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. SONIC ENCOUNTER, BANGKOK, 2013 Silpakorn Art Centre, Bangkok, Thailand SONIC ENCOUNTER, SUZHOU, 2013Curated by Feng BoyiJinji Lake Art Museum, Suzhou, China BREATHE , 2010 Works by Zul Mahmod Presented by ION ART Curated by Ms Lindy Poh ION ART Gallery, Singapore ARENA 2009 Sound Installation at Substation Gallery, Singapore Arena 2009 SONIC ENCOUNTER, Singapore Presented by Sculpture Square, Singapore Sculpture Square, Singapore False Securities, The Docu, 2009 At Home Abroad. 8Q Singapore Dancing With Frequencies, 2008 Dancing With Frequencies, 2008 Sound Installation CrossCurrents Curated by Isabel Ching, Osage Osage, Singapore Sonic Encounter, Moscow. 2008 Sound Installation Curated by Matin Tranh Commissioned by The Arthouse Singapore Spotlight Singapore in Moscow Sonic Encounter, Hong Kong. 2008 In The Asylum, 2007 Sonic Dome.
Like this: 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. 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. Like this: Like Loading... About Graham Dunning. Introduction. Arno Fabre - site officiel. PAUL PANHUYSEN. Max Neuhaus. Ivan Abreu | works / Works. Jérôme Abel Webring : activités et liens. Eryck Abecassis. Boris Achour - Non-stop paysage, 2003.
Oïkos Cour / Fanny Adler. Fanny Adler est plasticienne. 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. Avec des moyens d’une extrême simplicité, l’artiste parvient à nous transporter. Ses œuvres contiennent une assez grande violence qui ne transparaît pas immédiatement. 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.
Since Edison marketed his record-ing machine we have also been haunted by the voices of the dead - or better, of the ancestors - who remain present in sound and image. Saâdane Afif. Un article de Wikipédia, l'encyclopédie libre. Saâdane Afif, né le 7 juillet 1970 à Vendôme, est un artiste français. Parcours[modifier | modifier le code] Prix[modifier | modifier le code] Démarche artistique[modifier | modifier le code] La pratique artistique de Saâdane Afif est multiple. Il se nourrit également des collaborations et amitiés artistiques qui l’entourent. Saâdane Afif s’intéresse par ce biais à la notion d’exposition. Cette forme de redondance qui n’en est pas vraiment une, s’inscrit dans les préoccupations de l’artiste.
Bien au-delà de la simple reprise d’une œuvre ou d’une série, Saâdane Afif joue sur la question de l’unicité de l’œuvre, de l’interprétation sémiotique et multiple de ses œuvres. Expositions[modifier | modifier le code] Liens externes[modifier | modifier le code] Saâdane Afif chez Xavier Hufkens. 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. 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. So it was only natural for the 2 ideas come together. .
Figure shows the localization system. The actual "Sound Jewelry" turned out to be an environment that consists of two layers of sounds. System Architechture The system consisted of slave servers and a master server. Summary Demo Demo demo. 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. 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.
(The bug gets its name from its "antennae": two curled threaded rods.) The mousetrap, which includes a working mousetrap, was a response to the bug, a challenge "to build a better mousetrap. " Instead I found that I had succeeded in building a bigger mousetrap. Duo d'interventions sonores formé de Rodolphe Alexis et Valérie. Nigel Helyer and Simo Alitalo. - www. cycliq .org - Laurie Anderson. ENBA Lyon // post-diplôme art 2009/10. Auditory Tactics.