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Installations plastiques

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Bosch & simons. Sound Installation « Zulmahmod’s Blog. ZUL: Sonically Exposed, 2014 The Private Museum, Singapore SOUND: Lattitudes and Attitudes Curated by Bani Haykal and Joleen Loh Earl Lu Gallery, Singapore.

Sound Installation « Zulmahmod’s Blog

SONIC ENCOUNTER, BANGKOK, 2013 Silpakorn Art Centre, Bangkok, Thailand SONIC ENCOUNTER, SUZHOU, 2013Curated by Feng BoyiJinji Lake Art Museum, Suzhou, China. Works « Graham Dunning. Workshop and performance at Dear Serge, De La Warr Pavilion (Bexhill-on-Sea) On Saturday 15th March I’m running a workshop and performing live at Dear Serge a free event at the De La Warr Pavilion, Bexhill-on-Sea. 1pm-2pm Graham Dunning Workshop Ghost in the Machine Music: Build an abstract music making machine using scratched records, turntables and keyboards.

Works « Graham Dunning

Then jump on the controls as a group and free the ghost in the machine with a live mixing performance. (The sounds you produce will be recorded and you’ll receive a digital copy) 2.15pm-2.45pm Graham Dunning – Performance Vinyl dissonance for lost memories: a live rhythmical collage made of squeezed record crackle, analogue synthesizer, dubplates of field recordings, dusty shellac records and clumsily triggered drum machines. Graham dunning creates art in many formats but the common thread across all of his work is the use of found objects and sound.

Introduction. Arno Fabre - site officiel. PAUL PANHUYSEN. Max Neuhaus. Works / Works. Jérôme Abel Webring : activités et liens. Eryck Abecassis. Boris Achour - Non-stop paysage, 2003. Oïkos Cour / Fanny Adler. Fanny Adler est plasticienne.

Oïkos Cour / Fanny Adler

Elle vit et travaille à Ivry-sur-Seine. Elle présente son travail lors d’expositions personnelles et collectives. À l’occasion de l’exposition Slippery (à l’Espace Croisé de Roubaix, en 2003) elle rencontre Vincent Madame. Pour Oïkos Cour, elle propose une performance sonore avec le musicien et un dancefloor Girly Rock. « Fanny Adler filme, elle enregistre des moments intimes. Robert Adrian X - GREEN LIGHT. 100 green fluorescent lamps and a sound element (the sound of a large space full of people and the periodic passage of a squadron of jet aircraft) Media culture is what those images are that flicker past our eyes from the magic window.

Media culture is always present, always now. It is as though the TV screen was a kind of reading glass passing over an infinite field of events completely devoid of narrative sequence or time. Every image since the invention of photography (with its claim to authentic representation) is a part of this field and equally present, equally now - destroyed Richmond in the American civil war and the ruins of Berlin or London almost 80 years later can be montaged in a seamless sequence. Saâdane Afif. Un article de Wikipédia, l'encyclopédie libre.

Saâdane Afif

Klanginstallationen by Richard Aicher - Sound Installations. Sound Jewlry. Introduction This site describes a sound installation work supported by spatial sensing system with a Personal Area Network (PAN), which may be applicable for such areas as dance performances and mobile music.

Sound Jewlry

The term "Sound Jewelry" was coined by Iwatake, one of the authers of this paper. The original idea is to create interactive musical objects which are worn like necklaces by people. Each of the "Sound Jewelry" then automatically generates "melody" and according to the distance between the persons wearing it the sounds of "melodies" may be changed or exchanged. On the other hand, Yamauchi, the first author, has been researching into real-time localization systems for multiple agents in a PAN.

Figure shows the localization system. The actual "Sound Jewelry" turned out to be an environment that consists of two layers of sounds. System Architechture. Azimuth 2007. Sound Sculpture. Liner Notes from Mousetrap Music, Innova Records CD511: It was in 1990 that I designed and constructed my first sound-sculpture, an instrument called the mousetrap, out of junk, hardware, and found objects mounted on an electro-acoustic soundboard.

Sound Sculpture

The mousetrap was inspired by several antecedents, including the famous instruments of American composer Harry Partch. Most important—and proximate—was an instrument called the bug designed by Tom Nunn, a Bay Area musician and former University of California, San Diego student who continues to design fabulous instruments. I found the bug in contrabassist Bert Turetzky’s office (among other wonderful oddities, Turetzky included) and was immediately captivated, both aurally and visually.

Duo d'interventions sonores formé de Rodolphe Alexis et Valérie. Nigel Helyer and Simo Alitalo. - www. cycliq .org - Laurie Anderson. Anderson is a pioneer in electronic music and has invented several devices that she has used in her recordings and performance art shows.

Laurie Anderson

In 1977, she created a tape-bow violin that uses recorded magnetic tape on the bow instead of horsehair and a magnetic tape head in the bridge. In the late 1990s, she developed a talking stick, a six-foot-long baton-like MIDI controller that can access and replicate sounds.[4] Anderson started dating Lou Reed in 1992, and was married to him from 2008 until his death on October 27, 2013.[5][6] Early life[edit] Anderson was born in Glen Ellyn, Illinois, the daughter of Mary Louise (née Rowland) and Arthur T. 1970s[edit] She performed in New York during the 1970s. 1980s[edit] Anderson became widely known outside the art world in 1981 with the single "O Superman", originally released in a limited quantity by B. 1990s[edit]

ENBA Lyon // post-diplôme art 2009/10. Fouad BOUCHOUCHA né à Marseille 1981 Il convient généralement d’inscrire les « Arts sonores » dans une contemporanéité qui leur est conférée par les technologies numériques et les avancées actuelles liées au développement d’Internet et des réseaux.

ENBA Lyon // post-diplôme art 2009/10

Si le travail de Fouad Bouchoucha est résolument contemporain, il reste que sa manière de produire du son résonne encore des termes esthétiques de la musique, révélés par Berlioz en 1844 dans son « Traité d’instrumentation et d’orchestration » qui affirmait que « tout corps sonore utilisé par un compositeur est un instrument de musique », ce qui, comme l’écrivait Christophe Kihm dans le n°271 de septembre 2001 de la revue Art Press, faisait entrer « officiellement » le bruit dans la partition. Auditory Tactics.