Stephan von Huene
Joris Strijbos & Daan Johan PARSEC (2014)
PARSEC is a kinetic audio visual machine consisting of 16 identical arms performing a generative composition based on swarm synthesis. Each arm holds two LEDs and a loudspeaker which will create abstract audio visual patterns while being rotated. The core of the installation consists of a swarm synthesizer, 16 identical analogue and modular synthesizers. The synths are programmed to perform swarm like behavior which can also be recognized in the movement and light patterns.
Ian Andrews Motori (2014)
Motori is a 2014 work by artist Ian Andrews incorporating found objects, custom electronics, vinyl records and record players. It inverts the traditional action of the record turntable by fixing the records and moving the stylus. Ian describes Motori as “a dumb machine” – it is activated by visitors movement and repeats the same set of simple motions each activation.
Toshiya Tsunoda and Haco The Tram Vibration Project (2006)
Place: Inside a tram on a round trip from Ebisu-cho to Hamadera Ekimae on the Hankai Line (12:03 – 13:46) in Osaka, Japan. Tsunoda captured solid vibrations using a piezo-ceramic sensor and a stethoscope, and Haco used her “stereo bugscope” (two inductive microphones) system to catch electromagnetic sounds.
Os Gemeos Painting Speakers Organ (2010)
Gert Aertsen Time is a Technology (2013)
A hoist dragging a heavy piece of miked stone over grains of sand extremely slowly.
Yukio Fujimoto Music Box Movement (2016)
Andrius Sarapovas The Kinetic Generative Music Installation (2017)
The Kinetic Generative Music Installation consists of 77 individual “players” that use a metal bar, sound activator, dampener, resonator, and mechatronics, which combine electronics and mechanical engineering. Each component is either hanging from the ceiling or attached to the wall. With access to mobile company Tele2’s Lithuanian 4G network, the installation uses a custom algorithm to translate the network’s statistical data into sounds. One second of data usage creates one second of music, while the number of sessions connected to Tele2’s network determine the music’s rhythm, velocity, volume, and lighting within the installation. Pitch is decided by the amount of data downloaded.
Chelpa Ferro Jungle Jam (2010)
Jungle Jam uses motors and plastic bags to create a cacophony of sound, echoing the rhythms and the tunes of Liverpool streets. A specially tailored rhythmical composition is ‘played’ by the bags. The piece inverts the process through which musicians appear in the commercial context of Liverpool’s streets and brings commercial detritus into the gallery. Chelpa Ferro conceive their sound pieces as experiments that will develop and evolve beyond the authors, becoming machines with an art life of their own. The artists invent and build soundcreating devices that include non-musical objects chosen for the randomness they will contribute to the final composition. In Jungle Jam every turn of a bag will create different sounds depending on the exact order of its creases at any given instant; this makes the piece unique to each individual visitor.
Haroon Mirza A Chamber for Horwitz (2015)
Isolated in a square chamber at the entrance of the gallery, Horwitz’ seminal work Sonakinatography Composition III is transcribed through Mirza’s audio-visual coding of eight LED structures that oscillate through the original Sonakinatography spectrum and their respective sonic frequencies. While in the past Mirza has composed his light installations, here the score directly transcribes Horwitz’ composition, originating nearly five decades ago. Stacks of carefully arranged acoustical foam blocks line the walls to contain the sound of the orchestrated LED lights, humming in different octaves as they shift in color.
McLean Fahnestock Grand Finale (2011)
All 135 Space Shuttle launches, played simultaneously, including, for morbid viewers, the “major malfunction” one (2nd row, 6th video from the right).
Jeroen Vandesande Circuit 03 (2016)
A series of pipes that produce feedback when you walk past them.
Mark Mothersbaugh Orchestions (2014)
Vintage organ pipes, vintage bird calls, electronics, and steel 86 x 37 in.
Kazuki Saita moids (2009)
Moids is an interactive system made up of 1024 autonomous circuits. Each circuit consists of a microphone that picks up ambient sound, a microcontroller that analyzes the incoming sound, a switch and a loudspeaker component. The installation reacts both to the sound of the environment and to the sound it produces itself.
David Letellier Versus (2012)
Versus by David Letellier is a sound installation consisting of two kinetic sculptures placed face to face. Each sculpture is made out of 12 triangular panels, hinged and powered by six linear actuators, controlled by a specific program. At the center of each corolla, a loudspeaker and a microphone allow to play and record sounds. At regular intervals, each sculpture produces a sound, simultaneously recorded and analyzed by the opposite sculpture, which then moves according to the frequencies of this sound. Like a feedback loop, it then plays back the recorded sound, with the errors and disturbances caused by the reverberating space and the visitors.
Jeroen Uyttendaele Vonkveld 3 (2015)
A table covered with copper shavings that crunch, crackle and move under the influence of a constantly changing electric current.
Stephan von Huene Tap Dancer (1967)
Tap Dancer exemplifies Stephan von Huene’s kinetic sculptures of the 1960s, which incorporate traditional materials such as wood and paint, but also more unexpected, mechanized parts like motors and pieces from player-pianos.
MSHR Knotted Gate Presence Weave (2017)
Knotted Gate Presence Weave is a cybernetic composition that takes the form of an expanded analog circuit, woven through a labyrinthian lattice of digitally fabricated sculptures. As visitors navigate the labyrinth, their presence is integrated into the generative system, shifting the feedback patterns of light and sound.
Marla Hlady Hum (2003)
Mounted on each ceiling fan is one speaker and audio equipment. Sound is activated with a tilt switch (movement activated switch) when a fan starts spinning. The sound consists of a simple, hummed melody. Each 2 minute recording is endlessly looped while the fan spins six fans spinning six melodies to create a chorus. The spinning speakers give the audio a tremolo effect (like the spinning speakers of the Hammond organ) which varies based on the fans speed. Each fan is moving in the same pattern (controlled by a computer) but the staggered start time of each fan results in an ever-changing pattern.
Jio Shimizu Claisen Flask (2010)
By passing parallel laser beams through a combination of several special lenses, Shimizu creates a generator of peculiar wave-forms, resonating and radiating wavelengths of individual light. Only by directly experiencing the work, by being together with it in the space, can one see that it is composed of extremely fine details generated by these refracted light and interference fringes. A Claisen Flask is a special flask normally used for vacuum distillation, devised by the German chemist Claisen in 1893. Shimizu uses the flask, which has a clear scientific purpose, to create a hybrid (adding an artificial organ), in addition to key words, such as emergence of life, circulation, physiological action, separation, extraction, disappearance and production of energy and bacteria.
Ujino Muneteru Plywood City (2008 – 2010)
Ujino Muneteru transforms mechanical sounds into complex rhythms. Bored by the technical limits of his instruments, the guitarist and bassist experiments with new sounds. Different sounding bodies widen the spectrum of resonance; simple mechanical motors produce new tones. In particular domestic appliances, tools, and large machinery from the fifties to the seventies play a significant role here because of their mechanical simplicity and haptic palpability. Points of reference to the Japanese “Noise Music”, a type of sound movement from the eighties rooted in John Cage and the Fluxus, can also be seen. Plywood City refers to a part of Tokyo, in the vernacular, built from wood. Inspired by it, Muneteru constructs a model city, which is animated by kinetic objects and sound. The basis of the city is formed by art-transport crates, whose misappropriation cites socialist flagstone buildings with irony.
Achim Wollscheid Inlet / Outlet (2006)
It is a simple project where the movement of inhabitants in a room on the 1st Floor of the Polish Embassy causes the opening and closing of the Windows.
Peter Vogel Klangwände (1988)
In 1967 Peter Vogel was greatly impressed by a scientific experiment by the neurophysiologist William Grey Walter who used a machinae speculatrix that reacted to impulses from the external world with lights, colours, sounds, and sensors. It was this very interactivity that particularly fascinated Vogel and gave him the necessary inspiration to radically change his formal language. In 1969 the artist made his first plastic/cybernetic experiment and, in 1971, he held his first show in Freiburg.
Aernoudt Jacobs PHOTOPHON (2014)
PHOTOPHON is based on the photoacoustic principle that was discovered at the end of the 19th century by Alexander Graham Bell. According to this principle, a strong light source can be converted into an acoustic wave due to absorption and thermal excitation. Bell’s research shows that any material comes with a sonority that will be revealed by hitting it with a strong beam of light. The installation consists of different photophonic objects playing tones created by strong light beams through a rotating disc.
Richard Garet CUT (2014)
Paper Guillotine, Speaker, Amplifier, Audio File
Sérgio Rocha Single Coil Noises (2017)
Single Coil Noises is a sound installation made by Sérgio Rocha. It is a result of the magnetism between two mirror ball rotators and the single coil pickups of two guitars. Three effects pedals, two amplifiers, two guitars and two mirror ball rotators made this immersive noise on a three floor building inside the Faculty of Fine Arts of University of Porto.
Jess Rowland Sound Tapestry (2014)
This documentation starts with a detail of one of the tapestries then expands to see how the installation functions through time. The five tapestries here are copper foil on acetate and function as audio speakers. (The sound in the video is recorded ambiently at the museum.) There’s a patron in the video who is interacting briefly with the installation as many do – by examining and exploring, and listening for the source of the sound (which comes from the surface of the tapestries).
David Jacobs Wah Wah Sculptures (1967)
In 1964 David Jacobs became friends with K.C. Li, whose family owned the Wah Chang tungsten refinery in Glen Cove, New York. Li provided Jacobs with ample studio space in the Wah Chang factory, where he was often startled by machinery that rumbled into operation late at night. By 1967 Jacobs had produced Mother, an initially flaccid stack of rubber inner tubes that inflates to wriggling life when a hidden vacuum pump is activated. By combining metal elements and rubber tubing in various configurations, Jacobs produced several additional kinetic sculptures in 1967, each of which is programmed to move and create sound with unique anthropomorphism. Beginning with an exhibition at Hofstra University’s Emily Lowe Gallery, these “Wah Wah” sculptures were typically presented as a group in the late 1960s, performing for audiences like a cacophonous orchestra.
::vtol:: until I die (2017)
This installation operates on unique batteries that generate electricity using my blood. The electric current produced by the batteries powers a small electronic algorithmic synth module. This module creates generative sound composition that plays via a small speaker. The blood used in the installation was stored up gradually over 18 months. The conservation included a number of manipulations to preserve the blood’s chemical composition, color, homogeneity and sterility to avoid bacterial contamination. The total amount of blood conserved was around 4.5 liters; it was then diluted to yield 7 liters, the amount required for the installation. The blood was diluted with distilled water and preservatives such as sodium citrate, antibiotics, antifungal agents, glucose, glycerol etc. The last portion of blood (200ml) was drawn from my arm during the performance presentation, shortly before the launch of the installation.
LEMUR GuitarBot (2002)
GuitarBot is a self-playing guitar created by the League of Electronic Musical Urban Robots in 2002. The instrument consists of four modular string units, each of which can be controlled with MIDI.
p.s. Hey. ** David Ehrenstein, Thanks, D! ** Dóra Grőber, Hi! My pleasure. Oh, great that you’re feeling into the trans group. That does sound really exciting. I wish I could be the veritable fly on the veritable wall. And super great news that SCAB is nearly ready and that you’re so happy with it! I can’t wait! Well, it looks like luck is at least somewhat on our side because the big meeting yesterday apparently went much better than feared. We might be close to doing the contracts, but I remain a bit wary given the mess so far. But, yeah, maybe we’re almost there and I can finally describe this overly mysterious project. Cool, not a bad day for you all in all it sounds like. My day was good what with the possibly positive meeting outcome. Zac and I met up with our pals and PGL cohorts Michael and Bene who are just back from a monty-plus in Australia. And we finalised the attendees for today’s cast/crew/VIP screening of PGL, and one of our cast, Milo — the long-haired boy in the trailer — who it seemed might not be able to come due to his turbulent family life, is coming, so that’s great because he’s so amazing in the film, and the audiences have loved his performance, and he’s a boy who really needs to know how great he is, and hopefully he’ll feel proud of his work in the film. So yesterday was good. I’m excited and nervous for the cast and PGL gang and a bunch of people and artists I know and admire to see the film today, really hoping they all like it, and I’ll know soon enough as the screening is at noon. How was your today, my friend? ** Steve Erickson, Hi. Crosby probably likes, you know, Fleet Foxes and that kind of stuff. Cool about the article you’ll write, and big congrats and crossed fingers about the AV Club situation! ** Jeff J, Hi, Jeff. There have been at least a couple of reviews thus far, one in German and one in Spanish, both very positive. Comparisons to Haneke and Bonello, which is unexpected and interesting. I will, as of the moment my fingers aren’t busy typing, cross them very firmly and keep them so at every opportunity until I hear the hopefully good Paris news. I do like the Dardennes Bros pretty well. I haven’t seen the new one. The reviews of it out of Cannes were full of disappointment, I can’t remember why. ** Bernard, Hi, B! Yeah, the Chuck Close thing, jeez, that’s a can of worms. Ha ha, I’m with you about where the ‘discussion’ should happen. I remain a big optimist, but, god, sometimes these days I hate the world. I haven’t seen ‘Phantom Thread’ yet. I know our two resident critics, Mr. Eh and Mr. Er, are on opposing sides about it. Take care! ** Jamie, Hippity-hoppity, Jamie. I’m good. Oh, yeah, it does seem like Hannah might like that novel based on what I know about her interests. It’s kind of vindicating except that Zac and I have been weirdly confident of the film and, other than a few festival rejections, no one has thrown a wrench into our sureness, although today’s cast/crew/VIP screening is a bit scary because there’ll be some very good filmmakers and artists there, so I’m gulping a little. I do remember that horror movie competition, yes. Oh, man, that’s very exciting about your screenplay! I want to hear as much about that as you care to share. We can trade script tips. Etc. Very cool! My weekend: the screening today and then visiting with the visiting cast and crew, some of whom are coming from far flung Frenh locations, and I’m very happy to see them again as we haven’t seen them since the shoot ended in April. Mysterious project work. A friend’s birthday tomorrow. This and that. Let me know what art you see and everything else. The Doom Room thing was silly-silly. Oh, cool, that was a great day you wished me. May your day be like the moment in Sparks’ ‘Happy Hunting Ground’ where, just after the instrumental break and just prior to the lyrics/singing part relaunch, Russell takes a deep breath. Quatre fromage love, Dennis. ** Sypha, Hi, James. Aloof. I like that word. Anyway, you’ve been busy doing the Lord’s work, and I heartily approve of that venture, you won’t be surprised to hear. So cool: I’m already beside myself with excitement for the Neo-Decadence Day! That’s going to be amazing. Thank you so much! ** _Black_Acrylic, Hi, Ben. I’ll look for ‘Pocket Money’. I’m a giant fan of Alex ‘Hurricane’ Higgins. I spent hours upon hours in the 80s watching him play on the telly. I did a post about him on the blog a million years ago, as you may remember. Your two picks from the Generator show look awesome indeed. Have a super swell weekend! ** Okay. I made you guys and all and sundry a nice, fairly fat show/gig of noise makers’ works, and I highly recommend that you dawdle therein this weekend. And have excellent Saturdays and Sundays otherwise as well. See you on Monday.