eTunes installation brought together novices in a collaborative environment
with no background in building musical instruments and audio devices.
eTunes demonstrates the both process and creative energies required to construct
such instruments and exposes some of the beauty of sound through
schematic data and audio and frequency graphs.
This excerpt is a movement of Oli Jan’s current composition project, “The Carnival
of the Endangered Animals“. The piece consists of several movements,
each of them featuring sounds of an endangered species (vulnerable/endangered/
critically endangered category according to IUCN Red List). Electronic
music generated from climate change data and acoustic instruments’ sympathetic
resonance are also used in the piece. The animal recordings are taken
from Macaulay Library (http://macaulaylibrary.org/) while the climate change
data from RCP Database.
Sound Box is an interactive installation that explores questions of notation
and representation of sonic atmospheres through an in situ graphic mapping
of sounds. A room within the exhibition room, Sound Box ‘performs’ a distinct
sound environment, out of the juxtaposition of pre-recorded sounds, and the
improvised interactions of users with the materiality of the Box’s structure.
The installation defines an ambient musical environment, which is conditioned
by the movement of the users on an interactive floor. This immersive sonic
atmosphere is recorded in realtime by a Drawing Device, which allocates and
relocates graphic matter upon a tensioned surface, through the resonance of
the live-fed sound environment. Like a reversed music box, Sound Box performs
the script of its ‘music’, out of the interaction of architectural elements,
musical sounds and the improvisations of users.
Holding the increase in global average temperature to well
below 2°C above pre-industrial levels and to pursure efforts
to limit temperature increase to 1.5° C above pre-industrial
levels, recognizing that this would significantly reduce the
risks and impacts of climate chang.
(Article 2, Paris Agreement, 2015)
How much do we really want to feel the heat if the blanket is extended in
future? Can we prevent it from getting uncomfortable? No more than 2°C
– that is the target set by the United Nations in the Paris Climate Agreement.
What does this number mean and how close are we to the threshold? Climato
-logist are assembling huge data sets to describe global mean temperature
change over the last century. The HadCRUT4 global temperature data set com
-piles monthly temperature time series data from 4800 stations across the
world. The data is expressed in deviations from the average temperature between
1961 and 1990. As numbers are often hard to grasp visuliastion of the
data set can help us to literally “feel the heat”. Numer-ous representation have
been developed using computer code and plotting tools. They are the inspiration
behind the World Temperature Data Quilt which aims to bring the data to
life in the real world. Colorful tiles representing the temperature deviation in
each month over the last years form the building blocks of the blanket. Sewn
together the quilt enables us to see connections and better understand climate
history and possible future trends.
o ire = live audio for solo laptop with ambisonic surround sound. Field
recordings, old records, Dictaphone tapes and performance on a Sequential
Circuits Pro One synthesiser become audio data subjected to multiple
stages of dislocation and disruption temporally and spectrally. Sound data
are re-ordered and represented with spatial dynamics – inward/outward,
here/there, through and between. Through improvisation, performance
controllers imprint their data, activating, deactivating, sculpting and shaping
the sounds live as the piece unfolds.