Posts tagged ‘Sound Art’
November 23, 2012
Above is an exhibited poster I designed in collaboration with my apprentice Stacey D’Andelet using processes for design outcomes. Around 2008, when I began to collaborate with David Dunn, David and I engaged in conversations regarding our interests, concerns, and processes. I am always eager to move on and employ new found insights during my sonic and visual practices. David introduced me to Autopoeisis; an organization that produces itself. At that time, I was already thoroughly engaged in systems to drive my audio work and during 2006 had begun to employ them to make photographs; see the print below, A Pollinator of The Submerged Peninsula, produced around that time.
Since then my interests in systems, employing processes informed by science, and internalizing experiences into my work has continued to evolve. Autonomous systems, cellular automata, shuffle algorithms are but a few concepts that have entered my complex relays. They are absorbed into my processes to coax my course, arrangements, and find approximate solutions to my idiosyncrasies. Below are examples of emergence in the performative visual scores I am presently using to post-arrange audio recordings I made in the Buena Vista Building, in Miami’s Design District, during a sound installation I was curated into on October 19.
My sound piece was commissioned by SFCA for the Listening Gallery with funding from the Knight Foundation, and with additional support from the City of Miami Beach Cultural Affairs Program, Florida Department of State Division of Cultural Affairs, Miami-Dade County Department of Cultural Affairs, and Sennheiser USA. The event was organized by The Night Club and the guest curator was Gustavo Matamoros. The event was titled Acoustical Transpositions in a Single Architectural Space and it featured a conversation with Vito Acconci centered on issues and ideas about sound, design and architecture. Vito Acconci has been named Designer of the Year by Design Miami 2012; however, for personal reasons, Vito Acconci could not attend the featured conversation for this event.
Below are two photographs of my installation during the time I prepared the sounds for the Listening Gallery using a piano altered by Alison Knowles and processing. In the background are a series of posters by my apprentice Stacey D’Andelet for performances by Jaap Blonk. The posters are unique as a result of glitches employed with my printer.
My performative visual scores, above and below, are for large scale metallic prints, they are documentative and convey information during my present audio processes. They are in the process of changing in form and nature while simultaneously transforming the structural properties of an acoustic body that once was. In the visual scores you will find the evidence of cellular automata I have programmed to use both visually and sonically. You will also find the games I’ve employed, relatively simple interactions, for new patterns to arise. A snippet of the audio work in progress can be found here.
November 9, 2012
Kerry Ware has been processing audio recordings from aerial footage shot by William Kaddell during rides on his powered parachute. The snap shots above are from William’s video footage over Bonneville Speedway Road. William is a multi-media visual artist with an emphasis in stereo-graphic media. He uses his powered parachute to capture his stereograph landscapes. Below are links to the videos with sound by Kerry Ware:
You can listen to additional work by Kerry Ware at his soundsketches.
September 16, 2012
This portrait was taken while working during the summer 2012. I was building an immersive system informed by my interests in thoughtful interaction design, sensory motor coupling, augmented reality, and story telling using sensors, Processing, and Java; here I am game basing my sound art practice.
In the portrait I am questing resonant differences, with a microphone made with a suction cup, between the stars cast on the floor from a window in a room in my home. I live off the bay in Miami, FL and my home is elevated off a limestone ground. On gusty days, drones emerge; here I am roping the stars.
When I recently discovered that I had a major conflict in my schedule between my invitation as a guest artist to the 2012 International Symposium of Electronic Arts and a novel game, simulation, animation, and media computation program I have been appointed to develop for Miami-Dade County Public Schools, and could not attend the 2012 ISEA to perform, I quickly turned the work I was doing this summer into an autonomous system. The thought was to turn the work I developed over the summer into spongiform for the site we would be performing at, the University of New Mexico’s Duck Pond, Albuquerque, New Mexico, USA. If I could not be present to perform, I could have a computer on site, in my place, that would represent a psycogeographical mapping of my presence in my home, recontextualized as a multiplicity of versions for the pond. I thought this project would make for a unique alternative ecosystem to Duck Pond. It would contribute, to the Duck Pond environment, an alternative evolution and morphology; for example, alternative to that of a tadpole or mosquito in a pond. It would also contribute to the discourses that emerge in my processes re-envisioning art, technology, and nature.
However, after mulling over handing an autonomous self over to my colleagues, David Dunn and Gustavo Matamoros, I decided against handing the project over to anyone because I became attached to the work and felt I could not part with it. I need to be part of the system to close the loop, to feedback; otherwise, it would not be a work of art. In my art, I am tuning into intimacy and perspective. During the development of the project I was conscious of my own environment’s affect on my emotions, the behavior that emerged, and therefore the meaning that was produced. Cognizant of the seeding that occurs in my processes, I came to the conclusion that without my physiological and psychological presence in my system, sending a computer over to perform autonomously for me would equate to no more than having my colleagues press play on a sampler I engineered using computer science, to be subsumed by their contributions to the performance.
Rene Barge, David Dunn, and Gustavo Matamoros: Multi-Channel Installation at the Listening Gallery, Lincoln Road, Miami Beach
August 30, 2012
Rene Barge, David Dunn , and Gustavo Matamoros are installed at the Listening Gallery on Lincoln Road on Miami Beach. The sound installation was produced site specifically, with extensive strategies employed for a tight tune to the challenging out-of-doors and often times cacophonous location. Of the collaborative strategies, I employed various pre-recorded sounds from the site that I processed in preparation for the tuning, as well as brilliant textural feedback; pitches high enough and random enough to meander differently within the location. This is the second run of the installation, the first occurred in two parts during Sleepless Night, Miami Beach and Art Basel, Miami Beach 2011. The first run was also in conjunction with a live, twelve hour, performative installation that included, sound artist, Russell Frehling during Sleepless Night Miami Beach, 2011. Russell Frehling has a rich pioneering history in sound art, much of which has been archived by Subtropics.org [iSAW+SFCA]. David Dunn, Gustavo Matamoros, and I are an artist collective known as FM. FM is less an ensemble than a confluence of strategies for sonically activating a space, additional perspectives can be found at Sound Expanse. FM has been invited as guest artists / performers to the ISEA 2012 in Alburquerque, New Mexico. This year’s theme for 18th International Symposium on Electronic Art is Machine Wilderness and will explore the discourse of global proportions on the subject of art, technology and nature.
August 27, 2012
The composition, Bullion Algorithm and Drifts, was produced from experiments held at Bridge Red Project Space, Miami, FL, USA during May 2012 and where I collaborated with sound artist, Gustavo Matamoros. I post-arranged, for a stereo relay, my contributions to the multi-channel space as an extension of its original form; evading its original context into a new form: shape, structure, color, and pattern. In the title, Bullion Algorithm alludes to strategies that explore acoustic phenomena such as our perception of spatial resonance or phase interference between closely tuned pitches popularized by Alvin Lucier. In the title, Drifts makes reference to the morphology introduced by my idiosyncrasies and my need to recontextualize ideas that often times produces inquisitive behavior to emerge and thus an alternative meaning and function. There is no other way this composition could have been produced. A video of me, questing for sound at Bridge Red Project Space is available here. To listen and purchase Bullion Algorithm and Drifts please visit Nautical Miami Bandcamp from here.
August 26, 2012
Kerry Ware and I have settled on a conceptually and visually restrained version from multiple sketches we explored over the summer for the Nautical Miami unique 7″ scheduled to release January, 2013. The sketch is serving as a model for the production of 250, limited edition, color pencil and water color on hand made paper, white vinyl 7” that is taking place until their release and thereafter as we continue to take time to produce new work. A glimpse into the sonic attributes of the unique 7″ is available at Nautical Miami Bandcamp where you will find other projects as they become available.
July 18, 2012
Kerry Ware and I have begun to sketch ideas for what will become 250 unique, limited edition 7” vinyl bonus tracks to accompany our first Nautical Miami downloadable release. They will be available to the first 250 downloads. Each vinyl 7” will come with a unique visual composition made of color pencil and water color on hand made paper. The unique visual pieces are designed alluding to cycles or calendars. They are an embellishment of detailed climatic life in Miami, FL in that they appear to be informed by an elasticity of wet and dry micro-rhythms. The audio composition itself alludes to our two yearly seasons: a wet season and a dry season and are comprised of recorded walks, transducer systems on reflective surfaces, filters and processing.