Sound installation for 3 rooms by Alexander Senko and Polina Dronyaeva. Studio mix version.
Performered at 4th Pure Data Convention, Weimar, Germany, August 2011.
Quotidian sounds of flies, garbage dumping and garbage trucks trigger dual emotions of revolt and deliverance.
GARBAGE SOUND is a sound installation which creates a sonic composition extended not in time but in space. The resulting work will only exist in visitors’ minds depending on direction and speed of their movements from one room to another. It is not a simple representation of the garbage dump but rather evoking of emotions
connected to quotidian sounds. While we stay neutral and don’t want to attach any additional meanings, we want listeners to contemplate on what these sounds might mean to them. The result will differ from one person to the other. Thus we analyse social construction of meanings in our everyday shared sonic environments.
For example somebody is dumping bottles in the middle of the night. God knows what a sad tramp is doing it but the resulting sound can be very cheerful. The flies may sound rhythmical and even energetic but they are always perceived as a symbol of decay.
Similarly one can be annoyed by the appearance and noises of garbage trucks, especially when they come to collect garbage in the early morning. But for someone this awful noise may be a signal that life goes on and whatever you throw away there is still someone out there who comes to tidy up after you.
The overpowering and methodical noise of the garbage truck is the most obvious expression of the city taking care of its dwellers, of each one of us, and it seems to be symbolical that this noise is heard in the hours, which are statistically considered the most dangerous for suicides. Who knows how many lives it has saved!
"Garbage Sound" soundscape stimulates people to re-evaluate meanings of everyday experiences and create their own soundscapes in their imagination.
The soundscape is extended through 3 adjunct rooms. On the premier we had a
gallery consisted of rooms situated in circle. Thus the composition which the listeners
perceived depended on their direction around the gallery. In the excerpt of the work
we tried to demonstrate how would it sound if one moves from the room with flies
sounds to the room with garbage dumping sounds via the room with garbage truck
The real time programming environment Pd adds instability to the resulting
composition which thus relies on interpretive capacity of the listeners.
3 extracts from the egregore performance by chdh
"Égrégore" means an energy produced by the desires of many individuals in a common goal. This is the starting point of this audiovisual performance that aims to exploit the group movement phenomenas. Complex and expressive behaviors are generated and controlled by a computer and transcribed in sound and image. A crowd of particles deploys itself, reorganizes, blends into living structures more or less coherent, evolving from a chaotic movement toward a cohesive group. This project is a continuation of chdh’s work on audiovisual instruments, but aims to radicalize the research.
and infos here:
updated the 15.08.2011 with HD extracts
The visuals consists of the background and figures.
Figures are created by and interact with the background - architectural forms of the new building of the Bauhaus University Library (Weimar, Germany).
The Fourier resynthesis allows every moving object to create its own frequency band.
The work is made in real-time programming environment Pure Data and can be shown either as a video film or as a real-time performance.
Project Keywords: Pure Data, GEM, Bauhaus University, spectral music, generative art, real time, OpenGL, Fast Fourier transform, audio processing, audiovisuals.
La partie audio de Monolithe signe le final du concert de Rock-Art2noise à Weimar en aout 2011 au Nietzsche Gedächnishalle dans le cadre de la Pure data Convention Weimar 2011.
Le diaporama fut réalisé à partir des photographies de Sitan Adèle K capturées à Weimar durant la Convention Pure data.
Animate nature for computer-controlled carillon, duration 12′20″.
Original version for the Weimar porcelain carillon with 35 bells.
video recording: Patawat Phamuad
audio recording: Marion Pötz