Created (XML-WORKS_COUNTRY-Australia.xml) Open frame source for XML data.

( 37 David Dunn 1953 575 images/works/Dunn_David-1981-rain1.jpg Rainfall at Launching Place Live Performance involving three performaners and analog electronics. The entire piece is primarlily generated from a field recording of the Australian bush sounds made at Conara, Lauching Place, Victoria 1981 Australia audio/Dunn_David-Rainfall.mp3 111 David Chesworth and Sonia Leber 1958 1501 images/works/Chesworth-2001-mv.jpg The Masters Voice The Master’s Voice is Canberra’s first permanent soundscape artwork, commissioned by ACT Government Public Art Program. It was created by artists Sonia Leber and David Chesworth in association with h2O architects. A low wall snakes along the edge of a small park at the eastern end of City Walk, and sounds emanate from a rhythmic series of stainless steel grids inserted into the wall and ground. When people walk past, they trigger the unexpected real-world sounds of people talking to animals, but with the sounds of the animals edited out, the voices seem to be calling out directly to the passersby: beckoning, controlling, coaxing. The addressee has been changed and visitors find themselves implicated in the work. The artists are interested in the juxtaposition of these personalised, intimate vocalisations in an urban, public space surrounded by commercial and government buildings. In this place – called ‘Civic’ no less – the work is not so much about the nature of the park but about the relationship of ‘citizens’ to their ‘civic spaces’. The Master’s Voice includes a diversity of communication techniques recorded at a variety of locations including farms, parks, training schools, zoos, veterinary practices and animal shows. The work can be heard daily during daylight hours at the eastern end of City Walk in Canberra, near corner of Akuna Street. The work was installed at Adelaide University in March 2002 as part of the analogue2digital conference. Stainless steel grids, Sensors, 8 Loudspeakers, 2 Channels 2001 Australia audio/Chesworth-2001-The_Masters_Voice_excerpt.mp3 111 David Chesworth and Sonia Leber 1958 1499 images/spacer.jpg The Gordon Assumption An incessant outpouring of female voices lures passersby down the stairwell to the cave-like subterranean toilets. At the lower gates, they are confronted with an asynchronous chorus of female voices in infinitely rising pitch. The voices gather and thicken without respite, in upwards glissandi, constantly trailing upwards. Behind the locked gates, the luminous green chamber beckons as a single vertical slit of brilliant white light slowly scans the surfaces. The subterranean setting reveals itself as a point of rupture in Melbournes everyday cityscape of workers, commuters and public transport. The voices recall the mythologies and mysteries of voices heard in caves, where the voices of spirits, sibyls and oracles are believed to announce predictions and warnings from the mouth of a cave. Above ground in Gordon Reserve, new arrivals gather in apprehensive huddles, prior to making their cautious descent into the upward trails of female voices. Accessed 31.10.06 from Randomised sound files, scanning light, steel doors 2004 Australia audio/chesworth-2004-The_Gordon_Assumption_excerpt.mp3 111 David Chesworth and Sonia Leber 1958 1500 images/works/Chesworth-2006-Proximities.jpg Proximities Sonia Leber and David Chesworth in collaboration with Simeon Nelson. Their soundscape is conceived as a sonic corridor of human voices. The project is built up around recordings made by the artists of people from the 53 Commonwealth nations who are now living in Australia. Each individual voice contributes a distinctive singing style with specific melodic and rhythmic ornamentation shaped over centuries of cultural tradition. The artwork can be seen as an imagined crowd through which actual crowds of pedestrians pass for a time between destinations. Simeon Nelsons visual element is a calligraphic motif travelling the length of the soundscape. Its arcs and tendrils frame the mingling voices, unrolling in syncopation with the dynamic variations within the soundscape. The changing inflection and gesture of line is derived from the ornamental systems of many cultures around the world. SOURCES IN THE CENTRAL ZONE The artwork pivots around the voices of the local Wurundjeri people, the traditional owners the land around the city of Melbourne. Applied paintwork, 60 grilles, 56 loudspeakers, 4 sensors, 24 channels 2006 Australia audio/Chesworth-2006-Proximities_excerpt.mp3 111 David Chesworth and Sonia Leber 1958 1502 images/works/Chesworth-2000-5000calls.jpg 5000 Calls 5000 Calls is a large-scale multi-channel sound installation installed throughout the Urban Forest, an extensive 4.5 hectare loose grid of eucalyptus trees surrounding the Stadium Australia in Sydney. The ever-changing soundscape utilises 5000 charged human vocalisations uncovered from everyday life: the sighs, gasps and groans of work, pleasure, sport, song and struggle. 5000 Calls particularly utilises the vocalisations of people in extreme physical states. The sense of speech has been removed from these everyday recordings to reveal a soundscape of human effort . We have long been fascinated with the acoustic texture and the dynamic range of the human voice - beyond the speech content - its rhythms, sounds, shape, tone and frequency. We are particularly fascinated with the many proto-linguistic vocalisations that people make. These are the sounds we make prior to - or instead of - articulating through language, where meanings are made without recourse to semantics or syntax. Where communication is through the shape of speech, rather than speech content. The imposing architectural edifice of the Stadium Australia dominates the site for the work. Around the exterior of the stadium, the tree-filled Urban Forest functions as a threshold, traversed by crowds of up to 100,000 people at a time, often in excited, anticipatory states. The artwork is designed as an ever-changing crowd system , constantly changing over time. It reflects the many types of acoustic phenomena which arise from large crowds, in a changing chorus of sound created from a large numbers of individual sources. A customised computer program allows the different calls to interact with each other at different times, heard through the 80 speakers discreetly placed around the site. The work is supple and shifting as the different vocalisations rub up against each other in different ways, in different densities and patterns of distribution. As you move through the Urban Forest you hear short fragments of many voices captured while performing numerous tasks - from the calls of weightlifters, gymnasts, footballers and cricketers to fragments of Vietnamese river chants and the singing of Aboriginal children. The charged atmosphere of the Maori haka is there, along with the voices of stockmen herding cattle and the slow breathing of a dancer. The soundscape portrays a sonic inscription of the body: stressing, straining, singing, exclaiming. Commissioned by the Sydney Olympic Park Public Art Program to be part of the permanent built environment, it can be heard daily during daylight hours. Programmed sound files, 80 Loudspeakers, 24 Channels 2000 Australia audio/ChesworthandLeber-2000-5000.mp3 111 David Chesworth and Sonia Leber 1958 1507 images/works/Chesworth-Reiterations.jpg Reiterations (Elizabeth Street) Reiterations are things that are said or done again - but not always in the same way, in the same place. A reiteration can be a repetition with difference. Sonia Leber and David Chesworth have created an imagined sound-space of the city of Melbourne. Our starting point is Elizabeth Street, a major transport node for many recently-arrived Africans using the north and west bound tram routes. We encounter each individual in turn, inhabiting their listening perspectives as they sing and move about the crowded city. Voices: Mmapelo Malatji, Habib Chanzi, Zweli Tlhabane, Carlos X Panguana, Francess Kalon, Valanga Khoza, Prisca Cradick Origins: Tram routes 19, 57, 59 and 68, Airport West, Botswana, Brunswick, Coburg, Essendon, Flemington, Kenya, Mozambique, Niddrie, North Melbourne, Sierra Leone, South Africa, Swaziland, Tanzania binaural microphone 2006 Australia audio/Chesworth-Reiterations2-habib.mp3 109 Rainer Linz 1963 1578 images/works/Linz-2005-Banalities.jpg Banalities for the Perfect House collaborative installation and performance - 2005 Australia audio/Linz-2005-banalities.mp3 101 Jon Rose 1951 1319 images/works/Rose-199x-Hyperstring.jpg The Hyperstring Project The New Dynamic of Rogue Counterpoint hyperbow MIDI action hyperbow MIDI action The Whipolin The Whipolin The Front of The Whipolin The Front of The Whipolin Inside The Whipolin Inside The Whipolin The MIDI Bow The MIDI Bow The MIDI Bow and Sensorlab The MIDI Bow and Sensorlab LISTEN TO A BOW SOLO using the MIDI bow a single strung bow and the STEIM LISA programme. 1. Hyperstring represents a major step in the advancement of live interactive electronics combined with either high velocity violin playing, the cranking of the whipolin (also fitted with a signal to MIDI controller, originating from the voltage of a magnet), or the use of an amplified bow. 2. Hyperstring pushes the envelope of musical expression through the use of Midi controllers measuring the physicality of high speed improvisation. 3. Hyperstring uses three primary controllers... a sensor mounted on the violin bow which measures the bow pressure; an accelerometer mounted on the bowing arm, measuring bowing arm movement (and more importantly) speed of movement; and footpedals which are played independently by both feet... not to mention the use of analogue feed back effects (sound generated in space) 4. Hyperstring creates independent (yet physically and musically related) improvised rogue counterpoint in two, three and four parts... in real time. The continuous control of any contrapuntal lines however, still rests with the business of playing the violin, basically a monophonic instrument. 5. Hyperstring follows a long tradition of polyphonic improvisation in the musics of the world. Particularly inspirational to this project are the one man band novelties of the late 19th century street music culture and music hall; the Balinese Gamelan; the group improvisation of early trad jazz; and the essential contrapuntal skills of Palestrina, Bach, Schoenberg, etc. 6. Hyperstring does not follow the usual paradigm of drone and clone electronic music which is to expand (padding out the same sound), extend (the ubiquitous loop), or intensify (effects such as digital delay) what in essence are usually one line ideas. Hyperstring creates a volatile musical environment where the inherent subconscious intelligence of physical actions determine contrapuntal sonic events. The counterpoint of the violinists body, arms, feet and finger movements are fundamental to the language and expression of the music. 7. Hyperstring brings together some 30 years of experimentation with legitimate, historical, modern, and homemade string instruments... also known as The Relative Violin Project. These exist in any performance as real instruments (e.g. the tenor violin), modified instruments (e.g. the disemboweled cello, now known as ~The Whipolin), virtual instruments (i.e. samples from a whole range of bowed, plucked, scraped, blown, string instruments), and generated wave forms and acoustic phenomena based on strings. check year 2000 Australia audio/Rose-199x-hyperstring.mp3 101 Jon Rose 1951 1327 images/works/Rose-2004-Pursuit.jpg Pursuit PURSUIT will feature a veritable orchestra of mobile, bicycle-powered acoustic musical instruments utlising the Ice Rink under the Big Top at Luna Park, Sydney. Envisaged is a specially-choreographed spectacle of sound, speed and light based on the individual, duo and team pursuits of cycling sport. Depending on resources, entire cycling clubs could be involved, wave upon wave of cyclists - each cycle fitted with some kind of music making device. The physicality of sport itself will be experienced and expressed as music with amplified medical instruments and a PA system sounding out the heart beats, the muscle movements, the accelerated breathing of athletes in their existentialist race against the clock (or each other). So far two bicycle powered prototype instruments have been built and tested; documented here as sound, image and video. The first instrument is called, logically enough, the VIOCYCLE. It is a violin played hurdy-gurdy style with a small wooden wheel geared down to a suitable speed by a set of rollers and belts. A bowing speed lasting two seconds from frog to tip of bow (0.6 meters) was estimated and the gearing set accordingly. Even at a test speed of 15-20 kilometers per hour, phenomena such as phasing, delays, and pitch shift caused by the Doppler effect, are clearly audible and stunningly enhanced by the acoustics of the space. As one can hear from the sound on this page, a doppler shift of a semitone was recorded. The violin sounds pure and is about three times louder than a normally-bowed instrument. The next stage will be to fit guitar machine heads instead of pegs for ease of tuning and re-tuning while underway and to build a simple capo-style system for elementary shifts of pitch - basically so anyone with a good ear will be able to ride and play. The second instrument to be tested was the PIPECYCLE. A range of diapason pipes and whistles were powered by a huge set of bellows bolted onto the back of the bicycle. It is intended that these bellows will eventually power a windbox which will be fitted with sliders controlling the airflow to a range of flu and reed pipes - like a simplified church organ mechanism. The full chamber orchestra will consist of four bowed string instruments modelled on the above. The basic belt driven mechanism will, however, drive 2 PIANOCYCLES, 3 PIPECYCLES, and 3 DRUMCYCLES - all yet to be built. PIANOCYCLES will utilise the soundboard and strings of an autoharp (like a very small piano) in the same position as the violin above the front wheel on the bicycle. The belt mechanism will drive a series of hammers which will strike the strings at speeds beyond that of a player piano. PIPECYCLES could end up using a variety of mechanisms. Whistles could be driven by air collected in a funnel attached to the back of the frame but positioned above the cyclist; cycle crank powered fans and bellows will create enough wind pressure to make larger organ pipes speak. These bicycles will be hard work to ride, so musicians will need to be in top physical condition (well not really). DRUMCYCLES will utilise the belt mechanism in a similar way to the PIANOCYCLES - an estimated two tuned drums to each bike, plus a clicker which will work directly off the spokes of the rear wheel. In performance, radio contact microphones will also link the instruments to a central mixer for the option of amplification and electronic manipulations within the mostly acoustic music. Here, the instruments will be panned through a quadrophonic system at different rotational speeds and directions to the live instruments. Other options such as pitch shift and live sampling techniques will be incorporated. There are two elements so far missing from this proposal: TIME and VISUAL manifestation. In 1980 I performed a 12 hour marathon violin solo which took place appropriately in a festival entitled Sound Barriers at The Ivan Dougherty Gallery, Sydney. The Pursuit project will also tend towards the marathon notion of time. Hopefully, the performance will go for 12 or 24 hours. Perceptions of speed and time start to transform themselves once we escape from the sound bite, the time limitation of a CD (the length of which was based on the slowest version of Beethoven s 9th Symphony), or the duration of a Hollywood movie. Depending on resources, live video projection will be installed for the performance. These images will be manipulated by an intergrated MAX/JITTER system of continuous controllers which will transform amplified sound and images as a synchronous experience. THE INSTRUMENT MAKERS. Harry Vatiliotis is Australia s most known and prolific violin maker with a massive international and local reputation. He has made over 500 excellent classic instruments but is not averse to experimentation; he has built a complete set of ancient Greek harps, and he recently built a superb hybrid tenor violin (The Bird) fitted with four sympathetic strings (in the style of a Hardinger fiddle) for specific string scordatura projects. Paul Bryant earns his living as a family dentist but has a passion for bicycles, violin building (one of Harry s ex-students), metal work and mechanics. Paul is something of a Renaissance man and is ecologically and politically active. He is also a founding member of the NSW touring Bicycle Club and has a collection of 20 seriously used cycles in his shed ... which MUST have some relevance to this project. The prototype VIOCYCLE and PIPECYCLE shown on this page were made quickly from available materials and are unashamedly in the Heath Robinson funky class of instrument making. However they work well under test conditions and the sounds are impressive. If sponsors can be found for this project, then highly crafted, finished and polished musical instruments suitable for top racing bikes are envisaged. - 2004 Australia audio/Rose-2004-pursuit-pipecycle.mp3 video/Rose-2004-pursuit.mpg 101 Jon Rose 1951 1317 images/works/Rose-2002-great_fences.jpg Great Fences of Australia For over 20 years, in addition to his work on and about the violin, Jon Rose has been bowing and recording the music of Fences worldwide. A wide range of atmospheric music can be coaxed from these ubiquitous landmarks. The project GREAT FENCES OF AUSTRALIA maps the vast spaces of Australia. Since 2002, violinists Jon Rose and Hollis Taylor have travelled 35,000 kilometres playing and recording the unique sounds of hundreds of fences in every state and territory of the fifth continent, including the well-known Dog Fence and Rabbit-Proof Fences . Along with this video and audio material, the lives and histories of the people who build, look after or use the fences has also been documented. The first manifestation of Great Fences was hosted by The Melbourne Festival 2002 under the title BOWING FENCES; over nine thousand people heard sixty performances on the specially constructed fence. Since then, the project has featured in festivals at Mercat des Flores, Barcelona; Museo de Belles Artes, Madrid; Serralves Museum of Contemporary Art, Porto; the ghost town of Malparinka in Sturt National Park; and over twenty-five thousand people witnessed the Fence installation and performances for The Sydney Festival 2004 at The Art Gallery of New South Wales. It 2004, the project was showcased at The Adelaide Festival and also that year, invited to the Aboriginal Community of Nauiyu on the Daly River in the Northern Territory for their Merrepen Arts Festival. After further extensive exploration and documentation of fences in Central Australia, the project was featured in the Darwin Festival. 2005 saw Great Fences installed and performed for a month at The Brussels Museum of Musical Instruments, and by its omnipresence there, radically extending the definition of musical instrument . In planning is a specially designed Fence based on the principles of Just Intonation and the Fibonacci series. With financial support, its construction should take place in Western Australia in 2006/7. It is designed to remain in situ after the initial performances and be powered (Aeolian-style) by the strong winds of the outback. A radiophonic version of the project entitled Voices from the Fence has been commissioned by the ABC, and a CD complete with specimen of rusty barbed wire, has been produced by Dynamo House (Melbourne). Hollis Taylor is preparing a book Post Impressions on the entire Fence project. The fence represents all kinds of manmade endeavours and disasters. Fences arrived with the end of the hunter-gatherer way of life and the introduction of agriculture. The invention of steel cable in the nineteenth century gave the fence its present distance-warping characteristics. Fences can be seen as analogies for the old battle between our species and nature, for the desire of exploration, control, and exploitation of resources; they indicate a frontier history of extreme hardship. They also mark the close physical association of man with his environment, the notion of belonging, the boundaries of cultures and political systems, a sense of the private and public, a statement that says I exist. The fence today is even used to protect the natural world from our own excesses. In Australia, fences are a very new addition to the environment. Certainly they were being erected within months of white settlement. While flying over the most isolated parts of the Australian interior, one notices the existence of fences often with their service tracks beside them. Why on earth are they there? Who put them there? How long did it take? Some fences seem so old that they often take on a mantel of defensive invincibility. But all fences are in fact transitory, finite. Even the longest fence in the world, the so-called dingo fence of Australia, will eventually succumb to nature despite the efforts of those who painstakingly and regularly repair it. The geography will survive the history. Whatever your view of fences, they seem unstoppable, they are everywhere. Like all good mammals marking out their territory, western man defines his world with fences. Some land owners, however, still prefer the watering hole to the fence as a leash on their wandering cattle. And of course fence construction clearly interfered with, if not helped destroy, the Indigenous Australian s nomadic way of life. Fences Violin Bow 2002 Australia audio/Rose-2002-fence.mp3 15 Ros Bandt 1950 71 images/works/Bandt-1981-playgroundPlan.jpg The Sound Playground 1981 Australia audio/Bandt-1981-soundplayground.wav 15 Ros Bandt 1950 69 images/works/Bandt-1996-Voicing.jpg Voicing the Murray In December 1995 I was invited to be one of 3 artists commissioned to make work for Confluences, the Mildura Arts Festival. John Wolsely, painter and Sieglind Karl, earth artist and myself were chosen by local artist and curator,Tom Henty. Having worked in the region many times since 1985, I was excited at the prospect, as the Murray River is such a unique and critical habitat for the whole of Australia. It is a manmade oasis which has brought with it the by-products of mans overuse of the environment, erosion, salination, and cultural dislocation for indigenous peoples. Defining the Brief: Acoustic Ecology As a sound artist I intended to give the Murray river a voice, a voice derived from all the voices impinging on its banks and surfaces. A fluid playback multichannel sound installation would allow listeners to hear the voices as they moved in relation to eachother. I needed to record stories from the local people; grape harvesters, irrigators, the lock keepers, the dam owners, the flora and fauna experts, and most importantly the original owners, the Aboriginal people who are in danger of losing their own languages at the present time. Several field trips to Mildura to interview and record were necessary to get the actual sounds. I often camped out. The idea of endangered sounds, preserved sounds, lost sounds and new introduced sounds became apparent while I was investigating the impact of technology in the area. The list of sound sources and voices collected appears below. I was using a DAT 10 tape recorder and a sony digital disc recorder. In some cases the sound of the endangered birds for instance, the grey throated miner and the frogs habitat in the mating season had to be supplied by experts in the field, by consent. One must respect the sounds as belonging to a place and realise that the microphone can be an agent of imperialism. Permission should always be granted before proceeding. Sounds of the Murray region 1. Dawn chorus under River red gums Cockatoos, pelican, fish in the water, parrots, magpies, yellow miners. Lake Hattah National Park. 2. Picking the grapes Sounds of picking and laying out grapes on drying racks at vineyard locations. A mixture of text and environmental sounds were used. Thanks to Sue Hedley, Marie Rawlings, Noel Hedley. 3. Paddlesteamer Melbourne and diesel Rothbury , thanks to Chris Pointon, Captain Peter Payne. 4. Endangered birds Black eared miner and red throated whistler. Recorded by Alec Hawtin, Irymple. 5. Frogs Buronga wetlands near the bridge. Recorded by Mr David Robinson. 6. Pumps Psyche bend and the Chaffey steam pumps were recorded as well as a modern pumping station which provided modern and historical examples of water controlling devies. Ray Byrnes, First Mildura Irrigation Trust provided commentary. 7. Barkindji language Text spoken by Rex Smith, Junette Mitchell, Kevin King. 8.Yorta Yorta stories Told by Betty Clements and Fred Atkinson. 9. Lock 11./Weir Permission from Jeff Galasso. Some ten hours of field recordings were collected from which the piece would be made. Six unit cycles of 15 minutes each would be the desired outcome. Accessed 27.04.2007 from 1996 Australia audio/Bandt-1996-voicing.wav 103 Joyce Hinterding 1958 1093 images/works/Hinterding-2000-Levitiation.jpg The Levitation Grounds The Levitation Grounds, while fictive, has an uncanny stake in what could be called the scientific real. Some strange kind of energy has affected this site, which is, after all, cleared of living trees. Energy patterns have been disturbed, intentionally or not, by some kind of anti-gravity effect. Its science fiction without the aliens in spaceships. The kind of thing you could find on an alt-energy website, along with cold fusion and infinite energy generators. The trees float, slightly ridiculous, evident product of a computer conjuring trick, but they retain an eerie connection with legitimate science. Haines, the other half of this partnership, has worked with what might be called, the occult of the sign (Ghostship, Medievalism, The Universal Lever, and Liebniezian Sex). Across a series of works he has tracked rifts of disturbance in the symbolic order. He is especially drawn to ruptures in the accordance of the sign with the natural world. Symbolic overlay never quite matches events. Put the wrong word or number on a thing and you have created a mystery, a slippage, or a joke, which suddenly takes away our hold on things, rendering the worldview of the symbolic open to fractures and fissures. A strange name on a black funerary urn, milk, for example, collapses our comfortable relationship with language, and with things (Vanishing 1233). Milk becomes a zero signifier, utterly disembodied. We no longer see the familiar white liquid with all its usual associations in the everyday world, or even the substance of poetry with its associative constellations of stars, sperm, breasts, nourishment and flows, but the rift of an emptied name. The symbolic and the real part company, leaving a residue of the uncanny sense of a world haunted by forces which escape the mastery of the Signifier. Combine these two sensibilities, and Hinterding and Haines create a disturbingly familiar work. Sure its part of the conjurers standard routine but the idea of levitation has continued to exercise a fascination over the popular imagination. It s part of the tradition of the uncanny, which we ve lived through countless stories of strange recordings of paranormal events, ghostworks and the like. And they all begin with a semblance of normalcy, or scientific intervention gone slightly wrong. The Levitation Grounds is the product of a residency at the remote lighthouse station of Bruny Island, deep in the southern ocean and off the remotest point of Tasmania. Initially, Hinterding and Haines set out to produce a landscape-driven work, one in which activity in the landscape was to be tapped to trigger the interfaces (satellite monitoring, digital tracking of sonoral and visual sources) which would record the event of Nature in progress. However, their immersion in the landscape was to become itself, a factor. Hinterding and Haines found themselves, like many early explorers, no longer third party facilitators of the expedition or experiment, but absorbed into a landscape which turned inwards. Into itself and into themselves. Haines began to email bulletins of odd sightings, as he and Hinterding began tuning into the landscape, which was working its affects on their psyches. As such, the possibility of psychic corruption of scientific observation cannot be dismissed. Nor even the prospect of quackery. Or inadvertent hoax. The results, presented as archival film - evidence as literal trace or mark - are therefore, dubious, and equivocal. Some parts are real, others, doctored, imaginary images. Legitimate capture or fake? These recordings call to mind tales of explorers stumbling across their finds, and then against the scrutiny of an unbelieving scientific community. Much in the same way as a nineteenth century explorer would have snapped photographic evidence of the strange phenomenon of the Northern Lights, you can imagine Haines and Hinterding straying onto the scene of the levitating trees, digital camera on hand. We can almost imagine a future scientific report, explaining the phenomenon as the result of a peculiar and local electromagnetic disturbance - something along the lines of our acceptance of the explanation that the Northern Lights are the result of ionization of the upper atmosphere, and the burning of the air into coloured bands of light. Even the satellite transcripts on exhibit, carry a degree of unbelievability. Haines and Hinterding duly recorded their passage, usually several times a day. Though they may, at first glance, appear scientifically legitimate, it must be said that they are prone to the unavoidable subjective tampering built into the original interface, which was designed to translate electronic flows into recognizable pictographic images. There s no little man with a camera looking down, objectively, on the earth from a sputnik. The gallery audience, like the scientist, engages in a process of sifting seemingly abstract flows, whilst waiting for a recognizable stain, mountain or edge , to emerge on the image screen. The satellite recordings are tainted with a fictographic bias: the data are manipulated in response to our desire to legitimately see in pictures. Seeing is believing, as any successful magician knows. Hinterding and Haines haven t filtered the satellite outputs. They ve intentionally left the noise and blanks, the latter which Haines refers to as yawning voids, in order not to dispel the occulted reserve of natural phenomena, when Nature decides not to yield. Satellites map, but map what ? Recalibrate the interface and a different set of patterns, with no recognisable shapes, emerges. The behindness of things, their hidden occult, writes an undecipherable script in the recording medium. We re left with mystery, absence and occasional flashes of presence. Coda: The Third Scene. Sliced alongside the satellite transcripts, is a naturalistic scene of digital imagining. It's a clue to reading the other image-texts. It looks real enough: a magnificent wall of brown dolorite opens its base to accommodate the washings of the sea. Look through the gap, and what you see, however, is not the expected infinity of a Casper Freidrich sublime, suffused with divine light. The image might be framed to prepare the viewer for just such a glimpse of Kant's sublime of nature - the massing of the powerful force of brown dolorite tamed to yield the spectacle of endlessness, the viewer safe, and contemplative - but, what happens is more akin to Surrealism and its trompe l'oeil tricks (Magritte suspending an island of stone over the sea). The potential sublime is dispersed into a scattering. The eye isn't carried onward and up, but scans the surface and follows the sea through the gap in the wall, to meet and rebound from the waves on the other side. The glance goes forward and back, literally breaking through what Haines calls the wall of the natural sublime. It's a deliberate strategy, one which might be missed by a viewer seduced by the odd, if naturalistic beauty of the scene. Hinterding and Haines were acutely aware that any project, which engages with Nature and its representation, would have to cope with an image culture, which saturates Nature with the sublime. Show nature under a strong and powerful aspect, and the over-codings of the sublime multiply, as a guaranteed cultural effect. We're habitués of the sublime of nature, trained to respond with awe and terror, then pacified with a sublimating halo. (The popular genre of natural disaster films incessantly repeats the gesture. Twister, for example, followed the pattern of initial awe, then tumult and destruction, resolving into hallowed light and happy ending.) Haines and Hinterding set out to evolve a work with Nature, which didn't fall back into the predictable patterning of a sublime become mundane. The scene of the sea-wall is a depiction of nature as the anti-sublime. It refuses to yield anything but a familiar rhythm of the going forwards and backwards of the waves. It's an element which works subliminally, a kind of 'nothing going on here, folks', which pushes you back to the mystery of the levitation scenes. Hinterding and Haines have found a way to tap into the quieter, and spookier, underside of the power of Nature's affect. Without grandiose machinations, or taming Nature into a denatured pastoral idyll, they have sought an occult of force fields and levitation as a way of engaging with Nature as mysterious science. The conjuring trick of the levitating trees is taken with a good measure of distance (it has to be seen to be believed) while retaining what may be called a healthy respect for the earthly unearthly. (Accessed 14.10 06 from Four Channel DVD video installation for proje 2000 Australia audio/Hinterding-spectral_1-levitiation_grounds_exp.wav 15 Ros Bandt 1950 2864 images/works/Bandt-2006-mungo.jpg Mungo An aural journey into the psyche at one of Australias mast significant world heritage areas. Lake Mungo is a dried up lake bed which has been a critical vortex of human life in Australia for the last 40,000 years. The land here tells its own story, as 20,000 year old fossil fish are underfoot and pre ice-age formations, along with other geomorphic changes are clearly visible. It is the site also of the oldest examples of human remains found in the antipodes. High on the dunes surrounding the dried out lake bed Ros Bandt erected her aeolian harp. In these drifting sands its harmonic vibrations poured out into the landscape day and night, drifting amongst the stories and dreams at the Aborigines who carefully tended the site until they were rudely removed by white men 200 years ago. The spirit of this place challenged the composer to come to terms with its history and the immensity at its spirit. The harps and their sounds seemed a conduit back into this primeval landscape. An ancient form themselves, they contributed their vocalisation of the wind’s voice, sometimes apparently screaming and howling the truth that she was learning first hand from Aboriginal elder Alice Kelly of the local Mutti Mutti tribe - their grief and suffering over the last two hundred years. At other times they softly caressed the fragile plant forms, or seemed to make sense of the stars, growing roots in the earth, reaching upwards and creating audible spatial reference points, by which one might orientate oneself in this overpowering setting. Aeolian harp construction by Ros Bandt and Steve Naylor. Accessed 27.04.2007 from Environmentally Sensitive Installation, Outdoor Installation, Temporary Installation and Interactive Installation 2006 Australia audio/Bandt-2006-mungo.wav 15 Ros Bandt 1950 3429 images/works/Bandt-xxxx-Beaming.jpg Beaming the Theremin installing the entire Grainger Museum at the University of Melbourne as a lotus flower of sound and light. Accessed 17.03.2008 from - 1998 Australia audio/Bandt-1998-Beaming.wav 256 Ai Yamamoto 1979 3741 images/spacer.jpg Ai Remember This music is inspired by a book called “I remember” by Jo Bernard and memories of growing up. I also imagined Senko Hanabi as I composed, a small string-like sparkler (firework) that is held in the hand. - 2002 Australia audio/Yamamoto-2002-airemember.wav 256 Ai Yamamoto 1979 3992 images/spacer.jpg Flying Magic Carpet The shimmering melodies were created with a MIDI keyboard and a MIDI synthesis program. 2002 Australia audio/Yamamoto-2002-Flying.wav 256 Ai Yamamoto 1979 3994 images/spacer.jpg Lullaby In this early work, two basic melodies are used with a lot of explosive texture underneath. The piece is based on a kid who is lying down in bed watching a window on a stormy and rainy night. The atmosphere outside is dark and scary however inside it is safe and comfortable. Melodies represent comfort and sweetness while the explosive textures that of darkness and fear. It was my intention to show how two different things can simultaneously exist in a space. Life is full of dualities, for example: dark and bright, happy and unhappy, yes and no. The components of such pairs cannot exist by themselves, without the other. 2001 Australia audio/Yamamoto-2001-Lullaby.wav 257 Warren Burt 1949 3998 images/spacer.jpg Playing in Traffic A 110 minute cycle of 8 computer and traffic noise pieces. Some of the pieces are filled with more notes per square second than you'll hear this side of Conlon Nancarrow, another is a fierce political denunciations of General Electric's environmental destruction; still another is a gentle wash of pure sine waves evoking Fitzroy, Melbourne in the summer heat. Birdcalls are stretched, samba samples are mangled, and in the end, a recalcitrant steam radiator triumphs. 2001 Australia audio/burt-2001-Playing.wav 257 Warren Burt 1949 3999 images/spacer.jpg Warren Burt: Texts and Music 1987-1998 Working with both human and machine poets, Burt here sets texts and performances by humans Amanda Stewart, Gertrude Stein, Elizabeth Block, Allyn Brodsky and Brigid Burke, Nossis, Ptolemy, Plato, etc. and cyber-authors Racter and Eliza. Performers include Howard Stanley, Susie Fraser, bernie m janssen, Ernie Althoff, and a host of others. This wide ranging collection of texts and settings is almost an encyclopaedia of ways the contemporary composer can deal with words. 1998 Australia audio/burt-1998-Texts-postcolonial_cd40.wav 257 Warren Burt 1949 4000 images/spacer.jpg SoundBath A 50 minute piece for junk electronics and six cassette recorders, originally performed on the 1979 Plastic Platypus tour of Europe. One of Burt's most shrieking treble-heavy complex pieces ever. It resembles mostly the soundscape of a jungle, or a forest, but its all made with electronic feedback of various sorts. 1979 Australia audio/burt-1979-soundbath_cd15.wav 257 Warren Burt 1949 4001 images/spacer.jpg Pythagoras Babylonian Bathtub Live recording of a 2 and ½ hour performance using three laptops, 3 synthesizers, 4 loudspeakers, 48 oscillators, and 167 scales. This continually changing piece is made up of a series of improvised chord progressions in a whole series of scales which extend Ervin Wilson's structure of “The Scale Tree” into new levels of dissonance and complexity. 2003 Australia audio/burt-2003-pythagoras_cd73.wav 257 Warren Burt 1949 4002 images/spacer.jpg Lo Fi Melodic Electronics 1979-81 Low technology, low humour, low volume characterize these pieces. “Sir Gawain and the Green Knight” is the sound track for an early performance by New York cross-cultural music legend Ned Sublette. It's a kind of automated medieval music that nods to minimalism. “Dr. Burt's Microtonal Disco-Fat Arkestra” is three badly played pop tunes (so bad they're really baaad!) in the style of the legendary California incompetence ensemble Fatty Acid (that Burt helped found)- one of the earliest pieces made with the Fairlight CMI; and “Leather Disco” is an attempt to out-disco Giorgio Moroder with a table full of electronic toys and cassette recorders. 1981 Australia audio/burt_-1981-LoFImedlodicdiskofatarkestra_cd18.wav 257 Warren Burt 1949 4003 images/spacer.jpg Miss Furr and Miss Skene 1998 Australia audio/burt_1998-furrskene_cd40.wav 257 Warren Burt 1949 4004 images/spacer.jpg 24 Chorales for Chris Mann A five hour forty minute epic cycle of interactive computer and synthesizer pieces from 1990-91, originally performed as a forty hour (five days at 8 hours per day) installation/performance at St. Kilda's Linden Gallery, this piece, on 7 CDs is one of Burt's most enormous and varied sonic landscapes. From the jazz influenced “Martigny” to the Sun Ra inspired “A Post-Modern Object-Oriented Chaotic Cellular Teledildonic Virtual Simulacra!” and “I Have My Standards” to the gentle ancient Greek harmonies of “21 Studies in the Modes of Archytas”, and the almost mystical harmonies of “Summer Music I and IV”, this is Burt at his most inspired. Includes extensive notes on all the pieces, and the cycle as a whole. 1991 Australia audio/burt_1991-24chorales_cd38.wav 257 Warren Burt 1949 4007 images/spacer.jpg Aardvarks IV Noise fans will love this one. One of Burt's major works, it's been called the best electronic piece since the First World War. A long, violent fresco, it was made with Aardvarks IV, an almost intelligent composing machine that Burt built because he couldn't afford a computer at the time. Evolving from an uneasy drone into complex and roaring sounds, the piece rises to what seems like a climax, only to dissolve into a sense of mystery and curiosity. If you want to find out what the state of the art in electronic music technology was in the early 70s, here it is. 1972 Australia audio/burt_1972-aardvarks4_cd6.wav 257 Warren Burt 1949 4008 images/spacer.jpg In the Solomans (for Bill Viola) Briefly tiring of long pieces, Burt here produced 17 two minute etudes for analog synthesizer. The tuning and rhythmic capabilities of the Serge and Driscoll synthesizers are here stretched to their limits. All sorts of sources and textures are used, from Soloman Islands pan pipe playing to David Tudor inspired noise and feed back patches to elegant interactive note pieces, to minimalist and tonal melodies. A landmark piece in the evolution of the analog synthesizer. 1982 Australia audio/burt_-1982-solomans_cd22.wav 257 Warren Burt 1949 4009 images/spacer.jpg Almond Bread Harmonies II Burt built his tuning forks in 1985 in order to explore microtonal tuning ideas. They quickly took on a life of their own, as their pure sine waves created glowing and warm washes of sound. The first three pieces for the forks show them off in a number of different contexts. “Improvisation in Two Ancient Greek Modes”, with Ernie Althoff, is a multitracked piece exploring ancient harmonies; “Voices, Tuning Forks and Accordion” is a much more contemporary take - the Astra Choir uses the forks to assemble long sustained clouds of sound, weaving their voices around the tuning forks' haunting sines. “Almond Bread Harmonies II” for five players is a very slow, almost metaphysical scanning of the Mandelbrot Matrix, a chaos pattern, to make a piece that is sparkling and calming at the same time. 1985 Australia audio/burt_1982-almondbread_cd28.wav 257 Warren Burt 1949 4010 images/spacer.jpg Not for Public Consumption “Not for Public Consumption” is a live multi-cassette recorder mix - Burt was one of the people who pioneered cassette culture in the early 1970s, and here he shows his mastery in a rampaging collage. 1988 Australia audio/burt_1988-notforpublic_cd32.wav 257 Warren Burt 1949 4011 images/spacer.jpg Still for Eva - Dawn II made without keyboards, where the synthesizer is treated like an analogue computer, and is programmed to control itself. dance scores for choreographer Eva Karczag, and is a definitive early minimalist piece. 1981 Australia audio/burt_1981-stillforeva_cd21.wav 263 Garth Paine 1962 4019 images/works/Paine-2000-Reeds.jpg Reeds Program Notes for the Melbourne International Festival Exhibition A weed, so easily crushed underfoot, can push its way up through a tarmac path, creating a sizeable fracture in what appears to us to be an impervious surface. One might postulate that if the weed could see the bigger picture, it might have decided to grow two feet to the left in the flowerbed or the grass. There is clearly an analogy here to our own birth, in which we appear to have little or no say (depending on one's religious beliefs). It is exactly this chaotic behaviour of the natural world that informs the Reeds project. Whilst human kind tries to harness or tame the chaotic forces of nature, or to explain it in terms of quantum theory and fractals, humanity cannot perceive a truly chaotic state. The forces of nature that dictate the growth of plant life fall into this category. It is not possible for us to predict with certainty the meteorological conditions from day to day, let alone year to year, and certainly not on the micro scale of the weed in the footpath. It is precisely these chaotic variations that are used in Reeds to conduct the sound score - to control and dictate the output of the real time synthesis process. The software design process predetermines the general structure and aesthetic of the sound, but the momentary output is unique. It is unlikely that the combination of wind speed, wind direction, solar radiation, and temperature that occur in this instance will be precisely replicated in any other moment. This chaotic variation is the very source of diversity, which I propose is the structure that creates such beauty in nature. Reeds uses the relatively static external facade of the sculptural form as a way of representing the paradox observed in organic plant life, where the apparently static external face of the plant contrasts the hidden, dynamic activity of photosynthesis and nutrient gathering that keeps the plant alive, and drives it's growth. The reed pod sculptures, appearing as lifelike presence's on the Ornamental lake at the Royal Botanic Gardens Melbourne, support two remote weather stations, gathering wind speed, wind direction, temperature, and solar radiation data. The meteorological conditions, vital to the plants' life processes, are transmitted back to a land-base where the data is transformed into eight channels of musical sounds that is broadcast back out to the reed pods. These sounds give a voice to the secret inner life processes of the plant. The viscous and fluid aesthetic of the sound material is an attempt to capture something of both the dynamism of the processes that maintain life and the ever-changing, silken thread that is the presence of life, the life force itself. The fact that the sound material is generated on the basis of meteorological conditions is a way of drawing, as tightly as possible, the bond between the processes of nature and the processors of the Reeds installation. The sound material cannot then be avoided, being the voice of the processes of nature. Sound and music is in many ways a unique media, for it is not an external artefact. Sound literally penetrates the body. It is also impossible to concretely tie composed sound or music to a representation of anything beyond a communication of emotional states and journeys. As an artist my interest lies in exploring ways of contextualising digital art processes within the natural organic environment. I have little interest in the purely synthetic, that is the synthesis of sound or images from purely academic or theoretical viewpoint; but prefer, as is illustrated in the Reeds project, to take a fundamentally organic source as the basis for the synthesis process. In so doing, I hope that some quality of that organic material will permeate the work, thereby bringing the synthetic output at least a small way towards the organic world, and therefore within the human context. Technical Outline The technological structure of the Reeds installation is based on the concept of the organic life cycle. This idea is represented in the project by the use of the weather data as the generative seed. The weather data, gathered by small remote weather stations installed in the pods floating on the lake, is transmitted to a land-based computer, which having analysed the incoming data uses the results to conduct the sound synthesis software. The synthesis software consists of a number of algorithms that generate music in realtime, producing eight channels of digital audio. These eight channels of sound (which you hear emanating from the Reed pods) are then broadcast back out to the Reed pods using Sennheiser EW300 in-ear monitoring systems. These systems allow the broadcast of high quality stereo audio. The return of the audio signal to the Reed pods, and its dispersion to the listener/observer completes the life cycle. To flesh out this technological life cycle, I will separate the process into stage headings as follows: Collection of weather data There are four pieces of weather data collected from each of two weather stations: a) Wind Speed b)Wind Direction c) Temperature d)Solar Radiation. This data is collected using custom built weather stations comprising sensors manufactured by Davis, and data processing, transmission and reception units designed specifically for this project by Microscan in Adelaide. The weather sensors produce a sliding voltage scale representing the current conditions, with the exception of the wind speed output which is calculated on the basis of the number of rotations per 1.25 milliseconds (one rotation equals 1.00615 meters of air movement). A data processing board inside the pod, converts this data to an ASCII data set in the form: Battery Voltage, Temperature, Solar Radiation, Wind Direction, WindSpeed. This data set is transmitted by the weather station once every 90 milliseconds to a land based receiver which pipes the data into a Macintosh G4 computer as RS232 data. Weather Data Analysis The weather data is fed into a software application that analyses the incoming data, dynamically scales it, and passed the result in the form of MIDI Continuous Controller messages to a Supercollider application, containing six audio synthesis algorithms. Synthesis The Supercollider application creates the audio you hear. Each of the instrument algorithms is allocated one or more of the weather data streams (i.e. Instrument one uses wind speed and solar radiation from weather station number 1) which control variables within the algorithm, thereby changing the pitch or texture or intensity of the sound. Instruments one and two produce a stereo signal which is panned across the installation, whilst the other four instruments produce a single audio channel. The audio is directed to the eight analogue audio outputs of a Digidesign DIGI001 digital audio interface. The generation of realtime sound means that a digital audio sample must be generated every 1/48000 second when using a sample rate of 48 KHz. As there are eight independent channels of sound in the Reeds project, the synthesis process must create 384,000 audio sample per second Broadcast The audio signals produced by the Supercollider software are fed to four Sennheiser EW300 In-Ear Monitor transmitters. The EW300 transmitters each broadcast stereo audio of high quality. Sennheiser EK300 stereo receivers, installed in six of the Reed pods receive the broadcast signal (each receiver has its own reception frequency matched to one of the four broadcast frequencies). The stereo signal of each receiver is then separated into its two mono components, which are fed into the two adjacent Reed pods. Dispersion Each sounding Reed pod contains a battery powered 40 Watt amplifier. The amplifier feeds five speakers: One ten inch full range Misco waterproof driver, (built into a hat on top of the Reed pod) and four small 40 mm speaker drivers (clipped to the reed stems) which are fed via a crossover, to ensure they only receive signal over 2000Hz. The main speaker carries the full range signal, whilst the smaller 40mm drivers carry the high frequency material that give the crisp edge to the sound. The speakers are placed in a position that allows the sound to bounce across the water surface. The Reed pods containing the audio equipment are fitted with light sensitive switches so that they turn on at dawn and off at dusk, thereby conserving battery power, and allowing the wildlife the tranquility of the night. I am greatly indebted to Syntec (Australian Sennheiser agents) for their generous support. Without their EW300 IEM systems, the audio could not be broadcast out to the pods. I am also indebted to Microscan and SolarFlare for their ingenious solutions to my need for small battery powered remote weather stations (something the large companies told me was impossible!!) 2000 Australia audio/Paine-2000-Reeds.wav 267 David Worrall 1954 3982 images/spacer.jpg I am on the net I am on the net (2005) is an installation work which employs language translation software to provide resonances of original spoken and textual materials in multiple-listening-post installation spaces. The inexact nature of such language translations (such as that provided by babelfish, for example) are used to resonate the text using multiple feedback pathways to create a chinese whispers environment. The work is in three parts: Part 1: A stand-alone voice-synthesis bagatelle. Part 2: A single multiple-roomed space through which an audience can be wander at will, adding their own utterances to the ongoing feeback network translation resonance. Part 3: An virtual (internet) space version of Part 2. Spatially dislocated audience can locate any number of portals for both exciting and auditing translation network resonances. The text is based on Alvin Lucier's I am sitting in a room (see references below) using the original text fed through a number of different automatic language translation programs as both input and output. Here is the complete text: I am on the net through an interface different from the one use when you do. I am submitting the coding of my written text and I am going to submit it back into the net again and again until the resonant syntaxes of networked mind reinforces itself so that any semblance of my text, with perhaps the exception of of of subject, is destroyed. What you will hear, then, are the natural resonant syntaxes of networked mind articulated by text. I regard this activity not not not not so much as a demonstration of a linguistic fact, but more as a way to to to smooth out any irregularities my text might have. (Original English Text) I am in the network through an interface different from which you use when you do it. I am putting under the codification of my written text repeated times until the resonant syntaxes of the mind networked are reinforced, to destroy any appearance of my text, with perhaps the exception of the subject. What you then will hear are the natural resonant syntaxes of the mind networked articulated by the text. I watch this activity not as much as demonstration of a linguistic fact but more as way to a to smooth outside any irregularity my text could have.(Spanish) I am in the net through a different relation of that you use when you. I am submitting coding of my written text repeated times until the syntaxes resonant of the mind networked if strengthen, in way that all semblance of my text, with perhaps the exception of the subject, is destroyed. What you it will hear then networked is the natural syntaxes resonant of the mind articulated by the text. I consider this activity not thus very as a demonstration of a linguistic fact but more as a way to smoothing for my text is of all the irregularities could have.(Portuguese) Accessed 28.10.2008 from - 2005 Australia audio/Worral-2005-IamOnTheNet.wav 49 Toshiya Tsunoda 1957 4098 images/spacer.jpg Scenery of Decacomania 2004 Australia audio/Tsunoda-2004-Scenery.wav 264 Jodi Rose 1970 4239 images/spacer.jpg Green Bridge Brisbane 2006 Australia audio/Rose-Jodi-2002-Green_Bridge.wav 264 Jodi Rose 1970 4240 images/spacer.jpg Global Bridge Symphony composed with Michael Bates 2006 Australia audio/Rose-Jodi-2006-Global_symphony.wav 264 Jodi Rose 1970 4238 images/spacer.jpg Anzac Bridge Sydney Cables Recorded 20/06/1994 1994 Australia audio/Rose-Jodi-1994-anzac.wav 256 Ai Yamamoto 1979 3993 images/spacer.jpg Leaf The animation was made using a particle effect on a colourful leaf. The images are evocative of autumn in Japan and of childhood memories. The sound was made from manipulations of a music box sample. 2003 Australia video/Yamamoto-2003-leaf.mpg 256 Ai Yamamoto 1979 3971 images/spacer.jpg Fish Swimming Music by Mark Harwood. Video by Ai Yamamoto. Details Animation was produced with a video mixing application. Both audio and video were recorded live. - 2003 Australia video/Yamamoto-2003-fish.mpg 265 James Hullick 1976 4038 images/spacer.jpg Is there a Spirit in those Bones? 2006 Australia video/Hullick-2006-spirit.mpg 266 Bruce Mowson 1975 3981 images/spacer.jpg Melting Moments Melting Moments is a generative/realtime audio-visual installation for two projectors and surround sound and is seen above as installed here at Kurb artist run space in Perth, for the Totally Huge New Music Festival. ARTIST STATEMENT I would describe the work as hypnotic, mesmerising and captivating – and this is the works meaning, to be captivating and mesmerising. What I'm interested in is under what circumstances, or in what personal spaces are such captivated states possible. I think the works have a psychological dimension – their affect can't be reduced to the mathematics of the forms, and they invite the viewer to 'get lost' or be absorbed by what they are seeing and hearing. I'm very interested in the psychology that drives my desire to be lost in this type of image. On a broader front, this type of 'getting lost within' occurs in reading books, watching movies, and other pursuits dismissed as escapism. I'm not convinced that this dismissal is possible, and Film theory tells us that all viewing is doing something . - 2007 Australia video/Mowson-2007-Melting.mpg 266 Bruce Mowson 1975 4041 images/works/Mowson-2006-Barney.png Barney Barney is a generative/realtime audio-visual installation, comprising a suspended LCD monitor and surround sound. ARTIST STATEMENT Barney explores similar affects to Melting Moments. Since making the work I've conceptualised it as a sort of clock – suspended above the eye-line, the rotating planes spin in time, against one another – so a clock that is measuring several times, which appear to be moving in different directions, and with different centres. The LCD sits within an inky blackness, which is filled with sound. The sound, as is the nature of music, has an effect which is more difficult to explain – there is a similar gradual pace, but a sense of space vibrating around you, perhaps as if you were seated on the hand of a huge clock, sliding slowly through a orange void. 2006 Australia video/Mowson-2006-barney.mpg 266 Bruce Mowson 1975 4042 images/works/Mowson-2006-Absorbtion.jpg Absorption This audio-visual installation explores the state which occurs when a beholder becomes absorbed in seeing and hearing objects in space. Previously explored by artists including Minimalists and Post-minimalists, often in relation to phenomenology, this state has been described as ego-less. If self-identity recedes behind a changed connection with physical reality, what philosophical and psychological questions arise? 2006 Australia video/Mowson-2006-absorption.mpg 266 Bruce Mowson 1975 4043 images/works/Mowson-2004-pinkballs.jpg Pink Balls The focus of this work isn't about language - concepts, engaging with a discourse in a classical or post-modern fashion or otherwise. When I see those types of work, I'm aware of the process of interpreting and decoding - examining the work to classify it. When I come to this work, the same process occurs, but I've taken out most of the linguistic and cultural references - in decoding the work, there's not much to go on. What I'm interested in stimulating and exploring is a sensory, rather than linguistic, intelligence. The spark of ideas connecting, concepts gelling is very exciting - but it's the sensory and experiential that inspire me to soar. I guess I'm following the paths of abstract expressionist painters, minimalist sculptors and musicians - perhaps bringing those approaches to bear with digital technology. The works are long and slow - I'm asking the audience to stay with them for a long time. I think to get the work, you need to slow down and pay really close attention to what you are seeing and hearing. You need to get into a state of being, rather than doing. In that state of being, the subtleties of the media emerge - perceived shifts in tints, new facets of the sound - and with this, an awareness that the viewer is in control of how they experience the work. I want to expose the grain of the medium - the way a carver works with the grain of the wood. The pink I've used in the video was chosen through trying out the full spectrum of colours in the actual exhibition space, and deciding that pink sat or felt best in the room - the way the light illuminated the rooms surfaces and filled the space. The monochords in the soundtrack were chosen after trying many different sounds in the space - this particular sound filled the space in a way that I intuitively decided felt right. When I say felt right, I'm referring to my sense of the media in the space - trying to work with the grain of the space. BRUCE MOWSON, 2004 2004 Australia video/Mowson-2004-pink_balls.mpg 266 Bruce Mowson 1975 4044 images/works/Mowson-2002-FleshAntenna.jpg Flesh Antenna Flesh Antenna is an radio based sound installation which reacts to the audiences bodies, as they move within the radio's grid. Flesh Antenna originates in a consideration of sound in social space, and specifically from the position of being aware of sound's constant presence around us. Not only audible sound, heard through active listening, but transmitted sound: radio, mobiles, TV and other frequencies which I imagine are saturating the space we live in. Seen above, the work includes 36 hanging radios and a radio transmitter. The radios are tuned into the transmitter, but the transmitter broadcasts 'silence'. When your body moves through the radios, it disrupts the radio field, causing individual radios to loose signal, bursting into noise. There is an element of a musical instrument, then, as you can perform the radios by moving within the grid. There is an metaphoric and emotional dimension to the work – the radios appear as faces, forming a mute crowd which watches silently, before hissing as you disrupt them – as I said above, 'a social space...' BRUCE MOWSON, 2008 2002 Australia video/Mowson-2004-fleshantenna.mpg 266 Bruce Mowson 1975 4045 images/works/Mowson-2004-InfraStipe.jpg INFRACINEMA Produced in 2005, Infracinema is an abstract surround sound and video projection work featuring a slow transition from 'reality' through to abstraction. Lasting approximately 35 minutes, the work is performed live by the artist, who mixes video footage, sound and music. 2005 Australia video/Mowson-2005-infra2.mpg 15 Ros Bandt 1950 66 images/spacer.jpg A Garden for Percy’s Delight The sounds in this courtyard are derived entirely from recordings I have made from the instruments belonging to Percy Grainger housed in the glass cases in this museum. Some of these sounds have not been heard since Percy gave them to the museum in 1938. I have designed a floating sound tapestry of these sounds using the Principles of Graingers Free Music, so that every time you come, a different combination will be heard. Grainger designed music with hills and dales, changing fluctuations, curves of high and low, inspired from the wind, the Adelaide Hills and the lapping of water in Albert Park Lake and Brighton Beach. These environmental sounds form a bed over which all other sounds float. The music shifts in relation to itself. Gliding glissando tones and beatless music have been included from archival recordings Percy made. Some of the fascinating sounds you may hear are derived from the following instruments. Accessed 27.04.2007 from 1997 Australia 15 Ros Bandt 1950 67 images/works/Bandt-1997-Garden.jpg A Global Bridge for Percy 50 minutes of satellite sound 1997 Australia 15 Ros Bandt 1950 68 images/spacer.jpg Water Medicine Travelling Exhibition of sound sculpture in water sound and light. 2003 Australia 15 Ros Bandt 1950 70 images/spacer.jpg Winds and Circuits, and Surfaces and Cavities 2 kinetic, electronic and audience participatory sound installations using electrifiedwire coathangers, 8 TV sets, and mazes, 1977 Australia 15 Ros Bandt 1950 72 images/spacer.jpg Touch Sound, mixed media kinetic sound sculpture, 1985 Australia 15 Ros Bandt 1950 73 images/spacer.jpg Aqua Musica, sound installation and performance live to radio, 1987 Australia 15 Ros Bandt 1950 75 images/spacer.jpg Audite Mixed media sonically implanted wall art and 3D and 4D works 1993 Australia 15 Ros Bandt 1950 76 images/spacer.jpg The Aeolian Pier and Sound Garden, Commissioned by the Flinders Island Wind Festival. 1998 Australia 15 Ros Bandt 1950 77 images/spacer.jpg Speak Before Its Too Late, 6 channel sound installation, urns, disappearing languages. Also at ACCA for Sonic Residues International Sound Art Festival commissioned by ASME 1999 Australia 15 Ros Bandt 1950 78 images/spacer.jpg Stack Sound 2001 Australia 15 Ros Bandt 1950 79 images/spacer.jpg Silo Stories 6 channel sound and photographic installation. 2002 Australia 15 Ros Bandt 1950 80 images/spacer.jpg Mack Memories 6 channel sound installation and visual maps of electroacoustic components. The Silo Project is a research project collecting audible stories from workers in silos throughout the Victorian wheat belt. The significance of wheat silos as cultural icons and sensitive neural networks of communication is obvious as the stories tell of changing attitudes and functions concerning them. The research is being presented in the form of a multi-channel sound installation and photographic exhibition first at Horsham Gallery in April 2002, and later at First Site Gallery at RMIT. Sounds of the silos in operation and music made in the silos have been woven into an original moving six channel composition installed in large ceramic urns accompanied by black and white photographs of the silos themselves. Venues researched include Speed, Merinee, Galah, Murtoa, and Charlton. A commission from The Listening Room ABC FM entitled Via Galah interprets stories of silo workers including the final closure of two silos, Jackson and Merrinee. Accessed 24.10.06 from 2002 Australia 15 Ros Bandt 1950 82 images/spacer.jpg Silo Stories 2003 Australia 15 Ros Bandt 1950 83 images/spacer.jpg The Flagong, vertical glass marimba, cut bells inspired by Harry Partch, , performances and exhibition 1978 Australia 15 Ros Bandt 1950 85 images/spacer.jpg SSIIPP, Sound sculptural installation and performance playback system, an innovative and original design for an 8 channell sensor activated interactive sound playback for use in works of continuous duration 1985 Australia 15 Ros Bandt 1950 86 images/spacer.jpg Aeolian Harps, with Woodcraftsman Steve Naylor, Wood 1987 Australia 15 Ros Bandt 1950 87 images/works/Bandt-2003-ListeningPLace.jpg The Listening Place NOT QUITE THE SOUNDS OF SILENCE... Launch of The Listening Place, a sound installation at Alma Park (west, near the Olive Grove. Melways Ref: 58, D9) 11am-12pm, Thursday September 11 The words of the prophets may well be written on subway walls and tenement halls but in East St Kilda’s Alma Park you can also hear them by sitting on a park seat. Telling stories in different languages, The Listening Place, a sound installation set in a new bluestone seat, will launched by Port Phillip mayor Liz Johnstone at 11am, Thursday September 11. The Listening Place is the last art work originating in a two-year project called margins, memories and markers that has drawn on the stories told by hundreds of local people. Cr Johnstone explained that margins, memories and markers has culminated in six public artworks and 28 plaques celebrating collective experiences and memories associated with place throughout the City of Port Phillip. “The new seat has the word ’listen’ inscribed in six different languages into its bluestone footing. Running on a continuous loop during the day time is a mix of stories in many different languages from current and past users of the park – old and young, dog walkers, nearby residents and newcomers to the area. “The seat is located near a key landmark; the Olive Grove – a symbol of the multiculturalism and diversity which characterizes East St Kilda. We hope that park users will find the Listening Place just the spot to contemplate the universe, while taking in the different stories. “The coincidence of voices asks us to listen to each other and reminds us that everyone has a story to tell. When the sound installation falls silent, people are invited to listen to the sounds of the park – not quite the sounds of silence, but the whispers made by leaves rustling and dogs barking in the distance,” she said. Artist Ros Bandt interviewed and recorded thirty-three people in sixteen locations, including Alma Park, over a nine-month period. The resulting ten hours of material were mixed and mastered into a one-hour sound installation. The sound recording will also be available at St Kilda library. The stories in the sound installation include those of Ella Elkonina who says, “My husband and I were walking through Alma Park one day in 1997, shortly after we arrived from the Ukraine. We noticed a group of Chinese people doing their morning exercises. They invited us to join them. Afterwards they said ‘See you tomorrow’. From that day on, we exercised together every morning. In all honesty, we never felt better.” One resident says, “Alma Park is my favourite place – it caters for all sections of the community and the trees are magnificent. I love the private path with its seats to rest on along the way. We should treasure the variety of trees, from Cork Oaks to Stately Pines, Olive Groves and spreading Gums. Also, St Kilda East bird life is varied and plentiful. We are very lucky.” Others talk about how they find the inspiration to write poetry in the Alma Park Rotunda or about their favourite shops in Carlisle Street and how they like to meet friends on the bench outside Coles. The project was funded by the City of Port Phillip and VicHealth’s Art and Environment Scheme to explore the idea that urban art can increase social connectedness in a community through shared ownership of public space. Cr Johnstone said that one of the great challenges of community arts is to involve a broad range of people without compromising the final artwork. “If everyone ‘paints a tile’, then you risk ending up with a clash of colours and styles. Many people are also reluctant to become involved in community arts because they are intimidated by being asked to ‘do art’. “Under the artistic direction of Julie Shiels, margins, memories and markers found a way to fully engage and involve the community and also produce works of outstanding quality, through the telling, gathering and selecting of stories, and the distilling of those stories into lasting public monuments. “The stories that are told and represented in the artworks often flow from individual recollections, but by conceptualising those stories into public monuments, the artists have vested those stories with shared meaning. The artworks mark our memories of place, and so give those places renewed public value. We remember our shared past, not in the form of monuments to famous men and public figures, but in a celebration of the everyday life of the community,” she said. Cr Johnstone said that margins, memories and markers had got a real synergy going. “The stories told by the 300-plus people who’ve participated in workshops across the municipality have sparked a new and exciting focus on the development of shared public space. Newer residents and old timers have been rubbing shoulders with interesting results. A different, hybrid society is starting to emerge and it will be reflected, we hope, through the placement of permanent public art in neighbourhoods across the municipality. “The artworks are uniformly outstanding and have been enthusiastically embraced by residents and visitors alike. They add new layers of meaning to the landscape,” she said. The project has been coordinated by Ilka Tampke. Local artist, Julie Shiels, was the creative director and writer on the project and also worked on two of the individual artworks. The artworks and stories collected as part of margins, memories and markers can be viewed on the council website: A map of the artworks and plaques is also available. A range of professional photos of the Listening Place and other artworks can be emailed on request. Enquiries: After hours Carmel Shute Liz Johnstone Media Officer Mayor Tel: 9209 6163 Fax: 9525 4640 Tel: 9531 7358 Mobile: 0412 569 356 Mobile: 0412 135 350 Council webpage: Accessed 28.04.2007 from 2003 Australia 15 Ros Bandt 1950 89 images/spacer.jpg Sound Icons, sonically implanted petrol bowsers, commissioned by David Hanson, gallery director. petrol bowsers 1987 Australia 15 Ros Bandt 1950 92 images/spacer.jpg The Invisible Cities. commissioned by Julia Ryder, curator for Contemporary Music Events. 1999 Australia 15 Ros Bandt 1950 93 images/spacer.jpg Water Medicine, Alchemy sound, water, suspended cymbal, lighting, CD 1999 Australia 15 Ros Bandt 1950 94 images/spacer.jpg Palimpsest 2001 Australia 15 Ros Bandt 1950 95 images/spacer.jpg Das Weiss Gold Hearing Place Exhibition and Audiotheque, 2003 Australia 15 Ros Bandt 1950 96 images/spacer.jpg Women in Sound, 360 Degrees, Details 360 degrees was a project aimed at increasing the participation and visibility of women in sound art culture. It was initiated by three young emerging sound artists who had become frustrated by the lack of female participants in all things sonic. 360 degrees was based in Melbourne and involved sound installations at both West space and First Site galleries as well as an evening of performances, all by women. It was part of the 4 th Liquid Architecture sound art festival in 2003 . Artist choice First and foremost; the criteria in deciding the spectrum of artists to be involved, it was quite simple: * Female residing in Australia practicing in sound art of some form; * Any level from upstart to established could submit. The outcome was very automatic, we found that there was such variety of artists from expansive backgrounds needing presentation. Decisions where made according to how the work would fit into the role of achieving our goal: “Our aim is to reflect a large diversity in conceptual and aesthetic approaches to sound and soundtrack, reflecting the quality and scope of work being produced by women in Australia.” Female sound Artists involved in the project: Dr Ros Bandt, Sue Harding, Jennifer Sochackyj, Boo Chapple, Camilla Hannan, Julie Burleigh, Kelly Sturgiss, Ai Yamamoto, Bec Charlesworth, Cat Hope, Karli Munn, Jasmine Guffond, Louise Terry, Sally Blenheim and Claire Conroy. Along with video artists: Annemarie Kohn, Geoff Robinson and Jean Poole and Cassandra Tytler. Sound, Time and the artist The aesthetic of the piece was not at all advised in any criteria, a broad spectrum of styles and backgrounds were anticipated and received. The Quadraphonic and sound/ vision works where however given the limitation of time frame: “All work must be of 1 minute in duration”. From the outset we knew it would be impossible to impose any kind of stylistic constraints on the content of the works submitted, with a far and wide delivery. Diversity being the operative word, we screened the video works altogether and tried to go with a mish mash kind of approach. Although most of the works were quite abstract, interjections of the real and the wicked made the compile of works bounce off each other rather than sit neatly- which was exactly what we wanted. This same concept was realised with the quadraphonic works, where each artist re ally held their own ground and the pieces didn t flow into one another. It was discovered that statements of individual natures in one minute presentations are also much more digestible (it seems). The artists that were presented as individuals (having their own space in the gallery) were chosen for their own reasons. Ros Bandt was our preference in recognition of her outstanding involvement in the history of sound sculpture in Australia, along with the fact that she has overcome the adversaries of being a women in the male dominated field for so long now. We really wanted to include sound sculpture as a main part of the exhibitions, Ros was the only person for the role. Thembi Soddell presented a site specific installation to utilize in a room at First Site that we were undecided on the purpose of, her work displayed the opposite concept to the short form limitations we had placed on the quad and sound/vision rooms. This juxtaposition of long duration posed yet another challenge to the audience. Isobel Knowles computer based game art work had a chirpy and inviting effect. The game had already created and we knew it would be ideal housed in the foyer PC for the First Site exhibit. Space Installation dispersed across the city: * The breaking up of the exhibitions into 2 separate inner city galleries proved to be a demanding yet diversifying option. The possibilities of works to exhibit were too high too fit everything into the one space, so we opted for this arrangement. * Both galleries were located within a 10 minutes walking distance from each other so the public could indeed go from one to the other if so desired. Each gallery enabled isolation to some degree, along with unique characteristic benefits: West space with superior functionality- a sound proofed door! This was fantastic, especially at the opening, we found that people were going into the room and closing the door behind them (to block out all the noisy banter in the main space). One punter said it was “the best sound art opening they ve ever been too, because you could actually listen to the works!” The door continued to be used throughout the course of the exhibition to aid in isolation of frequencies, along with the role of keeping the decibels from overworking the Gallery Minders ears. The room was a short rectangle shape which was quite fitting for the speaker positioned neatly in each corner. The sound was quite “live” due to the room s tall ceilings and parallel lines, however the carpeted floor did aid this to some degree. First Site offers a foyer where the computer station is based - this was the first exhibit space housing Isobel s game, played through small speakers. By the time you reached the main space which housed Ros installation, the game became a distant background bleep. The cement floors and corrugated iron arched ceilings make for an urban religious experience when sound is installed at First Site. Before Ros work was even installed we knew if would fit perfectly into this main space, as her work remembered the sounds of the now redundant wheat silos and their unique timbres. The stories of the silo workers also resonated well around the room as they seeped out of individual urns, one at a time. The sound and vision room was separated from the main space with an impermanent wall and theatre curtains - this was just enough to do the job (a door would have been great though). The sound and vision room was actually acoustically treated with sound baffles running up the sides of the room to reinforce the quality and definition of the experience in a cinema like delivery. The room was also carpeted for the same reason. The smaller room used for “Intimacy” by Thembi, housed an appropriate dimension for the artists intentions of confined space along with proximity of speakers to the listeners ears. Sound proofing between the main space and the smaller room was a maze of theatre curtain which still allowed for some spill, but not too much that it was detrimental to either installation - which is sometimes the best you can achieve in an “all sound” art exhibition. In the end In Summary, the general feedback we received after the completion was positive. Initially we did share concerns of people taking the gender specific approach as an unnecessary motivation in this day and age, however – this was only a minor possible understanding. 360 degrees certainly seemed to have played a major role in Liquid Architecture 4 program, of which a lot more women had been involved in this year than any other. Further developments from the project have been achieved, the two compiles of one minute works as well as Ros Bandt s Silo Stories were displayed/ installed at a ‘Summer Art Festival in Germany, along with a screening of the sound and vision works at the Greenlight Cinema in NSW. Some artists have been accessed through there involvement in the festival and invited to other opportunities, some have formed collaborations. It is through the channels of presentation that we create - that forged outcomes can evolve. May other curators see that it is not yet too liberated a world to warrant a refrain from concepts which speak volumes. Accessed 25.02.2008 from 2003 Australia 15 Ros Bandt 1950 97 images/spacer.jpg The Memory Grid Stack Video, 2003 Australia 15 Ros Bandt 1950 98 images/spacer.jpg The Australian Sound Design Project curating the web publishing initiative, involving over 500 sound designers and an international network of communication. 2001 Australia 15 Ros Bandt 1950 99 images/spacer.jpg Via Galah, Silos Stories from Merrinee to Ja ABC Commission 2003 Australia 15 Ros Bandt 1950 100 images/spacer.jpg Inside /Outside commissioned by the Australia Asia Foundation and CD 2002 Australia 15 Ros Bandt 1950 101 images/spacer.jpg Kims Song ABC Commission the Listening Room 2002 Australia 15 Ros Bandt 1950 102 images/spacer.jpg Stack , 60 minute Electroacoustic work, sounding an industrial Cylinder, the City Link industrial chimney stack, industrial object 1999 Australia 15 Ros Bandt 1950 103 images/spacer.jpg Serendipity, Spatial Sound, using The Audio Tool Box, commissioned by Sonic Residues surround sound, loudspeaker 2000 Australia 15 Ros Bandt 1950 104 images/works/Bandt-1997-global_garden.jpg A Global Garden for Percy with Johannes Sistermanns, (Frankfurt, Germany) Bandt created a sonic bridge across the world, improvising from two of Graingers special places: his own museum and the site where his Free Music ideas germinated as a young composition student in Frankfurt. Using material from Ros Bandts installation A Garden for Percys Delight, and performing live with their individual sound sources, Ros Bandt and Johannes Sistermanns structured a performance based on Grainger s ideas of Free Music. Accessed 27.04.2007 from 1997 Australia 30 Carsten Nicolai 1965 336 images/spacer.jpg Major Group Show 2001 Australia 35 Scanner 1964 425 images/works/scanner-2002-BIOSPHERES1.jpg Biospheres: Secrets Of The City Biospheres explored the hidden resonances and meanings of sound and image that lie beneath our everyday surroundings. Taking the urban environment, architecture, streets and the neighbourhoods that map the framework of city itself as the inspirational focal point, this work attempted to re-assemble Brisbane and its surrounding spaces through its fringes. Focusing on the sounds that have become invisible through familiarity, Biospheres: Secrets Of The City also explored the neglected architecture that dominates the urban environment. The soundtrack is a collaged symbolic cruise through sonic mementoes of both nature and the city, featuring many sounds that have simply become incidentals in the daily narrative of our lives - the lost dog barking, flagpoles moving in the wind, water lapping against moored boats, a lit match, frogs calling at dusk and the insectivorous bat hidden in the darkness. 2002 Australia 35 Scanner 1964 435 images/works/scanner-2002-market.jpg Stories From the Market Place An outdoor theatrical / installation work that offered an insight into the history of the Adelaide Central Market area. Performers took the audience through a personal and historical history of the area, the buyers, the producers, the market growers, finishing with a headphone piece offering a 20 minute binaural exploration of the market. Made by para//elo in collaboration with: Sound artist: scanner Creative director: Teresa Crea Visual artist: James Coulter Creative collaborator: Jason Sweeney Photography: Peter Heydrich Movement: Ingrid Voorendt Performers: Irena Dangov, Susie Fraser, Juha Vanhakartano, Antonino Gorgone, Jason Sweeney 2002 Australia 35 Scanner 1964 443 images/works/scanner-2003-echo2.jpg Echo Ricochet Cre8ive Challenge is an Awesome Arts initiative designed to bring young people and local artists together. Participating groups engage in an open-ended, process-based exploration of identity by examining the significant and distinctive features of their local community and environment. Groups are organised through schools, youth and arts centres. Each year Cre8ive Challenge focuses on a different project. In 2003 the project came in 2 parts: the first, a celebration/presentation of each group’s exploration of identity; the second, the collection of significant sound samples for a collaborative project with Scanner. The latter became a soundscape accompaniment for a journey through Perth’s urban environment as part of the Awesome Festival in November. As part of the Festival in central Perth Echoricochet was presented from an orange transit van. The public borrowed headphones and CD players and embarked on a sound-walk through the city, guided by instructions. Perth ebbed and flowed with its usual rhythms as the soundscape evolved around the listener, offering a relaxed yet heightened awareness of the urban environment’s passing details. CD available at 2003 Australia 35 Scanner 1964 444 images/works/scanner-2003-intime2.jpg In the Time of Distance In the Time of Distance takes risks, not in the tediously predictable territory of explicitness or deconstruction, but in the exploration of feeling and meaning. In an era in which Australia’s response to the growing numbers of exiled and dispossessed has taken violent and increasingly punitive forms, such an exploration could not be more timely. This is a beautifully balanced collaborative effort, resulting in a poetic distillation of experience that is both moving and challenging. Susan Holoubek Co-directors: Teresa Crea, Laurent Dupont Visual Installation Design: James Coulter Soundscapes Scanner (with Jason Sweeney) Broadcast sound: Jason Sweeney Live image manipulation: Lynne Sanderson Photography: Peter Heydrich Performers: Elena Carapetis, Irena Dangov, Astrid Pill, Jason Sweeney Costumes: In collaboration with Citizens of the World 2003 Australia 108 Nigel Helyer 1952 1082 images/works/Helyer-2006-genemusik.jpg GeneMusik GeneMusik is an ongoing experimental project hosted by the SymbioticA Laboratory of the University of Western Australia in which I am attempting to literally breed hybrid musical works. During the modernist period many composers have used computers to create new musical forms, usually by employing some form of algorithm, for example granular synthesis. In many respects such attempts mimic biological processes. In GeneMusik I am taking a strictly biological approach by converting standard musical notation into DNA codes. These code sequences are synthesised into DNA which is then introduced into the genetic composition of bacteria, who are happy to reproduce the coded tunes. It is hoped that when the bacteria are induced to share their different sequences the resulting DNA material will, upon re-sequencing, reveal new musical ëmixesí. - 2006 Australia 108 Nigel Helyer 1952 1083 images/works/Helyer-2002-host.jpg Host An installation developed recently at the ëSymbioticAí Bio-Art and Technology Laboratory (University of Western Australia) in which an audience of live Crickets attend a lecture concerning the sex life of Insects.The lecture, in the form of two DVD projections, has one sound track recorded directly from the speakers voice, whilst the other was recorded directly from the aural nerve of a Cricket. If nothing else, this installation is ample proof that our own sex lives are much less interesting than we suppose!!! - 2002 Australia 108 Nigel Helyer 1952 1084 images/works/Helyer-2002-chant.jpg Chant The essence of all beings is earth, The essence of earth is water, The essence of water are plants, The essence of plants is man, The essence of man is speech, The essence of speech is sacred knowledge, The essence of sacred knowledge is word and sound, The essence of word and sound is OM The Upanishads Nigel Helyerís ëpluri-disciplinaryí practice forms a kind of sonic-architecture - utilising space, sound and installation components to create experiential environments. In Chant the sound of chanting quietly permeates the space as the Buddhas repeat the Tibetan Buddhist mantra ëOm Mani Padme Humí in an endless loop and perfectly in sync. Chant effectively transforms the cool classical architecture of the Gallery from being a temple to the arts to being a temple for spiritual pursuits. - 2002 Australia 108 Nigel Helyer 1952 1086 images/works/Helyer-2002-diva.jpg Meta-Diva ìMeta-Divaî is an environmental Sound Sculpture, designed for installation in a wetlands site. The work consists of a grouping of thirty individual units, each incorporating a solar powered digital audio ëvoiceí which emulates an element of the natural sound-scape. Each unit contains a miniature digital audio chip, coupled to a digital timer, set individually so that each of the thirty units has a unique time signature. The audio chips contain short samples of natural history sounds, bird song, and insect song and frog voices. The combination of multiple sound sources, in conjunction with individual time signatures and the fluctuations of the solar power supply give the sound scape an un-cannily natural presence. Technically, this a type of emergent behaviour in which, although we might recognise the repetition of individual sounds, the overall soundscape is in fact an infinite mix; somewhat akin to the always familiar, but never repeating sounds of a creek. In reality, the sound-scape blends so seamlessly with the natural environment it is quite difficult to distinguish the artificial from the natural soundscape. The physical structure of the sculpture employs the metaphor of plant biology and the thirty units are grouped as if to form a bed of Lotus plants. The sculpture is entirely constructed in Aluminium, the top element being of spun and welded Aluminium, with all surfaces powder-coated. Individual units comprise; a 3.5 metre tall stem which in turn support a small solar panel and terminate in a florette formed by a central bud surrounded by eight small exponential speaker horns; each florette being some 0.5metres in diameter. The work has been designed for installation, in a lake-side context, the solar panels and the audio electronics are fully marinised and require zero maintenance, there are no batteries, no switches and no moving parts ensuring a minimum of ten years operational life before maintenance is required. - 2002 Australia 108 Nigel Helyer 1952 1087 images/spacer.jpg Seed In English, we speak of mines sown in fields or laid somewhat akin to an egg, or perhaps a cunningly laid trap. This is a domestic and agricultural lexicon whose familiar words belie the barbarous intent of these small kernels of violence. Mines are ontological devices; they lie in wait for the future! Such a concept is resonant with the Old Testament parable of the sowing of seed, in which the germs of the future are broadcast, as if by chance, across a varied range of terrain, some fertile and fruitful, and some stony and barren, in an ecology of destiny. In a more obvious combination of the fruitful and the fatal, we might recall the recent aerial seeding of Afghanistan with small yellow packages, some round and some square, some containing food but others deadly ordinance. Whilst the physical geography of Islam acts as the historical context for the mytho-poetic spaces and narratives of the Old Testament so to it acts as a repository for hundreds of thousands of landmines - a testament to the failure of military solutions to generations of economic and political instability. Should we heed the adage As you sow, so shall you reap then an optimistic future in the region is less than assured. Seed is a sonic installation that metaphorically collides our agricultural lexicon of the minefield with the narratives of the Old Testament and the contemporary disasters of military and ideological conflict. It does so by inviting the viewer/auditor to literally enter a sonic-minefield. Each visitor may equip themselves with a simple mine-detector that will allow them to listen in to the sonic terrain emitted by the mines. Perhaps to their surprise, the small facsimile landmines, each resting at the centre of an Islamic prayer mat, do not voice strident political commentary, the sounds of battle or doctored media grabs! Instead the encounter is with a sonic world of looped Arabic music, some ancient and some contemporary, overlaid with voices, in Arabic and English, which enunciate the ninety nine names of Allah, each name supported by a brief extract from the Koran. Seed therefore proposes a place of complexity and ambiguity within which to contemplate the simplistic and unilateral position of current military and political events. It is after all sobering to consider that the death toll inflicted by landmines (principally in the developing world) is equivalent to the appalling destruction of the World Trade Centre - repeated five times each year. - 2002 Australia 108 Nigel Helyer 1952 1088 images/works/Helyer-2003-haiku.jpg Haiku Haiku is a multi-part solar-powered environmental sound sculpture that distributes a series of traditional Japanese poems via miniature digital audio storage units operated by solar timers. The version of Haiku shown in this document is of the installation at Boutwell-Draper Galley, Sydney as part of the ìGone to Earthî solo exhibition 2003. A new solar accumulator/timer circuit was developed to permit this project to operate indoors. - 2002 Australia 103 Joyce Hinterding 1958 1089 images/spacer.jpg Spectral A stunning work from Australian intermedia artist Joyce Hinterding, Spectral is based on celestial site recordings of magnetic fields and weather satellites made with custom-built antennae. These phenomena were recorded in the isolated wilderness of Bruny Island, Tasmania, and later appeared as the sound element in The Levitation Grounds, an audio/video installation with artist David Haines. The result is a complex universe of mysterious interference, ghostly transmissions from unfathomable places, disembodied static, and failed communication. What is manipulated sound and what is straight sound remains unknown - this is musique concrete of the spheres. ARTIST JOYCE HINTERDING TITLE Spectral CAT. # ANSI001 FORMAT CD DURATION 5929 RELEASED July 2003 A white hot crackle of condensed energy, VLF transmissions recall the work of code-crunching glitch wranglers such as Pimmon or Fennesz. Hinterding couples these sounds with rhythmic pings of signals from passing satellites and the hushed breath of static electricity. All of these slowly ebb and flow against the warm, diffused modulation of her receivers own electrical components. - The Wire The minimal gradual changes in texture and character of sound and the repetitive subtle rhythms leave the listener hypnotised and lost in a particular space and time. - Phosphor Magazine Satellites map, but map what ? Recalibrate the interface and a different set of patterns, with no recognisable shapes, emerges. The behindness of things, their hidden occult, writes an un-decipherable script in the recording medium. We re left with mystery, absence and occasional flashes of presence. - Ann Finegan Spectral is a drifting ever-changing field of sound; unchecked currents drone while live wires crackle and pop on the periphery, hinting at danger. There is an energy here in line with Pan Sonic s early recordings, that feeling of barely harnessing the raw power of pure electrical activity. - Popstocker (Accessed 14.10.06 from - 2003 Australia 103 Joyce Hinterding 1958 1090 images/works/Hinterding-1998-Aeriology.jpg Aeriology aeriology could be described in terms of a project for an unfolding of the ethereal.A machine for a techne of the invisible. 20 km of wire wrapped the space to form an energy gatherer, one where form in the nature of a coil expands the possibilities for an art concerned with lines, flows and folds.These harmonising coils, reveal through sympathetic amplification activity of the unseen. - 1995 Australia 103 Joyce Hinterding 1958 1095 images/works/Hinterding-2001-blinds.jpg The Blinds and the Shutters In which the interior contents of a modernist house, in an unnamed landscape, gently float out of its interior under the influence of exceptionally low gravity. The household contents pass through low earth orbit on the right and left of the installation space, only to arrive in the rear screen and vanish once they make contact with an invisibility vortex. We hear the sounds of the inaudible parts of the house. The electro magnetic space of the interior wall wiring and the low 50hz hum of the electricity system. At one point we also hear a recording of a meteor shower and the background noise of the milky way recorded as a crackle with a home made antenna. (Accessed 14.10.06 from Commission. four channel synchronized DVD projection with 2001 Australia 103 Joyce Hinterding 1958 1096 images/works/Hinderding-2003-house2.jpg House 2 - The Great Artesian Basin Pennsylvan In which a 3d modeled Pennsylvanian Neo Gothic style house endlessly pours water. We see a great flood. The image shown is a production still from a late render test of the image sequence. This work continues our ongoing exploration of the dwelling as a site of psychic disturbance. Commission. Single DVD channel projection with 5:1 sound. 2003 Australia 103 Joyce Hinterding 1958 1097 images/works/Hinterding-1999-Undertow.jpg Undertow In contemporary English usage, the word occult has a few different meanings. In its most literal, technical sense, it refers to anything that is occluded, covered up or kept out of clear sight. It’s more sinister meaning suggests phenomena from the malevolent reaches of the spirit world. Over the past decade or more, David Haines and Joyce Hinterding have been deliberately and quite joyously embracing all the word’s connotations. in their paradoxically brooding and buoyant installations, they have liberated many occult images, sounds, ideas and emotions. Haines, for example, has an enduring fascination with the history of the horror movie, while he is also a specialist in the more arcane end of audio research and music production, and scientific uses of the moving image. Hinterding has become an expert in very low frequency sound signals, magnetic and audio­visual manifestations of the wild electrical energy that surges through the earth and its atmosphere. In the early 1990s Hinterding began to conduct field experiments that were also artworks. She become well known in Australia for her downright spooky installations that hissed, sparked and boomed in direct response to the electromagnetic energy that viewers carried in their own bodies. Hinterding showed how the world is a live entity that is always responding to people’s presence and actions. The fact that these responses were occult or hard to discern in normal circumstances made them no less real and all the more fascinating. Since Haines and Hinterding began working collaboratively in the late 1990s, they nave crested striking installations, drawing on their shared interest in recurrent residues and in latent energies upwelling, exploding or enlivening. For example, their two major works preceding the completion of Undertow 1999 were The Levitation Grounds (1999) and The Blinds and the Shutters (2001). These works presented ominous yet thrilling scenarios where some unspecified prior events have caused the tows of physics to mutate slightly, allowing occult tendencies to gain precedence. Trees floated in strangely colored atmospheres; a house launched all of its furnishings into deep-space orbit. Partly mad experiments and partly beatific visions, these works offered a warning premonition and a goad; at their own, thrilling peril viewers can ignore the laws the physical world offers them. Seth works showed the exultation and the possible price associated with transgressing the limits that seem to hold a stable physical universe together. Now with Undertow 1999, Haines and Hinterding have teamed up with sound artist Scott Horscroft to produce a visceral fable about sudden, violently upwelling energies that have been previously repressed, half-remembered or semi-conscious. Horscroft brings to the project expertise in the sonic patterns of air turbulence and the special ambience that characterizes every particular space Like a sonic fingerprint, Commissioned by the Federation Square Public Arts Program (with financial assistance from ACMI, the artists were asked to create a work that specifically responded to the labyrinth (the built-in passive air-conditioning system) underneath Federation Square. During their research they discovered two alluring facts: first the site is alive with a benign, surging field of magnetic energy that is generated by the train system and by a range of other technologies below the deck of the Square, and second there is an enormous labyrinthine air-cooling chamber just below the surface of the sloping plaza that leads into ACMI. These discoveries set the artists thinking. They realized that much of what happens above ground in cities is influenced by technically occult systems below ground; the electricity that enlivens all human spaces, the telecommunications technology and the air ducts. Perhaps they could propose some obscured but highly productive force surging beneath the surface of Federation Square. What if the technology that is meant to serve the Square had some kind of unconscious, some repressed but highly active psychic energy? What if this force could be summed up as the memory plus the desire plus the vengeance of all the machines, cables and switches that have ever been deployed on the site? What if this storm of surging forces were like the uncon­scious of the site, and what if that unconscious were housed in the air-cooling labyrinth? Surely all that energy would want to burst out of the Labyrinth and make itself manifest somehow, somewhere. In Undertow 1999, Haines, Hinterding and Horscroft have released such demons. They come from the environment, but they call to the viewers own occulted energies, the ones Lodged in their minds and bodies. Inside the whirligig of noise and kinetic imagery visitors feel how their stored-up memories, anxieties and desires can sometimes erupt and take over their nervous system. They realize that the ability to remember is not only a demure cognitive process - in Undertow 1999 they feet remembrance more than they know it. In this installation visitors feel how memories can sear them like an explosion or a surge of electricity, and they sense how remembrance can lodge or flare anywhere in their body, not just in their mind. Ross Gibson (Accessed 14.10.06 from Four channel DVD projection. Dolby 5:1 s 1999 Australia 21 Ryoji Ikeda 1966 1143 images/spacer.jpg data.spectra Accessed 5.1..06 from - 2006 Australia 101 Jon Rose 1951 1323 images/spacer.jpg Squash amplified Squash game with violin obligato - 1983 Australia 101 Jon Rose 1951 1324 images/spacer.jpg Relative Band plays Cricket It was quite a spectacle with amplified cricket bat; fully strung cricket stumps which caused massive feedback when knocked down by the quite accurate off spin bowling of JR himself; feminist commentary was provided by a young lady wearing a wedding dress; full teams of improvising musicians (the occasional drag queen); violin deconstructs specially designed for the cricket ritual; displaced audio crowds; and rain stop play every night (a journalist lost her camera in the flood). - 1985 Australia 101 Jon Rose 1951 1326 images/works/Rose-2005-Violano.jpg The Violano Project On the first page of the Violano Virtuoso manual it states that 3 good men are necessary to get the machine off the delivery wagon... so we are talking a serious lump of piano roll type instrument here. The instrument was patented on June 4th 1912 by the Mills Novelty Company of Chicago. Other player piano/violin combinations followed with up to 3 violins available. The piano has 44 notes and the violin has 64 notes - an octave of notes available on each string (hence the possibilities of 4 part independent counterpoint). Small electric powered rollers (self rosinating!) and a chromatic set of metal fingers play the 4 violin strings and the piano section is played by regular hammers using a standard player piano action. The fingers and hammers are activated by electromagnets. The violin comes with an optional and very wild vibrato (in which the whole violin wobbles), plus a mute to vary volume. The violin (as in all Violanos) was produced by the Mills company in their own workshops and produces a full tone; the instrument has no difficulty sounding 1/2 note double stops at ragtime tempi (whether it can cope with much faster tempi remains to be seen). The staccato coil can cause the bows to leave the string a fraction of a second before the fingers ... so some phrasing possibilities then! The violin stays in tune by a sophisticated array of tuning arms and weights instead of the usual scroll and pegs. The Violano project itself O.K. so why do you want to go to all the trouble of getting an old mechanical Juke Box of the early 1900 s to be playable from a computer? Surely it is easier to get a computer just to play MIDI controlled modules or samplers... and leave it at that. Well? 1. My work as composer and violinist for 30 years now has been to explore every real and imaginary aspect of the violin. I first came across this particular Violano-Virtuoso some 15 years ago when it was still in the Master Touch Museum in Sydney (it had recently been restored to full original working order by Mr. Barkley Wright). I made a recording then for a radio programme that I was working on for the ABC. I was struck by the fantastic mechanism that had been built for the violin (player pianos I already knew about). That experience inspired me to find a contemporary music reality for this incredible instrument. It s taken a while but... 2. No sampler comes anywhere near the beauty, subtlety, articulation, and cumulative effect of a live acoustic instrument. There is a lot of acoustic phenomena which happens with real instruments that is just not possible with a a virtual epresentation... put your ears close to the Violano and you ll hear what I m talking about. 3. Computerisation of the Violano will make almost any style or piece of music from history available without the huge expense of getting new Rolls cut. 4. The violin inside the Violano is set up so it is possible to get a computer to play the instrument in independent 4 part counterpoint... an impossibility on the traditional violin. This is a new paradigm in the history of the violin. 5. I believe that with care and attention given to the tuning of the violin and the piano (experiments in Just intonation, quarter tone, 19 tone, etc) this violin/piano combination will make an acoustic sound never heard before. (Experimentation with non standard strings on the violano could yield quite radical results. I have already worked out many interesting scordatura tunings on the regular violin, using all D strings for example). 6. A rare observation by Tchaikovsky noted that the piano and violin have little in common timbre wise. Having suffered the wretched western canon of piano/violin sonatas from Mozart to Stravinsky (and onwards), I agree with him thoroughly! Almost anything goes with a violin except the modern grand piano (and I do mean anything). The Violano Virtuoso bound these two icons of western music together for use in the popular music of the early 20th century... the unnatural couple, the faux pas de deux. Now at the beginning of ththe 21stentury, we are finally ready for that long awaited exorcism between violin and piano. 7. Hopefully the MIDIfication of the Violano will open up some new and extraordinary aural possibilities for other composers in Australia. Stage 1. Three artists are involved in stage 1 of this project: * Jon Rose - director, concept, and composer * Rainer Linz - programmer, adviser, composer * Jim Sosnin - builder of midi to voltage circuit board Two Power House employees: * Michael Lea - curator of Music Instruments and coordinator of this project * Carey Ward - directly responsible for maintenance and security of the Violano Stage 1. of the Violano project will involve Carey Ward drawing up a circuit board of the Violano. Jim Sosnin visiting The Power House Museum and checking out the Violano and making design preparations for the Midi interface. The MIDI Interface Basically there will be 123 midi to voltage (110 volts relay) connectors made for each of the notes of the violin and the piano. It is envisaged that direct wiring will link the midi circuit board to each of the electromagnets for the violin and the piano. Thus the entire piano Roll system will be circumnavigated and nothing inside the Violano itself will have to be rebuilt or changed in anyway... the instrument will remain in original condition and will be able to be operated either from the new midi interface or the old Roll system. Each of the 123 electromagnets will be allocated a midi number and function through simple midi note on information. Other midi notes will control dampers for both violin and piano; violin tremolo; violin mute device; the staccato coil. The software for the system will have at least three basic operating formats. 1. Omni midi... all midi info will be played (accepts any midi files 0 or midi files 1) 2. Midi channel settings that accept one midi channel for piano and one channel for violin 3. A midi channel setting that accepts 2 midi channels for the piano and 4 midi channels for the violin (one for each string, thus enabling independent 4 part counterpoint to be played on the violin). It might be advisable to have a separate channel for the dampers, etc rather than unused midi notes (away from the normal range). Jim Sosnin builds board (1 months work approx.), Rainer and Jon test the new system. Jon and Jim spend two months working with the Violano writing new music for it and generally testing what the Violano can deal with comfortably in terms of accepting midi information (e.g. there will be a limit to the mechanical speed of the 'Bow Wheels'). We would expect to try out a whole range of midi options from all kinds of wave forms in counterpoint to simple arrangements of pop tunes. Experimentation with violin strings and their tuning would also take place at this time. A room to be provided by the PowerHouse for this purpose and work developed under the guidance of Carey Ward. All stages of the project development will be recorded. A public concert to finish this part of the project (a video beamed colour/light show could also be run in sync from the same midi information that plays the Violano, the score of the composition could also be shown). Stage 2. The museum and/or the Australia Council commissions six composers to write a set of pieces specifically for the Violano under the guidance of the 'Violano team'. Audio Visual concert or performances follow. Stage 3. The Violano reverts to the public domain for demonstration purposes or live public participation. The Violano could be left with software and keyboard so any tune could be tapped in, arranged and/or interpolated on the spot. The machine in effect ends up demonstrating 100 years of mechanical music in terms of education and entertainment. On the housing for the Violano Virtuoso it is written New Music for The Violano Virtuoso. - 2005 Australia 101 Jon Rose 1951 1328 images/works/Rose-2004-ball.gif The Ball The project will consist of a series of compositions utilising the structures of team sports (such as netball and quadrugby - otherwise known as murderball) and incorporating at least four custom made balls (an Australian Rules football; a Volley ball or Net ball; a huge 3 metre plus ball for a gallery space; a small kindergarten friendly ball). The balls will be fitted with pressure sensors and accelerometers providing continuous controller data streams via radiophonic transmission for interactive software driving audio and visual content. Some games will generate visual and text commentary on the nature of competition and tribalism, and be accompanied by string quartet obligato. Other games will function on an abstract level, concentrating very much on the essence of what it is that makes the ball such a powerful object and icon in our culture. The music generated by the ball will include original composition for sampled choir (The Song Company), the sounds of the body, physical exertion, and the sounds of electronic transmission. A composition for violin and juggler, using the same interactive ball technology, is also planned. This, I hasten to add, is not an exercise in touchy-feely therapy but the rigorous development of a hybrid art form. - 2004 Australia 2 Bill Fontana 1947 1346 images/spacer.jpg Kiribilli Wharf This piece established the basic tenets of his work which years later were echoed in Acoustic Views, installed at the NSW Art Gallery for the Sydney Biennale 1988 and broadcast on ABC Radio. Works like Acoustic Views and Cologne-San Francisco Ear Bridge are large in scale and deal with macro sound elements often relocated across vast distances. These massive installations rely on the already existing telecommunication networks (mostly the telephone for locally based designs, but also FM links and even satellites for international sampling and relocation of sounds). A set of live sounds are collected by whatever network is appropriate and are transported to the site of the installation for relocation there. The sounds are selected on a basis of musical quality, frequency, rhythm, and the very site specific nature of their origin. Juxtaposed with dissimilar sounds from other locations, they create new constellations, moments of extraordinary juxtapostion, a redefinition of those once famliar sounds in their new context. Apart from their site specific sculptural manifestations the works also receive radio transmissions live to air with the composer mixing the multiple sources in a sequence of his own devising. - 1976 Australia 5 Hildegard Westerkamp 1946 1495 images/spacer.jpg At the Edge of Wilderness photography by Florence Debeugny, composition by Hildegard Westerkamp Two-channel digital soundtrack 2003 Australia 111 David Chesworth and Sonia Leber 1958 1503 images/works/Chesworth-2003-persuaders.jpg The Persuaders The Persuaders is a video project built up around changing ‘crowd patterns’ of the human voice. Entering the space, we are confronted by seven urgers. These seven figures alternatively cajole, admonish, and abuse us – for sins real or imagined. As the installation unfolds, the outbursts combine in unpredictable ways forming changing patterns of tension and release. The work was created from video recordings of seven individuals watching live football broadcasts in their own homes. In these excited states, the human utterances are at the very borders of language. The work was commissioned by the Australian Centre for the Moving Image in Melbourne. The Persuaders is a new kind of symphony, a sonic pattern of truly felt, deeply embodied sounds uttered by impassioned devotees - it dramatises the surges of energy that go into and come out of people operating at the edge of sociability and at the end of their tethers. Ross Gibson, POL Oxygen Magazine, Sydney, August 2003 It is soon apparent that each watches their own game - a different game, at a different time - time is fragmented, cut up, represented by the artists as an accidental composition of conjunctions - and disjunctions - of sound and gesture. While one watcher regards us with sullen silence, another erupts in a fury that passes just as quickly as it arises. Emotions flicker across faces, and move through the body in twitches tics and grand gestures - seven individuals alone in their rooms urging on different teams, in different places, at different times, all at once. Tony MacGregor, Catalogue essay, Australian Centre for the Moving Image, 2003 - 2003 Australia 111 David Chesworth and Sonia Leber 1958 1504 images/works/Chesworth-2002-polymerous.jpg Polymerous Polymerous is a soundscape commissioned for the Games Memories installation at Sydney Olympic Park. 14 customised audio poles distribute a multi-channel soundscape of slowly-changing, shimmering, metallic tones which slowly spreads throughout the forest of 480 poles. Arriving at the domed multimedia pod, visitors are plunged into an active, movement-filled audio environment. Visceral and impressionistic, the soundscape is charged with the rise and fall of athletic action relating to the olympics moments featured on the circle of 12 plasma screens. Wax Sound Media was commissioned by multimedia producers CDP Media working in conjunction with Tony Caro Architecture, Resonant Designs and Emery Vincent Design Audio Poles soundscape: 14 poles, 14 channels Multimedia Pod soundscape: 8 loudspeakers, 8 Channels 2002 Australia 111 David Chesworth and Sonia Leber 1958 1505 images/works/Chesworth-1994-EnvironmentVideoWall.jpg Environment Videowall Complementing a giant videowall installed across three floors of the Museum of Sydney, the soundscape is based on field recordings from remnant natural habitats around Sydney. The soundscape is an imagined environment, a dynamic space delineated by movement, timbre and the tactile, which replaces another imagined environment: the pristine natural soundscape. The listening perspective constantly changes as visitors move about, encountering aspects of the soundscape from a number of perspectives. Using programmed random sequencing, the soundscape replicates the unpredictable experience of the Australian bush. Exclamatory bird calls and seemingly incongruous sounds compete for attention. Textures and events shift from sparse to extremely dense. Familiar sounds are heard from unusual perspectives as part of a defamiliarisation process where the listeners experience becomes analogous to that of colonial settlers entering Sydney s bush environs for the first time. Habitats represented include woodland, mangrove, coastal, sub-tropical rainforest and wet sclerophyll forest. Over 45 bird species are represented along with frogs, marsupials and insects. Randomised sound , 10 Loudspeakers, 10 Channels 1994 Australia 111 David Chesworth and Sonia Leber 1958 1506 images/works/Chesworth-Ensemble.jpg David Chesworth Ensemble one of Australias premier performance groups. It is dedicated to performing Chesworths own extensive repertoire alongside reinterpretations of music by other exciting contemporary composers. Since its formation in 1993, the ensemble has introduced new audiences to this innovative music through a dynamic and accessible series of recordings and concerts. Chesworth speaks a personal language which is at once witty, haunting and engaging. This is contemporary music with extended instrumental techniques, lively improvisations, bold orchestrations, sounds arising from new technologies, and the playful manipulation of traditional musical forms and contexts. Chesworths stratagems provoke and confound, stimulating both thought and feeling with the shock of a new aesthetic: penetrating restraint. Silence speaks volumes, uponatimes... The Wire, UK Volume and sonic density builds and boils over...Newsday, New York 8 piece ensemble - Bass, Electronics, Violin, Cello, Piano, Trombone, Percussion, Sound Design, Recorded Sound 1994 Australia 109 Rainer Linz 1963 1580 images/works/Linz-2003-listener.jpg New Listener The new listener project began in 2001. Its goal was to create different kinds of software for playing music - software that would allow listeners to determine the final shape, or character of a musical piece. Here, the music is adjusted by the listener to preference, rather than performed by a performer. select machine I wrote three music programs to serve as models for software that could provide broader listener control over different kinds of musical attributes. Each of the pieces included a screen interface, through which the listener could intervene in the sounding process in more or less direct ways. One of these for example, the select machine, allowed listeners to choose words from pull-down menus and create short poems, perhaps describing their current feeling or mood. The model presented is one of listeners programming their moods into the music player and hearing a piece of music in return, rendered in a particular version to reflect their choice of words. The three pieces presented in this exhibition are part of a larger collection that is being developed for the internet. All are adjusted in a more direct way than described above, and are in fact variations on a single theme. Each uses the acoustic phenomenon of beating tones (known as frequency modulation) to create continuous sounds of adjustable complexity. The pieces embody some of the simplest rhythmic, harmonic and timbral phemomena described in acoustics. They provide in one sense straightforward demonstrations of acoustical physics, while in another, the basic elements of a musical language. One difference between these pieces and laboratory demonstrations is that each has been designed to realise a kind of performance, regardless of the simple means provided. Each makes possible a set of performance gestures - or series of adjustments - that can add new subtlety to the basic function of the software. In this project, the role of the listener is brought into focus, as once-fixed sound relationships gain a new flexibility. The pieces recontextualise the relationship between author and listener through the characteristics of the instrument. - 2003 Australia 109 Rainer Linz 1963 1581 images/works/Linz-2005-fugue.jpg Fugue Fugue is the result of a collaboration between artists, new music composer and computer scientists. The result is an on-going project which provides a new way of communicating complex scientific ideas to any audience. Immersive virtual reality and sound provide an interactive audiovisual interface to the dynamics of a complex system – for this work, an artificial immune system. Alongside with providing the greatest immersive effect currently available, this technology offers the potential to control and calibrate particular audio-visual elements. The aesthetics of the Fugue is emergent, based upon the essential, fundamental and hidden beauty of the organic processes manifested through the dynamics of the real-time generated, unpredictable algorithm. The piece is set up as an interaction between a virtual (artificial) immune system and a human participant. Participants are able to see and interact with immune cells flowing through a lymphatic vessel and understand how the complex dynamics of the whole are produced by local interactions of viruses, B cells, antibodies, dendritic cells and clotting platelets. The sound, envisaged as a ‘mental soundscape, a resonance of the function of immune system in the body, provides a major channel for interaction. By overlaying and modulating the sonic pulsation, cycles - such as circadian rhythms, or other inputs such as stress level, will be introduced in the future. The Artificial Immune System will ‘inhabit the virtual space of the master server computer at the CS UCL that will run the Artificial Immune System continually, providing the possibility of being displayed on different interfaces. - 2005 Australia 134 Ed Osborn 1930 2172 images/works/Osbourne-2003-particle.jpg Particle Moves Particle Moves is an installation developed in collaboration with the Elision contemporary music ensemble to be a responsive sound environment in which the members of the ensemble can work intuitively. The performance of the ensemble is processed and mixed through a set of specially designed metal loudspeakers placed throughout the exhibition space. The mix changes continually to produce an ever-shifting alignment of the sounds in space. The intermittent movement of a series of kinetic elements — flexing rods, floor-crawling discs, and solenoid-driven resonators — serve as an occasional punctuation for the ongoing sound mix and underline the use of sound here as a physical force that moves around the listener as it shapes and reshapes the listening space. The Elision Ensemble are Daryl Buckley, Ben Marks, Michael Hewes and Tim ODwyer. The production of Particle Moves at the Institute of Modern Art was supported by a grant from Arts Queensland. The realization of Particle Moves was assisted by Leon Waud. Accessed 7.12.06 from Mixed media, custom electronics, sound (dimensions variable). 2003 Australia 134 Ed Osborn 1930 2183 images/works/Osbourne-2000-recoil.jpg Recoil In Recoil a set of motion sensors are hung from flexible and occasionally moving supports above floor-mounted audio speakers. The signals from the motion sensors are fed into the speakers, and the movements of the speakers are then picked up by the motion sensors resulting in an delicate feedback system that is mostly silent when resting but produces a chaotic visual and auditory oscillation when the equilibrium of the entire system is upset. In search of a stasis that is never achieved for long, Recoil functions as a kinetic and sounding metaphor for the wakes that we leave in social, technological, and natural systems.Accessed 7.12.06 from Mixed media, electronics, sound (dimensions variable). 2000 Australia 134 Ed Osborn 1930 2186 images/works/Osbourne-1998-swarm.jpg Swarm In Swarm, an assortment of tiny electric fans are suspended across a space above a number of ultrasound sensors. As the fans spin, the motion of their blades is transduced and heard as a low rumble that corresponds in pitch to the rate of their rotation. Through electronic control the fans speeds vary over time in a series of flocking patterns, with the entire swarm occasionally spinning or changing speeds in unison and at other times in separate groupings. Like information through crowds, these patterns of movement follow quick and unpredictable paths as they articulate a perpetually shifting terrain of alignment and realignment. Alluding to themes of instability and physical force, technological acuity and hazard, and collective will, Swarm is an image of a living entity awakened and intoxicated by a sound of its own making.Accessed 7.12.06 from Mixed media, electronics, sound (dimensions variable). 1998 Australia 114 Merzbow 1956 2499 images/works/Merzbow-1985-Age.jpg Age Of 369 Chant 2 Disc 1 - Age Of 369 1. Part 1 18:16 2. Part 2 12:42 3. Part 3 24:29 4. Part 4 5:55 Disc 2 - Chant 2 1. Part 1 23:44 2. Part 2 24:05 3. Itomakiei 9:50 - 1985 Australia 148 Percy Grainger 1882 2626 images/works/Grainger-1938-free_music_text.jpg Free Music Machines FREE MUSIC (Tablet 2) Music is an art not yet grown up; its condition is comparable to that stage of Egyptian bas-reliefs when the head and legs were shown in profile while the torso appeared andquot;front faceandquot; - the stage of development in which the myriad irregular suggestions of nature can only be taken up in regularised or conventionalised forms. With Free Music we enter the phase of technical maturity such as that enjoyed by the Greek sculptors when all aspects and attitudes of the human body could be shown in arrested movement. Existing conventional music (whether andquot;classicalandquot; or popular) is tied down by set scales, a tyrannical (whether metrical or irregular) rhythmic pulse that holds the whole tonal fabric in a vice-like grasp and a set of harmonic procedures (whether key-bound or atonal) that are merely habits, and certainly do not deserve to be called laws. Many composers have loosened, here and there, the cords that tie music down. Cyril Scott and Duke Ellington indulge in sliding tones; Arthur and others use intervals closer than the half tone; Cyril Scott (following my lead) writes very irregular rhythms that have been echoed, on the European continent, by Stravinsky, and others; Schoenberg has liberated us from the tyranny of conventional harmony. But no non-Australian composer has been willing to combine all these innovations into a consistent whole that can be called Free Music. It seems to me absurd to live in an age of flying and yet not to be able to execute tonal glides and curves - just as absurd as it would be to have to paint a portrait in little squares (as in the case of mosaic) and not to be able to use every type of curved lines. If, in the theatre, several actors (on the stage together) had to continually move in a set theatrical relation to each other (to be incapable of individualistic, independent movement) we would think it ridiculous, yet this absurd goose-stepping still persists in music. Out in nature we hear all kinds of lovely and touching andquot;freeandquot; (non-harmonic) combinations of tones, yet we are unable to take up these beauties and expressivenesses into the art of music because of our archaic notions of harmony. Personally I have heard free music in my head since I was a boy of 11 or 12 in Auburn, Melbourne. It is my only important contribution to music. My impression is that this world of tonal freedom was suggested to me by wave movements in the sun that I first observed as a young child at Brighton, Vic., and Albert Park, Melbourne. (See case I) Yet the matter of Free Music is hardly a personal one. If I do not write it someone else certainly will, for it is the goal that all music is clearly heading for now and has been heading for through the centuries. It seems to me the only music logically suitable to a scientific age. The first time an example of my Free Music was performed on man-played instruments was when Percy Code conducted it (most skilfully and sympathetically) at one of my Melbourne broadcast lectures for the Australian Broadcasting Commission, in January, 1935. But Free Music demands a non-human performance. Like most true music, it is an emotional, not a cerebral, product and should pass direct from the imagination of the composer to the ear of the listener by way of delicately controlled musical machines. Too long has music been subject to the limitations of the human hand, and subject to the interfering interpretation of a middle-man: the performer. A composer wants to speak to his public direct. Machines (if properly constructed and properly written for) are capable of niceties of emotional expression impossible to a human performer. That is why I write my Free Music for theramins - the most perfect tonal instruments I know. In the original scores (here photographed) each voice (both on the pitch-staves and on the sound- strength staves) is written in its own specially coloured ink, so that the voices are easily distinguishable, one from the other. Percy Aldridge Grainger, Dec.6, 1938 . Accessed 02.04.2007 from - 1938 Australia 174 Simo Alitalo 1954 3128 images/spacer.jpg The Transit of Venus Celebrating The Planets at night on ABC Classic FM An evocative radiophonic program exploring recorded observations on nature during the Transit of Venus and, most interestingly, contact and cohabitation with the peoples inhabiting the Pacific by those who travelled aboard Cooks Endeavour, as well as other voyagers like Bougainville. First made in Finnish, this is a special English language version made for The Listening Room and is part of a larger creative effort by Australian sound artist and sculptor Nigel Helyer, and Finnish artist and radio producer Simo Alitalo, embracing a web site, two radio programs (YLE and ABC) and two museum installations in Helsinki and Auckland where it was part of SoundCulture 99. At the centre of this radiophonic meditation is the realised character of Herman Sporing, the Finnish draughtsman and naturalist who travelled with Cook. With Sarah Chadwick, Patrick Dickson, John Sheering Voice recordings: Andrei Chabounov Written, directed and realised by Nigel Helyer and Simo Alitalo. Accessed 02.01.2008 from - 1999 Australia 173 Minoru Sato 1963 3311 images/works/Sato-1990-contact.jpg contact electricity noise - 1990 Australia 192 Richard Chartier 1971 3444 images/works/Chartier-2007-Airport.jpg Retrieval_paths As Alain De Botton suggests in his book The Art Of Travel, the act of transit between social, cultural and geographic circumstance is far more than mere bodily movement. Language, architecture, food, gesture, landscape and sound all play a part in travel and ultimately contribute to the sensations of excitement, exoticism, disorientation and even fear that occupy the daily life of the traveller. At points of departure and arrival on these journeys increasingly lies an airport. Like business hotels across the globe, the airport acts as a uniform presence and#65533;and#65533;and#65533; rotating gates, the clunk of baggage, the vague chatter of tourist and traveller alike and the occasional interruption of muffled announcements. Vast halls echoing with the shifting of bodies intent on exodus and return. As Socrates wrote, Man must rise above the Earth - to the top of the atmosphere and beyond - for only thus will he fully understand the world in which he lives [sic]. Indeed, as the choreography of pre-flight checks is conducted following the gentle rock of the plane leaving the air bridge to a soundtrack of gentle pressurised drone and air conditioned hiss, a meditation commences. This moment of consideration is heightened, as the reflected sound of the engines scorching the tarmac surface is vacuumed into the void of open air and as the plane leaves the earth there is (in every traveller no matter how experienced) still a sense of silent awe at the marvels of the physics of flight. Airport Symphony, commissioned by the Queensland Music Festival and Brisbane Airport Corporation, documents and synthesises the experiences of travel. Each piece represents a personal meditation on aspects of travel in the modern age and suggests ways in which we control, augment and ultimately exists in a time where almost no part of the face of the planet is inaccessible. Each of the pieces features a source recording made in and around Brisbane Airport between March and June 2007 and#65533;and#65533;and#65533; in a raw form or transformed by processing. Audio diary entries cataloguing the epic possibilities of flight, aero-passage and human bodies in motion and even at rest. - Lawrence English, June 2007 Accssed 22.03.2008 from 2007 Australia 101 Jon Rose 1951 3683 images/spacer.jpg The Relative Violin ongoing project? 1976 Australia 257 Warren Burt 1949 3742 images/spacer.jpg In Memoriam Bill Evans - 1982 Australia 258 Paul Carter 1951 3743 images/spacer.jpg Tracks a commission of the South Australian Public Art Program in association with the North Terrace Precinct Redevelopment Project. - 2000 Australia 259 Iain Mott 1969 3744 images/works/Mott-2001-Close.jpg Close Close is a multi-screen video projection installation that blurs the separation between viewer and subject by means of 3-dimensional sound. The viewer wears headphones and hears sound from the perspective of the subject - an effect achieved through binaural recording methods. Close portrays a haircut as a kind of death. The hairdresser, in a gradual erasure of the subjects features, removes hair and eyebrows with scissors and razors. The viewer inhabits the body of the subject as if watching his or her own disappearance. The shared ritualistic experience explores territories of death and loss. - 2001 Australia 257 Warren Burt 1949 3972 images/works/Burt-1977-Noct1b.jpg Nocturnal B - 1977 Australia 258 Paul Carter 1951 3973 images/spacer.jpg Solution A commission of the property development company Lend Lease. - 2002 Australia 259 Iain Mott 1969 3974 images/works/Mott-1998-Mapping.jpg Sound Mapping Audience Interactive Installation, Computer-Controlled Installation, Environmentally Sensitive Installation, Mobile Installation, Outdoor Installation, Touring Installation and Interactive Installation By Iain Mott, Marc Raszewski and Jim Sosnin Details Sound Mapping is a participatory work of sound art made for outdoor environments. The work is installed in the environment by means of a Global Positioning System (GPS), which tracks movement of individuals through the space. Participants wheel four movement-sensitive, sound producing suitcases to realise a composition that spans space as well as time. The suitcases play music in response to nearby architectural features and the movements of individuals. Sound Mapping aims to assert a sense of place, physicality and engagement to reaffirm the relationship between art and the everyday. Sound Mapping is a collaborative project by Iain Mott, Marc Raszewski and Jim Sosnin. The premier exhibition was staged in Sullivan's Cove, Hobart by the Tasmanian Museum and Art Gallery (TMAG) on 29 January - 15 February, 1998. Sound Mapping was awarded an Honorary Mention in the Interactive Art category of Prix Ars Electronica. The project was exhibited as part of the Ars Electronica festival in Linz, Austria in September 1998. This project is assisted by the New Media Arts Fund of the Australia Council, the Federal Government's arts funding and advisory body. Additional generous support from: Arts Tasmania, Vere Brown leather goods and luggage, Fader Marine, Salamanca Arts Centre, Hobart City Council and the Hobart Summer Festival. - 1998 Australia 261 Les Gilbert 1946 3976 images/works/Gilbert-2002-Love.jpg Love Is A Wonderful Thing Computer-Controlled Installation, Gallery Installation, Temporary Installation and Interactive Installation Sound by Les Gilbert and Gillian Chaplin. Photographs and assemblages by Gillian Chaplin, video by Les Gilbert. Details The basis and inspiration for the piece is the phrase 'love is a wonderful thing' which is sung repetitively and continuously by Gillian. The repetition of this phrase is modulated with other sounds from many different natural environments. The piece explores the relationships between a very private and intimate glimpse of interior vulnerability and the vastness of the urban landscape, both physical and environmental. It uses sound, photographic images, video and sculptural assemblages. The assemblages are contained in 16 boxes 300mm square with a depth of 150mm. The boxes are suspended from the gallery ceiling at approximately eye level. They contain assemblages made from photographic prints, small objects and small lights. Each box also contains a concealed loudspeaker and a motion sensor. - 2003 Australia 262 Joan Grounds and Sherre de Lys 1939 3977 images/works/DeLys_and_Grounds-2004-Garg.jpg Gargalesis Gargalesis is a sound sculpture in the form of an iconic Australian giant termite, or white ant, mound created for the Biennale of Sydney 2004. - 2004 Australia 263 Garth Paine 1962 3978 images/works/Paine-2000-ges1a.jpg Gestation In the environment, the participant is confronted with a completely new kind of experience. He is stripped of his informed expectations and forced to deal with the moment in its own terms. He is actively involved, discovering that his limbs have been given new meaning and that he can express himself in new ways. He does not simply admire the work of the artist; he shares in its creation. Myron W Krueger Responsive Environments 1977 Gestation is an interactive responsive environment and contains two integrated spaces at the RMIT Gallery (“Gallery Two” and “Gallery Three”). One gallery has a surround sound field generated in real time using video sensing equipment (visible to visitors only as a small security video camera in the middle of the roof) that maps the behaviour and movement patterns of the visitors to the exhibition on to real-time audio algorithms providing a tight gestural relationship with their movement and behaviour patterns. No pre-recorded material is used in the generation of the sounds. In the second gallery, a large projected image represents the development of new human life in response to the activity in the first gallery. Imagery represents a sea of life forming cells. An added layer to the underlying sea is the development of new foetuses. Each foetus starts to grow at the point at which the greatest activity is sensed in the first gallery. The aesthetic of the sound environment is a carefully tended, intimately textured sound. It creates a viscous, fluid environment for the “making of life”. The qualities of this sound change in relation to the direction, speed of movement and number of people within the space. In addition, to the underscore sound, more contained points of interest are tied to the creation of each new foetus, and are associated with the position within the gallery space at which that activity is sensed. The growth sounds express the qualities of life forming: the binding of cells, the development of human form, and the growth of the foetus. Over the last five years Garth Paine has collected ultra-sound videos from friends and acquaintances that have had children. These videos form the basis of the moving images contained within the cells. The cells begin growth at a point in the two-dimensional grid associated with the sensed movement in Gallery Two. The threshold of sensed activity determines the rate of growth and varying rates of growth are associated with thresholds of activity. The system examines activity in Gallery Three on a varying time basis (randomly selected times set by the threshold activity of the previous incident). A snapshot of Gallery Three is taken at these time intervals and this is analysed to determine the point of highest activity. Growth of the foetus begins at this point. Participants in Gallery Three (the sound gallery) are not be able to see the visual element without leaving the gallery space. They can make life, but not observe it at the same time. The relationship between Galleries Two and Three at the RMIT Gallery is perfect for this exhibition. Gallery Three is a relatively enclosed space in which the sound will be installed: Gallery Two, which is open on one side allows the projector to be set well back, creating a large image, and allowing people easily access to the evolving imagery. Gallery visitors can easily pop out of Gallery Three and correlate the activity patterns they have just engaged in with the most recent variations in the gestation images. The two galleries are detached to illustrate the hidden outcomes of our activities. This approach also allows the visitors to be more deeply engaged in the details of the sound environment, in the hope that they are more consciously engaged with the fluidity and variability of the sounds. Technical Specification The moving images were developed using videos of Ultra-Sound examinations of pregnant woman, which have been collected by Garth Paine over the last few years. These moving foetus images have been digitised and placed within a varying background that suggests the Ultra-Sound aesthetic (see gallery images). The imagery was constructed using Macromedia Director. The position, and growth patterns of the foetuses are controlled using MIDI communication from the sound and video sensing computer. The video sensing of activity within the sounding gallery was achieved using the Very Nervous System (VNS) and a single CCT video camera in the roof of the gallery. The VNS is a self-contained digital signal processor that is controlled from a Macintosh computer over a SCSI connection. Software to analyse the VNS data was written in Cycling74's MAX environment. The output of this software (an integer array: one number per defined region) was sent as MIDI information to a Symbolic Sound, Capybara/Kyma sound synthesis system, which is a high-end audio DSP/synthesis device. The sound from the Capybara was dispersed into the gallery in four channels. Garth Paine has used the VNS sensing system since 1996. He has developed a number of innovative approaches to the use of this video sensing equipment. Previous examples of his use of this system, combined with realtime sound synthesis can be seen in his installation pieces MAP1 and MAP2. Kathryn Mew developed the Macromedia Director application for Gestation. Kathryn is an experienced graphic designer, animator and Director developer. She developed the working image, and has been involved for some time in the project development. - 2000 Australia 258 Paul Carter 1951 3983 images/spacer.jpg Nearamnew a commission of the Public Art Program, Federation Square, Melbourne, located throughout the main plaza. 1998 Australia 258 Paul Carter 1951 3984 images/spacer.jpg Relay (with Ruark Lewis), a commission of the Olympic Coordination Authority, located at Fig Grove, Homebush Bay, Sydney. 1999 Australia 260 Nigel Frayne 1953 3987 images/spacer.jpg Taronga Zoo Report for Elephants of Asia exhibit, 2004 Reinstatement of 16 channel Soundscape in Gorilla Exhibit, 2001 2004 Australia 261 Les Gilbert 1946 3989 images/works/Gilbert-1992-southbank.jpg Southgate Soundscape Environmentally Sensitive Installation, Outdoor Installation and Permanent Installation Location: Southgate, Melbourne, Victoria, Australia One of the first examples of a sound installation built into a public outdoor space in Australia, is Les Gilbert's Southgate Soundscape, in stalled on the Southgate boardwalk, adjoining the Yarra River. From the outset the infrastructure was designed into the public concourse, with speakers on the building, the speakers in the handrails adjoining the Yarra River and others in the lightpoles. Gilbert's original company, Sound Design Studio, instigated many innovative public sound designs and employed and trained many people who have become major players in this new field. Exquisitely recorded environmental sounds, field trips, and teams of talented employees, many being graduates from La Trobe University's outstanding new music course, were directed by Gilbert to effect his designs. Over the years he has amassed a magnificent sound archive, which is always being added to. Les Gilbert was one of the first sound designers in Australia to include information data from the flow of people visiting into the spatial soundscapes. An array of architectural and environmental features are decoded by sensing devices so that all designs become site and time specific, changing from day to day, moment to moment, according to a variety of factors including the time of day as well as the location and number of people present in a listening space; thus volumes, equalisation, the number of speakers playing as well as the mix of each individual channel can be constantly changing. In the Southgate Soundscape, weather information was used in real-time to compose and shape the flow of sonic data. Gilbert's interactive sound designs for many international installations in museums, zoos and aquariums are well known. The original sound installation was by Les Gilbert and Magian Design Studio (then known as Sound Design Studio). Sound mixing by David Chesworth and technical assistance by Nigel Frayne in installing the system. Later incarnations of the Southbank Installation featured original compositions by David Chesworth, Nigel Frayne and Lawrence Harvey. Nigel Frayne was responsible for soundscape production, curatorial and system management from 1996 - 2000. He was responsible for the sound design and project management of soundscape on River Promenade, 1993 - 1995. The installation is not currently active. Accessed 28.10.2008 from 1992 Australia 257 Warren Burt 1949 3995 images/works/Burt-1990-3837-1.jpg 38:37 - A Machine for Making Sense 1990 Australia 257 Warren Burt 1949 3996 images/spacer.jpg Slogans and Abstracts 1992 Australia 257 Warren Burt 1949 3997 images/works/Burt-2006-Unconventional.jpg 5 Unconventional Realizations for Ruark Lewis 2006 Australia 257 Warren Burt 1949 4005 images/spacer.jpg Paul Panhuysen/Warren Burt: Number Made Visible Made Audible Dutch sound art legend Paul Panhuysen and Burt collaborated on this, turning Panhuysen's “Number Made Visible” and “Calcucos” drawings into a deep, roaring sound scape. The first CD has two pieces, 48 and 24 minutes long; the second has all 63 sections of the first piece on the first CD presented individually, for random shuffle play. Create your own personally ordered Dutch-Australian soundscape. 2001 Australia 226 Paul Panhuysen 1934 4006 images/spacer.jpg Paul Panhuysen/Warren Burt: Number Made Visible Made Audible Panhuysen and Warren Burt collaborated on this, turning Panhuysen's “Number Made Visible” and “Calcucos” drawings into a deep, roaring sound scape. The first CD has two pieces, 48 and 24 minutes long; the second has all 63 sections of the first piece on the first CD presented individually, for random shuffle play. Create your own personally ordered Dutch-Australian soundscape. 2001 Australia 257 Warren Burt 1949 4012 images/spacer.jpg Summerlake As part of the Recent Ruins series of installations at Ripponlea Estate, from 21-28 November 1999, I contributed two activities: Summerlake an installation for two CD players and four loudspeakers in the Summerhouse, on the Island in the Ornamental Lake, and Calvinesque Connections a daily live performance on laptop and reading Chinese poetry, which took place in the Tower - an observation tower in the southwest corner of the estate. Also at this time, I wrote an essay in the gardens What does it mean to be avant-garde in the 21st century, or, Avant Gardening in November 1999. This last was written for Nicholas Zurbrugg. In it, I adopt the en plein air methods of painting to writing, just as in Summerlake I adopted en plein air" methods to composing. There is a rather complete description of "Summerlake" in the essay. The installation itself used very minimal technology - 2 CD players on shuffle play, and four small self powered loudspeakers. Every day I visited the installation and made sure it was working properly. Even a simple setup like this is prone to frequent breakdowns. This small sound system was mounted in the ornamental Summerhouse in Ripponlea, providing a bit of a sonic haven to match the peaceful environment of the summerhouse and its island. 2 CDs players, four speakers 1999 Australia 257 Warren Burt 1949 4013 images/spacer.jpg Calvinesque Connections with a tiny portable amp and a book of Chinese poetry. This took place every day at 1 pm in the Tower - a 19th century folly built at Ripponlea. Performing among the treetops has its own pleasures. To be outside, controlling an algorithmic process, while reading and talking about Chinese poetry was my take on the scholar-poets of ancient China. Also, since I'm improvising the talk around the poems I spontaneously choose every day, I'm continuing the line of improvising and talking while playing electronic music pieces I've been doing for at least a decade now. The program notes to the performance pretty much tell what it was about. One of the nicest memories was on a gently rainy Monday. The Tower is covered, so I could play. The dripping of the rain kept an audience away. (I think one person came for a few minutes only, then left.) So I merrily played away to myself, entertaining the environment, and the birds. It seemed as good a performing event as any I've ever been involved in. 1999 Australia 257 Warren Burt 1949 4014 images/spacer.jpg Shaman- In Memoriam Terrance McKenna Requested by Tony Trembath for Avago Korfeel - a display cabinet in the Sculpture Workshop at the Fine Arts Department at Monash University's Caulfield Campus. This took place between 4-9 September 2000. The cabinet itself has a glass window, two loudspeakers, and a timer switch controlling a small cassette player. The sound part of the piece was a one minute loop - given here as a wave file. The timer switch on the cabinet turned on sound for about 40 seconds. Each observer had to push in the button to hear what was on the tape. So each observer, if they wanted to hear the whole quotation, had to press the button several times. That is, each press of the button played only part of the sound, and a different part each time. The graphics are described in the enclosed program note. This appeared on the wall (as shown in one of the photos) next to the cabinet. By moving around in front of the cabinet, the viewer could assemble different concrete poems - different collections of the available words. A very modest interactive installation, but it seemed appropriate to the circumstances. On sending the video and sound of the installation to Dr. Ralph Abraham, chaos mathematician, and one of McKenna's collaborator's, he expressed delight, saying that the installation was indeed a fitting monument for Terrence and his work. 2000 Australia 259 Iain Mott 1969 4015 images/works/Mott-1994Squeezebox.jpg Squeezebox Squeezebox incorporates spatial sound, computer graphics and kinetic sculpture. Participants manipulate the sculpture to produce real-time changes to the spatial location and timbre of the sound, as well as to manipulate digitised images. The sound and images are presented as an integrated plastic object, a form which is squeezed and moulded by participants. The artwork consists of a frame supporting four sculpted pistons on pneumatic shafts. An interactive image is displayed on a monitor beneath a one-way mirror at the centre of the sculpture. Four loudspeakers are situated at the outer four corners.The cast hands of Squeezebox invite participation. Participants grasp and press down the sculpted pieces, working against a pneumatic back-pressure to elicit both sound and image. The interaction reveals a form which has visual, aural as well as physical properties. As participants press down on the hands a sound mass is shifted from one point of the sculpture to another by pressing down on alternate pistons. Music is produced algorithmically and is derived from a set of rules which respond to the spatial location of the sound mass. The system of rules however is never static. One spatial strategy gives way to another resulting in an evolution of sound, requiring a constant readjustment of focus in the listener. Squeezebox is collabroration between Iain Mott, Marc Raszewski and artist Tim Barrass who designed the interactive graphics. It was first exhibited in Earwitness , Experimenta '94, ether ohnetitel, Melbourne, 1994. The project was produced with the assistance of The Australia Council, the Federal Government's arts funding and advisory body. 1994 Australia 259 Iain Mott 1969 4018 images/works/Mott-1996-Chair.jpg The Talking Chair The Talking Chair is a listening environment for three-dimensional sound, allowing participants to control the trajectory of sound through the space surrounding their body. The work consists of a frame supporting a battery of six audio speakers, a central chair, and an ultrasound wand interface. A remote audio system is linked by cabling. Seated in the chair, participants interact with the sculpture by means of the wand which generates 3-dimensional information used to produce sound and draw its trajectory. As the sound object moves, its sonic qualities change in response to its proximity to the listener, velocity and spatial location. The physical form of The Talking Chair, in addition to fulfilling the functional requirements of spatial sound projection, serves to represent a material manifestation of kinetic sound. The sculpted chair assumes a metaphorical human presence amid the arcs and curves of the outer frame which define a dynamic spherical sound space around the listener. The Talking Chair is a collaborative project by Iain Mott, Marc Raszewski and Jim Sosnin. It was produced with the assistance of the Australia Council, the Federal Governments arts funding and advisory body. The sculpture has been exhibited within Victoria and Tasmania in Australia and at the 1996 International Computer Music Conference in Hong Kong. 1996 Australia 262 Joan Grounds and Sherre de Lys 1939 4020 images/works/DeLys_and_Grounds-1995-Pipe.jpg Cecis N'est Pas Une Pipe Our source of inspiration was the neck of an early 20th century phonograph speaker, found while foraging through a flea market. We turned it 90 degrees, forming a not a pipe after Magritte. This small sound sculpture was hung in the Museum of Contemporary Art for the exhibition 'Sound in Space'. The sounds emanating from the sculpture were bird and animal calls voiced by David Gulpilil. Visitors were attracted to notice the gentle calls, move their ear to the sculpture and listen to the quiet mimetic sounds. 1995 Australia 262 Joan Grounds and Sherre de Lys 1939 4021 images/works/DeLys_and_Grounds-1995-Deux.jpg Les Deux Mystères This work was related to the embodied sound installation, Cecis N'est Pas Une Pipe which was open at the same time. The pipe on the box is a cast of the work on exhibit at the MCA at that time. It also refers to and inverts the gender of the Magritte painting Les Deux Mysterand#65533;. Inside the box was a recording of a woman's voice, pitch lowered to sound like a man's. The text was by Kathleen Mary Fallon was of a Vietnam Veteran talking to a prostitute. The sound volume was low and the ear had to be placed on the end of the pipe to hear it. 1995 Australia 262 Joan Grounds and Sherre de Lys 1939 4022 images/works/DeLys_and_Grounds-1997-Ahh.jpg Say Ahh Say Ahh was an installation created for the varied audience at the hospital. In the day, the space was a lively corridor for outpatients and their families. At night the space became a cul-de-sac, which provided a place for quiet contemplation and an opportunity for humorous relief from late night vigils at bed sides. We expanded on our experimentation with Wardian cases, originally developed for transportation of plants to and from Australia in colonial times. Enclosed in clear sphere travelling cases were real fly catching plants and larger faux ones protruding out of the case which held the speaker. Say Ahh featured patient's imitating the sounds the sounds of nature, and making nonsense sound. Children were fascinated by the mad sounds and the plants of prey. 1997 Australia 262 Joan Grounds and Sherre de Lys 1939 4023 images/works/DeLys_and_Grounds-1994-Tran.jpg Transpoes In the installation various objects were camouflaged and more or less hidden in much the same way that the exotic and fantastic fruits and flowers were discrete and visible only after some visual searching. Recordings of human birdcallers called back and forth to one another from objects. The glasshouse was an early 20th century building with old plantings and signage. The work made reference to celebrity plantings by musicians, such as Dame Nellie Melba and Ignace Paderewski, in that garden. In one corner of the glasshouse, camouflaged by a cascading plant, hang three 1920's women's shoes. One shoe contains a small speaker; the other (pictured here) contains the stamen of an antherium; and above the two is a shoe constructed as a 'wasp's nest'. The recording you hear was made in the glasshouse, as various objects (not pictured here) were sounding together. Sound sources: bird calls performed in the indigenous gumleaf tradition by Herb Patten, and in the 'new style' by Malaysian born Australian Golden Gumleaf Champion, Virgil Reutens; calls by Janet Shaw, Australian Bird Calling Champion; and piano phrases from 'The Prophet Bird' played by Paderewski. The relations of seduction...and the species connectedness practiced through mimicry, among natures and cultures and territories, among other things, become vertiginously provocative . (Doug Kahn, in RealTime 8-August-September 1995) 1994 Australia 267 David Worrall 1954 4025 images/works/Worral-2001-TheTwins.jpg The Twins A pair of semi-naked sex-dolls are playing Scrabble on their day off. Embedded in their facial orifices are small loudspeakers, through which they communicate, both with each other and to their exhibition audience. They talk in an almost familiar language. Delighting in a communication characterised by qualities of flexibility, restlessness and responsiveness to the environment, they are articulate, displaying the quick wit of repartee, the to-and-fro of gossip and news. Very highly strung, they change moods with startling suddenness from sweet calm to brooding thunder. Their impulse is to awaken and ripple conciousness, to communicate. 2001 Australia 267 David Worrall 1954 4026 images/spacer.jpg Iquaqua 1975 Australia 267 David Worrall 1954 4027 images/spacer.jpg Butterflies Flutter By for 4 channel computer-generated tape and diffusion. 1987 Australia 267 David Worrall 1954 4028 images/spacer.jpg Meditation on Ganesha for live electronics. Uses custom software. 1991 Australia 267 David Worrall 1954 4029 images/spacer.jpg A Doing Resounds Sound poem for voice and sampler. 1996 Australia 267 David Worrall 1954 4031 images/spacer.jpg Square wave Music for Jennifer Seevink's computer composed video landscape of same name. 1997 Australia 267 David Worrall 1954 4032 images/spacer.jpg Chromachron Live performance work for 16 channel electronic audio and real-time computer animation, utilising custom software. (with Ramsden) 1993 Australia 267 David Worrall 1954 4033 images/spacer.jpg Life Dreaming 16 channel live electronics and computer graphics for the geodesic dome performance space. Commissioned by Australian Bicentennial Authority. 1989 Australia 267 David Worrall 1954 4034 images/spacer.jpg A Sensitive Chaos 5 dancers. 2x4 channel computer-generated tapes. Commissioned by Chimera Conceptions. Australia Council Commission. 1st perf. May 1986 , Melbourne Arts Centre, choreographer Katy Bowman. 1986 Australia 267 David Worrall 1954 4035 images/spacer.jpg Mobile 1 For piano strings (internal). 1973 Australia 267 David Worrall 1954 4036 images/spacer.jpg Chamber Variations ACME Young Composer's Award. pianoforte, flute, viola, guitar, percussion 1976 Australia 265 James Hullick 1976 4039 images/works/Hullick-2007-Elephants.jpg The Amplified Elephants THERE ARE STRANGE NOISES EMANATING FROM THE STONE WALLED BASEMENT THEATRE OF THE FOOTSCRAY COMMUNITY ARTS CENTRE, PRODUCED BY AN ENIGMATIC ORDER SEATED IN HIGH-BACKED THRONES, GARBED IN HOODED BLACK JERSEY AND WIELDING MYSTIC POWERS OVER PRETERNATURAL CONTRAPTIONS. ENTER THE REALM OF JAMES HULLICK AND THE AMPLIFIED ELEPHANTS. The Amplified Elephants have grown out of sound art classes run by Hullick for the ArtLife program which provides opportunities for people with perceived disabilities to experience a variety of artistic practices. Along with the Elephants, Hullick has invited instrument engineer Richie Allen and percussionist Eugene Ughetti to help bring the Cranky Robots to life. The sound welcoming us into the space is a low machinic drone, like an insistent generator, shifting subtly through tones. Hullick and Liz Hofbauer approach the hitherto unattended mixing desk and start to tune the noise, releasing it to run wild, then catching and taming it, a tug-of-war between human and feedback revealing hypnotic drifting microtonal layers. Hard on the heels of the sculpted onslaught, Enza Practico enters the space with wind chimes—the simplicity of action and sound working as an aural palate cleanser preparing us for the subtlety of Hullick, Ughetti and Jay Eusden’s study for microphones. Using feedback and effects, whistling, tapping and rubbing, the artists explore texture, surface and the tactility of the microphone, re-inventing it as a responsive poetic instrument, rather than a blunt tool. Accessed 28.10.08 from 2007 Australia 265 James Hullick 1976 4040 images/works/Hullick-2007-cranky.jpg Cranky Robotics 2007 Australia 15 Ros Bandt 1950 4249 images/spacer.jpg Isobue This is a double CD of Ros Bandt's evocative music and intoxicating sound creations. It is inspired by and celebrates the Japanese Sea Whistle, the Isobue, an endangered sound of the Ama free divers who live in harmony with the ocean in their sustainable fishing. Sea Folk Voices is instrumental music for koto, psaltery, flutes, and piano with soundscapes. Shima: 8 sonic haiku for Kumi, radiophonic acoustic poems in English and Japanese. Iso Nageki, Sea Lament, a reflective meditation simulating the underwater sonic world of the divers, and composed originally in 5.1 surround sound. It's a plea to mind the ocean. Ama no Isobue is a short electroacoustic soundscape. This exquisite music was made on Ros Bandt's ABC Radiophonic artist's residency. Accessed 10.06.2009 from 2008 Australia 15 Ros Bandt 1950 4250 images/spacer.jpg Shima 8 Sonic Haiku for Kumi 2008 Australia 15 Ros Bandt 1950 4251 images/spacer.jpg Iso Nagecki (Sea Lament) 2008 Australia 266 Bruce Mowson 1975 4428 images/works/Mowson-2009-birdland.jpg BIRDLAND In this project, sound is set into 3D space using FMOD, as is represented by the 'sound cones' in the image above. Creating 'middleware' for gaming audio designers, Firelight Technologies have created increasingly sophisticated tools for spatial audio design in 3D space. In turn, this has opened up new potentials for working with sound in an architectural and sculptural fashion, on a platform which is interactive and accessible through the web. The audio-visual relations of the work have subtle differences built into the technology, distinguishing it from filmic and gaming examples. The minimal visual interface reduces the role of vision in the experience, whilst the scope for sound as the main way of interacting is opened up. The 3-dimensional nature of the work suggests a whole new realm of creative possibilities, wherein the spatial relations between sounds can be designed according to a sound based architecture. The Solar 260209 software project is built around a rotating scheme, recognised by one user as being 'a solar system'. Artists: Bruce Mowson and Adam Nash Project partners: Intervention through Art: RMIT Design Research Institute, Firelight Technologies. Download: Sandbox (software, 12.5mb) Download: Solar 260209 (software project + instructions, 13mb) Accessed 11.08.2009 from 2009 Australia 192 Richard Chartier 1971 4433 images/works/Chartier-2007-series.jpg series_addendum DATES: June 1-July 1, 2007 INFO: Presentation of new comissioned work for SNO. MEDIUM: stereo digital sound DURATION: 18:00 2007 Australia 114 Merzbow 1956 4440 images/works/Mrzbow-2000-Merzbox.jpg Merzbox Fifty CDs is a lot of music for any one artist to release. To release them all at once, in a boxed set, is quite extraordinary. The MERZBOX is just such a release. The MERZBOX also includes a book, CD-ROM, medallion, T-shirt, poster, postcards and stickers and is encased in a custom designed box with metal name plate. Accessed 11.08.2009 from 2000 Australia 114 Merzbow 1956 4446 images/spacer.jpg Maldoror with Mike Patton 1997 Australia )