Acoustic Atlas is a virtual acoustic map, for the cultivation of the capacity to listen to and connect with, remote heritage sites. Acoustic Atlas invites people to sing and emit sound into virtual acoustic environments and experience how their voices, as human sonar signals, reveal the hidden interiors, forms and textures of these heritage sites. Such listening experience allows for a phenomenological connection with the remote site, which becomes particularly relevant for the preservation of heritage sites and for sonic exploration. In the context of acoustical and environmental intangible heritage, virtual reconstructions of world heritage sites are becoming increasingly useful to allow for multi-sensory immersive access, research and conservation. The sonic component of the virtual reconstruction of a site is termed ‘auralisation’ which means rendering a space audible. Examples of uses of auralisations include simulations of ancient and historic sites, to determine the likelihood and nature of rituals and historical actions that may have happened in these sites, or to monitor how sites may have changed over time.

Acoustic Atlas aims to digitally preserve the acoustics and soundscapes of natural and cultural world heritage sites. The project’s innovative approach will make the acoustical heritage of endangered heritage sites widely accessible. It will bring environmental, educational, conservation and artistic benefits by promoting and enriching heritage research and connecting international researchers and sound artists in the field of heritage acoustics.

The online web-audio platform enables Acoustic Atlas to run on most computers or mobile devices and utilizes the built-in microphone and headphone output of a device to transport a visitor to the selected heritage site via headphones and live microphone feed. Any participant can thus interact with the acoustic simulation (termed auralization) of each site from a first-person point of hearing. The user can click on an image of a location, control various aspects of the sound whilst singing or projecting any sound in real-time, into a simulation of the selected site, to hear the reverberations, resonances and echoes thus experience it in a direct sensory way.

Visit here (or click on the image above):

#AcousticAtlas #Arch #SoundArchitecture #NetworkedSound

Photo credit: Lars Wohlnick THROUGH A FOREST WILDERNESS. Aktionen im Wald. Performance, Konzeptkunst, Events. Actions in the Forest. Performance, Conceptual Art, Events. 1960 - ∞

Ausstellung im Wald | Exhibition in the forest Berlin | Nikolskoer Landpartie | 6. – 28. Oktober 2018

Music for Trees aims to inspire exchange of energetic imagination between humans and trees. Participants are encouraged to move around the trees in stillness. By ‘performing’ to a tree, the human participant listens to the tree listening back her. A connection is formed, allowing for a potential transcendental experience.

Music for Trees was originally created in 2010 for an environmental art project by Suzanne Husky. At the time, I was researching binaural brainwave entrainment, plant bioacoustics, as well as military, medical and alternative healing documents for the effects of infra- to very high-frequencies on the human body. I came across the Cyma1000, a device used for sound therapy that can play up to five-pitch clusters (or chords) to assist in a type of resonance ‘massage’ therapy. In Music for Trees, selected Cyma therapy drones are used as the initial musical material, with presets such as ‘alpha state’, ’ecstasy’, ‘love’, ‘sona tissue repair’ but using only the frequency ranges for which plants show sensitivity. The frequencies clusters are then divided into independent audio channels and played over independent portable loudspeakers. As participants move through the forest the drone is spatialized. Participants thus contribute to the spatial and telepathic dimensions of the piece.

Following text by Petra Stegman (curator) about the exhibition:

“The clearest way into the Universe is through a forest wilderness.” Such was the observation of Scottish-American naturalist John Muir in 1890, seventy years before artists around the world began to discover the forest as a creative space for themselves. From the 1960s, the relationship between art and nature entered a new stage, which included performance and action art. While artists of previous generations had aimed at the representation of nature, contemporary artists were entering an intensive, existential and physical engagement with nature. For artists across the world, the forest was no longer a place of romantic glorification or pictorial study. Rather, it was an environment, experienced by the body and involved as a partner in the artistic process. Projected for several years, THROUGH A FOREST WILDERNESS is the first exhibition to focus on this existential dialogue between artists and the forest or trees. It shows how artists challenge themselves, in their engagement with nature, to “live deliberately” in Henry David Thoreau’s sense. THROUGH A FOREST WILDERNESS presents historical works of performance and happening, Fluxus, body art and conceptual art, alongside contemporary works by young artists. An experimental international exhibition, deliberately foregoing the setting of a gallery space, will take place in the forest in October 2018. In this forest, exhibition trees will function as carriers of materials and objects. The presentation will include reconstructions of historical works (conceptual art, minimal art, concrete poetry), photographic documentations of artistic forest activities from 1960 onwards (printed on weatherproof aluminium mount and attached to trees), contemporary artistic interventions (commissions), participative works (instructions for visitors), performances, film screenings, tours, discussions and workshops. The exhibition will aim to reach a wide audience of all ages, as well as art professionals. The presentation aims to sound out the potential of nature as a space for art. It provides lots of space, and invites the visitor into discoveries that lie away from the well-trodden path, so they might gain experiences similar to those of the artists during their activities. There is the opportunity to engage with unusual ideas, without external observation and in peace.“

#MusicforTrees #SpatialAudio #Telepathy #Plants

Ionion Mirror (HD video)

The Ionion Sea: a silent witness of the hopes, dreams, struggles and often inhumane moments as they reveal the worth of life in the context of migration.

Created during Resound 2018, Sound and Space Research, organised and curated by Sandra Volny and hosted at the Ionion Centre for the Arts and Culture in Kefalonia Island in Greece.

We shared a very special time, listening, recording, sharing and exploring with each other. The group consisted of Danish sound artist Jacob Kirkegaard, Frouke Wiarda, Marie-Douce St-Jacques, Andrea-Jane Cornell, Claudia Mattai del Moro, Pierre Leichner, Simon Belair and me.

#Video #FieldRecording #Hydraphone #Migration #OpenSeas #Drone