Zimoun “Volume” :: February 2 - March 10, 2012 :: Opening: February 2; 6:00 - 8:30 pm :: bitforms gallery nyc, 529 W. 20th Street, New York, New York City.

bitforms gallery is pleased to announce Volume, the first solo exhibition in New York by Swiss artist Zimoun. On view will be an immersive, site-specific sound installation based on prepared dcmotors and cardboard boxes.

Part of a series that received its U.S. debut in a solo exhibition at the Ringling Museum of Art this Fall, the installation emphasizes the grid as a method of visual organization. Precariously balanced rows of cardboard boxes form an architectural space containing a rumbling din produced by mechanical motors humming in unison. Continue reading

Internet Topography 2011 by art of failure.

In Internet Topography, 50Hz audio signals are sent from the exhibition space to Tokyo, then returned within the installation space where we can listen to it. The transmission errors that occur during these streamings are analyzed and then considered as a potential and incomplete layout of the network topography. Similar to a landscape, this digital topography proves to be an unstable organization of patterns, shapes and outlines opening the way to multiple mental representations. This imaginary scope is made perceptible trough an immersive sound and light installation.

Sonic Bed_Scotland plays Omnht by Eliane Radigue, London 2011 from music for bodies on Vimeo.

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Francisco Lopez: Hyper-Rainforest :: April 28, 2011 to April 30, 2011 :: 8:00 p.m. ::Concert Hall, EMPAC, Troy, NY :: Tickets are required and are available through the EMPAC box office for $15 general admission; $10 for students, seniors, and Rensselaer Polytechnic Institute faculty and staff; or $5 for Rensselaer students.

World premiere of an 80 channel immersive concert based on a decade of natural sounds recorded in the world’s rain forests.

Rainforests are inhabited by an incredibly rich variety of sounds—much like a piece of electronic music: the astonishing variety of sounds comes from sources that are concrete yet overwhelmingly invisible. Continue reading

Zoe Keating and Robert Hodgin in a new, live multimedia work :: September 18, 2010; 9:00 pm :: ZERO1, Empire Drive-In inside South Hall, San Jose, CA.

As part of the Live Cinema program, cellist and composer Zoë Keating and digital artist Robert Hodgin will premier a new, live multimedia work. Composition for the ears meets composition for the eyes in a synchronized musical and visual journey through dark and light landscapes inspired by the musical theme of Keating’s new album, Into the Trees. Continue reading

Concert with Kaffe Matthews (London) and Derek Hoffend (Boston) :: July 22, 2010; 7:30 - 9:30 pm :: Art@12, 12 Farnsworth St., Boston. Massachusetts.

Studio Soto presents the dynamic London sound artist Kaffe Matthews in a special Boston appearance. Joining her on the bill will be Boston’s Derek Hoffend. Both artists share an interest in creating autonomous sound environments and special frequencies through sonic furniture, though this performance presents their concert works’ modalities.

Kaffe Matthews - making architectural music to feel through your body as well as your ears - was born in Essex, England and lives and works in London. Continue reading

Fruit for the Apocalypse debuts with Soundscapes of East London :: Preview: July 16, 2010; 8:00 pm :: Café Oto, 18-22 Ashwin Street, Dalston, E8 3DL :: Première: Secret Shoreditch Location (Secret Shoreditch Location linked to the Shoreditch Festival) :: July 18, 2010; 4:00 pm :: Soundscapes draws together an international group of Sound Artists and Choreographers to celebrate World Listening Day.

Soundscapes of East London is a music and dance event created by sixteen sound artists and choreographers exploring and responding to sounds heard in the East End of London. A major industrial intersection, goods and humans use East London’s busy roads to leave or enter the metropolis by land. Continue reading

Metatron: Sessions in Sonic Alchemy by Mobius Artist Group Member Derek Hoffend :: June 10-16, 2010 :: Mobius
725 Harrison Avenue, Suite One, Boston MA.

Metatron: Sessions in Sonic Alchemy is a sound-sculpture installation and performative event by Derek Hoffend. Two large-scale sculptural works will be installed and presented as instruments for immersive audio experience and sonic therapeutic practice. The artist will be on hand as practitioner, administering healing sessions to participating visitors.

Alex Carpenter (Guitar, Laser, Live Video & Audio Delay Systems) :: James Ross (Guitar, Live Audio Delay System) :: Richard Lainhart (Guitar, Electronics, Film):: An Evening of New Immersive Audio Visual Work :: June 26, 2010; 8:30 - 11:00 pm :: Youth Group Gallery, 19 Hope St. (Basement), Brooklyn, NY.

image: Alex Carpenter’s live video delay system - Photo by Laura Coady

ALEX CARPENTER is an Australian-born musician, video artist and researcher based in New York City. He has performed extensively as a soloist playing guitar, keyboard and electric zither through a self-designed multi-amp and delay network he calls the Live Audio Delay System, and has also independently produced and coordinated over twenty large-scale ensemble performance and multi-media events under the moniker Music of Transparent Means.
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Curve by composer Peter Traub is an installation for four speakers and a long curved wall. It was also the final work of his five-piece dissertation series exploring physical, virtual, and hybrid spaces as compositional tools. The balcony walkway at the rear of University of Virginia’s Old Cabell Hall is bounded by a curved wall creating an intense, prolonged, and stunning echo that varies dramatically as one moves along the space. Curve played with this pronounced artifact along the wall’s 150 foot length.

Using four speakers placed along the wall, the piece created an enveloping sound environment that varied as listeners walked from one end of the balcony to the other. In combining the unique sonic properties of the space with precisely tuned pitches, timbres, and rhythms, the installation made audible both the dramatic ricocheting echo and the effect of sound taking 135 milliseconds to travel from one end to the other–a perceptible and musically useful delay. The installation’s swells, drones, pops, pitches, and silences transformed the less-visited rear of the hall into a large immersive instrument.

See a slide show of Curve here.