Pulse Project at 4DSOUND (with some images of the residency in Budapest and the ‘Circadian’ programme at TodaysArt NL 2015 Den Haag)
(Image by Fanni Fazakas at 4DSOUND)
In August I was in residence at 4DSOUND (Arts Quarter Budapest, Hungary) collaborating with 4DSOUND’s director, composer Paul Oomen to develop a new interface and audio design that would give a spatial ‘shape’ to my sonic interpretations of participants’ bodies that I have so been trying to realise throughout the duration of this project. This new interface and sound design was developed to be presented at TodaysArt NL 2015 festival in Den Haag, Nederland in September.
Here are some images of the residency and collaboration (Images by Fanni Fazakas at4D):
4DSOUND is a state of the art/ institute of sound / avant garde system of sonic technology that produces unique and dynamic (4D) sound designs – designs that add completely new dimensions to audience experience/engagement with sound. 4DSOUND provides a space/platform for exploring new forms of embodied consciousness via immersive sound designs. These designs create new fields of complex interaction between the audience, artists, composers and technologists via the unique features of the 4D sound system – as a stage that converges artistic vision, complex audio design and bodily interaction with new sonic worlds.
Visit their website for more info on their system, creative team and unique projects: http://4dsound.net/
TodaysArt NL 2015:
‘Circadian at E.ON Electriciteitsfabriek’ – my images:
The space of E.ON
The 4D system within E.ON
To view the programme and full list of participating artists (including myself, Marco Donnarumma, Lisa Park, Kazuya Nagaya, and John Connell & Florence To) and descriptions of their work see: http://todaysart.nl/2015/program/4dsound-circadian/
This festival investigated ‘how spatial listening influences conscious states throughout the day and night. Performances explore how to physically connect the listener with the surrounding space through movement, bio-physical media and psycho-acoustic stimulation’ (4DSOUND, 2015). In this festival I took 16 people’s pulses and performed 16 live pulse soundscape compositions throughout the 48 hour programme (see images below).
(The following images are by Georg Schroll at 4DSOUND).
In the E.ON space – lower floor :
The 4DSOUND system in E.ON – upper floor:
Images of the audio design :
An image showing how one can move through the 4DSOUND system with the interface – enabling me to adjust the sounds and their expressions to specific locations within the 4D system:
4DSOUND Director Paul Ooman and I discussing the interface/audio design – with Ooman demonstrating a range of sounds for each of the 5 elements to audience members:
(Image by Fanni Fazakas at 4DSOUND)
Ooman’s new interface designed in Budapest specifically for Pulse Project allowed me to creatively interpret the oscillating inner landscapes of each participant’s body much more directly than all of my previous work with SuperCollider (see earlier posts on this process). Ooman’s designs also offered a more profound exploration of the alchemical relationship of the 5 elements of Chinese medical philosophy themselves – as distinct sonic shapes and bodily processes… Ooman designed a complex interface containing at least 5 inter-relating audio objects for each of the 5 elements according to traditional music and medicine theories according to the text Huangdi nanjing – dating from at least 1C BCE (see the 1st and 2nd images of the residency in Budapest above – the interface is shown via the ipad which displays the audio objects we were developing/working with).
The bespoke audio design and complex system of 64 speakers made it possible to create audio works that could be ‘sculpted’ and modulated live allowing me to produce bespoke audio works that have a direct relation with the bodies of the participants of the research as well as the listeners of the pulse performances. These new modes of working with live sound and audience participation far exceed the scope of standard sound design and multi-channel elaboration of soundscapes (see images displaying the audio design and audience participation above) – offering a completely new approach to composing and to listening to immersive and embodied sounds.
In terms of how 4D really transformed my research, the new interface/sound design created at 4DSOUND solved a major problem I have been struggling with – how to communicate the hidden and intimate act of pulse reading to a wider public within a live setting. By giving the pulse reading sessions and their playback via immersive sound system a much greater public platform at E.ON within the 4D system – the audience could experience a meditative listening to the emerging pulse soundscapes of others (or their own pulse reading) as a ‘new’ approach to listening to the human body (via my artistic re-interpretation of Chinese medico-philosophical mappings of participant’s bodies).
This experience was further enhanced by the 4DSOUND artists’ talks that discussed the sound works (and the concepts they adopt) produced during the festival. In the images below: Lisa Park, Marco Donnarumma and myself participating in the artist’s panel discussion of our works in the ‘Circadian’ programme – with 4D Director Paul Ooman chairing the discussion.
(Images by Georg Schroll at 4DSOUND)
Between 7/09 and 13/09 I am in Budapest on a residency at the new 4DSOUND studios (which is a truly AMAZING experience in terms of the possibilities of sculpting sound in space-time – the photo only gives a small sense of the cathedral-like scope of the space) as part of their ‘Circadian’ programme – read about it here (you will need to scroll down a bit to find info on my project here): http://4dsound.net/circadian-schedule/
Throughout the week I will be putting videos (as I cannot upload them here) of this project on my Facebook page – see: https://www.facebook.com/michelle.codephd
I am currently in residence at Stadtwerkstatt (STWST) – which is next to the main Ars Electronica building (to the left in the above photo) performing my pulse reading project from Friday-Saturday (5/9/2015) at 11:00 pm to 5 am and Saturday-Sunday from 11:pm to 5 am and am also giving a workshop today (from 5pm) to explore making personalised soundscapes using Chinese pulse diagnosis and SuperCollider audio synthesis software. This performance and workshop series is part of Shu Lea Cheang’s exhibition ‘InfoCrash 48’ at SWST in association with Ars Electronica. See this link for the other exciting projects that are going on here: http://projects.stwst.at/stwst48/ (hint: there are projects that create unique soundscapes from bee hives (Bioni Samp) and another project by Martin Howse and Jonathan Kemp that creates ‘social software events’ i.e., using people’s piss interacting with objects and computer interfaces to create soundscapes – On Monday I fly off to Budapest to collaborate with 4DSOUND on a new interface for making pulse soundscapes – More later!!
Above: Some details of John Cage scores in the exhibition
As I mentioned in my last post, some of my notations are included in this show that is on currently at the Stephen Lawrence Gallery, University of Greenwich, 10 Stockwell Street, London, SE10 8EY.
Information about the show (courtesy of the University of Greenwich and David Ryan):
‘This exhibition examines the interface between the visual and the aural through notation, documentation, performance and video/moving image. Each of these aspects are currently being explored from many different perspectives by contemporary composers, musicians, visual artists, and film/videographers. Its basic starting point is the historical graphic score/new notational practices of the modernist avant-garde and how sound is captured and communicated.
Hallveig Agústsdóttir / Sam Belinfante / Vicki Bennett / Carl Bergstrom-Nielsen / Pierre Boulez / Earle Brown / George Brecht / James Brooks / Laura Buckley / John Cage / Cornelius Cardew / Alvin Curran / Tom Dale / Morton Feldman / Vinko Globokar / Christophe Guiraud / Roman Haubenstock-Ramati / Neil Henderson / Richard Hoadley / Joan Key / Catherine Konz / John Lely / Michelle Lewis-King / Anestis Logothetis / Onyee Lo / Anton Lukoszevieze / Farah Mulla / Rie Nakajima / Luigi Nono / Marianthi Papalexandri-Alexandri / Michael Parsons / Simon Payne / Helen Petts / Lauren Redhead / Aura Satz / Thomas Smetryns / Jennifer Walshe / John Wollaston / Christian Wolff / Iannis Xenakis
It is an amazing collection of notations – the show is on until April 2nd – definitely worth a look!
Here are some other images of the show – more images of Cage’s scores and a Cardew too;
Below: These are my ‘Pulse Project’ notations – which are located between Aura Satz’s video ‘Oramics: Atlantis Anew’ (to the left) and John Cage’s scores (on the partition to the right) .
Below: Details of my notations
Below: Pictures of the exhibition
I am one of the participating artists in ‘Drawing Towards Sound’ curated by David Ryan.
Historical works by Artists: Pierre Boulez/ George Brecht/ Earle Brown/ James Brooks/ John Cage/ Cornelius Cardew/ Morton Feldman/ Iannis Xenakis
Contemporary works by: Hallveig Agústsdóttir / Sam Belinfante / Vicki Bennett / Carl Bergstrom-Nielsen / Laura Buckley / Alvin Curran / Tom Dale / Vinko Globokar / Christophe Guiraud / Roman Haubenstock-Ramati / Neil Henderson / Richard Hoadley / Joan Key / Catherine Konz / John Lely / Michelle Lewis-King / Anestis Logothetis / Onyee Lo / Anton Lukoszevieze / Farah Mulla / Rie Nakajima / Luigi Nono / Marianthi Papalexandri-Alexandri / Michael Parsons / Simon Payne / Helen Petts / Lauren Redhead / Aura Satz / Thomas Smetryns / Jennifer Walshe / John Wollaston / Christian Wolff
This exhibitions examines the interface between the visual and the aural through notation, documentation, performance and video/moving image. Each of these aspects are currently being explored from many different perspectives by contemporary composers, musicians, visual artists, and film/videographers. Its basic starting point is the historical graphic score/‘new’ notational practices of the modernist avant-garde and how sound is captured and communicated.
University of Greenwich, Steven Lawrence Gallery, Private View March 3rd.
I am also proud to announce that I have been chosen (as one of five artists) to have my research project ‘Pulse Project’ hosted for 2015 by the global peer review curatorial platform PROJECT ANYWHERE.
To see all the projects (past and present): http://www.projectanywhere.net/
To see my project:
In January, I was on the Resonance FM London (January 31st 2015) talking with Jude Cowan Montague and Rebecca Feiner about my acupuncture and art practice:
(I speak at about 10 minutes into the show).
Listen to the show here: https://www.mixcloud.com/Resonance/143000-the-news-agents-320kbps-3/
Pictures from a recent talk I gave at ‘Le Sujet Digital: Temporalités III, Université Paris VIII, November 12-14
For information on the bilingual conference on art, science and the digital/temporal subject, see: http://www.sujetdigital.labex-arts-h2h.fr/content/colloque-le-sujet-digital-2014-temporalit%C3%A9s
and for the programme:
After arriving at Geneva airport, I was picked up in this high speed TELSA electric car – complete with touch screen interface, voice command and some sort of hydraulic system – courtesy of CERN- (the car is somewhere in the astounding range of $150K). I was dropped off by this iconic dome nestled in the Jura mountains – it definitely set the tone…
Before the Port hackathon, we had a chance to explore CERN – these are diagrammatic displays of particle acceleration in the circuit of the Large Hadron Collider and its detectors: the ‘general-purpose detectors’: ATLAS (which is what I was able to visit) and CMS, the ‘heavy ion detector’ ALICE, and the LHCb – a ‘subdetector’ to detect particles traveling in a forward direction. Apologies for the blurriness of the images – my camera isn’t the best.
The following images from the control room and station of the ATLAS experiment/detector of the Large Hadron Collider
some more images of the foyer of the control room – I thought the whole process of particle harvesting, acceleration and radiation had a poetic – the language of the ‘cooling’ of the accelerator had a certain other-worldly eroticism to it…
The heart of the ATLAS experiment – plus a detail of the panels that record the ‘muon’ radiation from particle collisions
A mole-eye view of a model section of the LHC
and of course CERN is also where Tim Berners-Lee developed the world wide web – in this corridor:
These are some images of an immersive and augmented video demonstration of the story behind the 1st particle collider at CERN called the ‘Proton Synchotron’ (1959 -). The video is projected directly on the original Proton Synchotron and tells its story in a series of animations and archival film footage – it was a scintillating way to learn about the history at CERN.
These two images are just details from relaxing and socialising at the hackathon at the Port building which the finishing touches of this new building were still be added just before the start of the hackathon – The Port has their own official Facebook page for better images: https://www.facebook.com/theportatcern
I geekishly loved the dining halls there
From a stroll around the CERN complex in the evening sunshine
This lovely statue of the cosmic dancer Nataraja was just outside the halls of residence where I was staying – I had a deep respect for how other narratives and artistic interpretations were an accepted part of the complex fabric of research at CERN. This statue at sunset seemed to move in the way the cosmic dancer suggests…
We had presentations and talks to attend in the evenings
My last glimpse at CERN before flying out from the airport – even the airport was stylish – almost completely constructed of large windows to view the Jura mountains…