Listening Into the Lattice
(2024)
author(s): Jorge Boehringer
published in: HUB - Journal of Research in Art, Design and Society
This exposition details the opening phase of new research between an experimental sound artist and an archaeologist, with a detailed examination of critical epistemological questions that have arisen from the beginning of this project. Both collaborating researchers are situated within hybrid specialisations. As the project unfolds, archaeo-chemical data is explored and animated through methods developed from intersections of data science and musical practice, resulting in performance and installation environments in which knowledge of material culture of the ancient past may be made present through listening. However, beyond a case study, this exposition points to how interdisciplinary artistic work produces results that have value outside of normative paradigms for any of the fields from which it is derived, while offering critical insight about those fields. This exposition is formed of these insights. Readers are introduced to the structure of the data, its relationship to the materiality of the artefacts described, the technological apparatus and compositional methodology through which the data is sonified, and the new materiality of the resulting artistic experiences.
Sonification exists at a nexus of sound production and listening, interwoven with information. Meaning and interpretations arise from artistic decisions concerning sound composition and the context for listening to take place. Meanwhile, listening teaches us about data and about the physical and cultural spaces into which we project it. In this way, sonification is always already interdisciplinary.
SEMAPHOR
(last edited: 2021)
author(s): Gerriet K. Sharma, Susanne Fröhlich
This exposition is in progress and its share status is: visible to all.
“Semaphor” is a spatial sound-composition for two pioneering instruments, which are explored both practically and theoretically by the artists Susanne Fröhlich and Gerriet K. Sharma:
Helder Tenor recorder and the Icosahedral loudspeaker (IKO). If one understands both instruments as sound projectors, sound textures in sculpturally entangled states, spatially demarcated sound layers and scenographies can be composed and perceived in a way, scarcely producible in this ensemble constellation until now.
The piece attempts to discover the shared perceptual spectrum of both instruments in dialogue and thus to expand the aesthetic possibilities of spatial composition in the present.
