metamorphosis of a caterpillar into a butterfly.
The interaction of the public with a projected image produces sounds and changes in liquid metal.
GlowFlow is a visually and auditive reactive environment. In a dark room 4 neon tube are mounted, in order to create the misleading impression that the room is narrowing and slopy.
Text (.pdf) about the installation “Atrator Poético” made by the Brazilian group SCIArts and presented during the temporary exhibition Cinético Digit