Moving the mouse cursor over the top of the page will display the menu bar.
This exposition documents three site specific outdoor sound installations that aim to establish a new awareness of our environment. Sound penetrates our outdoor spaces. Much of it we ignore amidst our fast passage from place to place, its qualities too quiet or fleeting to pay heed to above the bustle of our own thoughts, or we may experience the sounds as an annoyance. Manoeuvring our listening to be excited by its features is not so easy. Using a high-definition 3D microphone (EigenMike EM32 from MhAcoustics), I capture the sound-fields of public spaces and break them down analytically. I then explore how to reveal interesting features of time and space that the ear’s and body’s short-term experiential awareness are less able to grasp, and create site specific sound-installations for public spaces. The installations are made in ambisonics and played over a partly hidden 8-channel loudspeaker array, and a custom designed mini beam-forming loudspeaker. Combined, these technologies layer a new enhanced 3D sound-world into the existing space, and highlight acoustic features through the combination of sound-type and reflectivity. The installations apply my own methods for hybridising autoethnography with computational analysis developed in the Reconfiguring the Landscape Research Project.
This page contains media that is intended to start playback automatically on opening. This may include sound. Your browser is blocking automated playback. Please click here to start media.
Hybridising Autoethnography with Computational Analysis in Site Specific Outdoor Sound Installations
This exposition documents three site specific outdoor sound installations that aim to establish a new awareness of our environment.
Sound penetrates our outdoor spaces. Much of it we ignore amidst our fast passage from place to place, its qualities too quiet or fleeting to pay heed to above the bustle of our own thoughts, or we may experience the sounds as an annoyance. Manoeuvring our listening to be excited by its features is not so easy.
Using a high-definition 3D microphone (EigenMike EM32 from MhAcoustics), I capture the sound-fields of public spaces and break them down analytically. I then explore how to reveal interesting features of time and space that the ear’s and body’s short-term experiential awareness are less able to grasp, and create site specific sound-installations for public spaces.
The installations are made in ambisonics and played over a partly hidden 8-channel loudspeaker array, and a custom designed mini beam-forming loudspeaker. Combined, these technologies layer a new enhanced 3D sound-world into the existing space, and highlight acoustic features through the combination of sound-type and reflectivity.
The installations apply my own methods for hybridising autoethnography with computational analysis developed in the Reconfiguring the Landscape Research Project.
This exposition is under construction.
Subliminal Throwback (documentation extract, stereo). 24th–26th June 2021, outdoor amphitheatre.
Gydas vei 6, Oslo.
Sansing i Strandsona (documentation extract, binaural). 10th-17th August 2020, beach pavilion at Hvervensbukta, Oslo.
References: