Networked_Music_Review

Mark Bain: Works X 2

markbain.jpg[1] The Omnisound Generator :: Electric motor, mechanical sound generator, spherical mixing chamber, plastic tubing, industrial headphones :: 34″ x 24″ x 10″ :: Warning: extended use with the headphones may induce slight nausea, vertigo and mental confusion in some sensitive persons. Use at your own risk.

Seven octaves, 84 discrete tones, all at once all the time, a history of western music as played back in its entirety as one incessant chord. This drone, this filler of space and monster of the twelve-tone scale, is unrelenting in its ever pervasiveness. As a pneumatic sound engine, the Omnisound Generator allows for remote placement into the machine via air coupled headphones. Monitoring the insides with stethoscopic precision, hear its heartbeat, its scream, its infrasonic rumblings and the wind rushing by. ALL SOUND ENGINES ARE GO!

9811e0011.jpg[2] The Live Room – Transducing Resonant Architecture

The Live Room is a temporary site specific installation, distributed across the exhibition space, in which machines fuse into architecture combining forces of action into form, structure and space. In this project, small acoustic intensifying devices are used which are mounted to the structure of the building, engaging the architecture and running impulsive energy throughout. The system is designed to produce sound and vibration in direct relation to the building and the dimensions of the space.

The Live Room utilizes seismic induction equipment to activate the interior (or exterior) surfaces of the site and create a large scale “tectonic charging” by means of vibration. By using a variety of transducing devices and signal generation equipment, Bain can effectively “tune in” a space by delivering its resonant frequency to its different parts.

Normally we think of sound as waves of energy traveling through a medium (such as air) on its way to the ear. Because the molecules are more spread out, gasses like air are in fact less efficient mediums for sound to travel than liquids or solids. Therefore the solids which make up most architectural forms can be thought of as very efficient conductors of vibro-acoustic energy. Though these electro-mechanical devices don”t actually produce their own sound, the energy they impart changes the surfaces into what, in essence, are an infinitely large acoustic radiators or speakers. By using multiple transducers, the room can be driven with energy which is derived in response to the shape and material makeup of the room.

Buildings, human bodies and all other materials, have their own particular resonant frequency. If this frequency, also known as the value of efficient excitation, is accurately located, it is possible through mechanical means to literally “ring” the material, like striking a bell. If this “ringing” is reinforced through a feedback system, it is possible to produce a phase aligned addition to this wave form where potentials are present for the material oscillate out of control. In 1898 the inventor Nikola Tesla was working with similar energy imparting devices which was said to be so small “you could put it in your overcoat pocket.”

“I was experimenting with vibrations. I had one of my machines going and I wanted to see if I could get it in tune with the vibration of the building. I put it up notch after notch. There was a peculiar cracking sound.

I asked my assistants where did the sound come from. They did not know. I put the machine up a few more notches. There was a louder cracking sound. I knew I was approaching the vibration of the steel building. I pushed the machine a little higher.

Suddenly all the heavy machinery in the place was flying around. I grabbed a hammer and broke the machine. The building would have been about our ears in another few minutes. Outside in the street there was pandemonium. The police and ambulances arrived. I told my assistants to say nothing. We told the police it must have been an earthquake. That”s all they ever knew about it.” (Nikola Tesla, 1935)

This notorious event was said to have also produced a similarly intense sympathetic vibration two blocks away from Tesla”s laboratory.

Mark Bain’s notion of “transient architecture” describes a system of infection where action modulates form and where stability disintegrates. The Live Room project seeks to intensify these sites with hybrid-machines, fusing architecture with dynamic systems. This act of “site charging” is intended to create resonating spaces which are normally thought of as static. This action is an attempt towards the liberation of tectonics from typical inertial limits; where resonant structures vibrate in sympathy to induced frequencies. With this work, Bain suggests a model for transducing architecture, i.e. defining the space with external influences of a vibro-kinetic nature.

The Live Room in addition generates infrasonic sound, i.e. sounds at frequencies below the threshold of hearing which still affect the body and perception in ways which can seem unpredictable. There is a subtle strangeness to this project which revolves around the production and injection of these unique low frequencies. When the body comes in contact with infrasound and vibration, unique phenomena develop. Parts of the body can be excited through differing frequencies allowing the spaces within to be felt. Certain feelings and tendencies can also be elicited, whether it is nausea, headache, the gag reflex, or the urge to defecate. These physical responses have induction components which relate to certain cycle rates. In the Live Room, a common occurrence related to the vibration is the effect on the vestibular system and the sense of orientation and balance. When positioned on active floor panels a feeling of shifting horizon may be felt. While standing, balance can be altered and suddenly your perception is that of surfing the architectural plane.

The Live Room constructs a topological space composed of virtual objects which haptically interface with the audience. By interacting with the cycling wave forms the visitor is occupied, infested with frequencies, modulated by vibrational energy and imparted with the volumetric sensibilities inherent within the body. The audience are the activated objects, traversing the site and feeling the liveliness of themselves, others and the space within.” From The Art of the Accident by Arjen Mulder.

Mark Bain works on the interface of acoustics, architecture and actions of conceptual / experiential integration. For some time Bain has been involved in an ongoing research into the area of sound and architecture and how sonic events condition bodies and buildings they occupy. Sculptural aspects of sound are also investigated in the way resonant materials can define structures in space. Other installations involve living systems and investigative devices, which position the viewer into rarified experiences. In this work, he designs hybrid apparatuses, which engage both locations and the viewing public. These are not necessarily products in themselves, but rather tools developed which lead to certain ends. His research can be thought as a kind of divining, a loosening, or search for living entities, defining a presence within that which is normally thought of as static and dead.


Sep 30, 2007
Trackback URL

Leave a comment

Interviews

Current interview:
Robin Meier, Ali Momeni and the sound of insects

Previous Interviews:

Tags


livestage music sound performance calls + opps installation audio/visual radio festival instrument networked audio interactive experimental electronic workshop video participatory writings event mobile exhibition concert live collaboration electroacoustic environment nature reblog distributed soundscape field recording net_music_weekly improvisation software history locative media space public noise recording immersion voice acoustic sonification lecture generative conference body tool sound sculpture net art art + science VJ/DJ light diy remix site-specific perception mapping film visualization listening laptop algorithmic multimedia city urban data wearable architecture open source game virtual biotechnology sound walk spatialization webcast hacktivism robotic image score platform electromagnetic new media cinema ecology found news composer telematic interface streaming residency interviews/other sensor dance circuit bending synesthesia physical political notation intervention object controller broadcasts conversation narrative second life responsive mashup place technology ambient social network symposium motion tracking hybrid intermedia augmented spoken word livecoding text phonography auralization acousmatic upgrade! gesture opera aesthetics mixed reality resource theory processing 8bit orchestra nmr_commission wireless device toy wireless network theater web 2.0 presentation community surveillance p2p 3D copyright soundtrack research podcast sample feedback psychogeography social chance interdisciplinary tactile recycle interview language systems code emergence presence cassette privacy free/libre software media play chiptune newsletter place-specific archives avatar education haptics activist surround sound audio tour glitch hardware tactical identity bioart asynchronous business tv tangible composition animation jazz transmission arts apps tag e-literature collective microsound relational synchronous Artificial Intelligence conductor convergence reuse simulation ubiquitous synthesizers im/material
3D 8bit acousmatic acoustic activist aesthetics algorithmic ambient animation apps architecture archives art + science Artificial Intelligence asynchronous audio audio/visual audio tour augmented auralization avatar bioart biotechnology body broadcasts business calls + opps cassette chance chiptune cinema circuit bending city code collaboration collective community composer composition concert conductor conference controller convergence conversation copyright dance data distributed diy e-literature ecology education electroacoustic electromagnetic electronic emergence environment event exhibition experimental feedback festival field recording film found free/libre software game generative gesture glitch hacktivism haptics hardware history hybrid identity im/material image immersion improvisation installation instrument interactive interdisciplinary interface intermedia intervention interview interviews/other jazz language laptop lecture light listening live livecoding livestage locative media mapping mashup media microsound mixed reality mobile motion tracking multimedia music narrative nature net art networked net_music_weekly new media news newsletter nmr_commission noise notation object open source opera orchestra p2p participatory perception performance phonography physical place place-specific platform play podcast political presence presentation privacy processing psychogeography public radio reblog recording recycle relational remix research residency resource responsive reuse robotic sample score second life sensor simulation site-specific social social network software sonification sound soundscape sound sculpture soundtrack sound walk space spatialization spoken word streaming surround sound surveillance symposium synchronous synesthesia synthesizers systems tactical tactile tag tangible technology telematic text theater theory tool toy transmission arts tv ubiquitous upgrade! urban video virtual visualization VJ/DJ voice wearable web 2.0 webcast wireless device wireless network workshop writings

Archives

2017

Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2016

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2015

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2014

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2013

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2012

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2011

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2010

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2009

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2008

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2007

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2006

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2005

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2004

Dec | Nov | Oct | Sep | Aug | Jul

What is this?

Networked_Music_Review (NMR) is a research blog that focuses on emerging networked musical explorations.

Read more...

NMR Commissions

NMR commissioned the following artists to create new sound art works. More...
More NMR Commissions

Net_Music_Weekly

"Two Trains" by Data-Driven DJ aka Brian Foo

Two Trains: Sonification of Income Inequality on the NYC Subway by Data-Driven DJ aka Brian Foo: The goal of this song is to emulate a ride on the New York City Subway's 2 Train ... Read more
Previous N_M_Weeklies

Bloggers

Guest Bloggers:

F.Y.I.

Feed2Mobile
Massachusetts Cultural Council
networked_performance
Networked: a (networked_book) about (networked_art)
New American Radio
New Radio and Performing Arts, Inc.
New York State Council on the Arts, a State agency
New York State Music Fund
Turbulence
Upgrade! Boston

Turbulence Works