Sonic Network No.8, John Aslanidis and Brian May
"Sonic Network no. 8 presents a shifting sound and visual experience, initiated by the interplay of Aslanidis optical painting and May’s immersive soundscape .
The painting, Sonic Network no. 8, contains a grid relative to a set of mathematical intervals that Aslanidis uses to create a drawing of compositional intervals, similar to a musical score. May has written an algorithm—using a programming language for sound synthesis, called “SuperCollider”—that determines the characteristics and timing of the sound in relation to the intervals. Taking into consideration the structure and composition of the painting, May emulates the mechanisms of painting by responding to the moiré (wave-like) patterns, which are demonstrated via audio interference of the sine waves (known as beat frequencies) in the sound piece. The sine wave tones created are thus audio representations of the circular forms, geometric shapes, and reverberating patterns inherent within Aslanidis’ piece.
The Sonic Network series is part of an ongoing international collaboration between Aslanidis and May.” (source)
Volumes for Sound, 2010- ongoing project,
Melissa Dubbin & Aaron S. Davidson
"Throughout much of our practice we have sought to give shape and physicality to the immaterial. Many of the ideas surrounding these transformations are inspired by the processes used to record, playback and encounter sounds.
This project focusses on nested forms, sculptural works that elicit an architecture of sound. These Volumes for sound are concerned with materializing the funneling, folding and porting of sound.
These nested forms stem from objects that are manufactured independently, then drawn together as a result of relationships in domestic and architectural situations. For instance, the triangulation that occurs when a listener sits in a chair in front of a pair of stereo speakers. These forms are also inspired by historical sources such as the famous 1979 Maxell cassette tape ad campaign, the intricate interiors of modern loudspeakers, and artist Kurt Schwitters ‘Merzbau’ constructions.
We have collapsed the listener/loudspeaker triangulation into objects containing several variations for configuration. They can be encountered in spaces as forms that silently evoke the potential for sound, be played and reconfigured by performers using them for sound amplification, and appear in photographs of their various configurations, providing a record of these instances. “
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