1. CELL is an installation that consists of a steel cylinder (Ø 160cm; H 250cm) which is freely accessible and of a web of wireless sensor blackboxes. On several spots these sensors measure fine vibrations that occur within the building or in the environment. The steel cocoon receives those vibrations and amplifies the low frequencies across its inner surfaces. Sound is distributed over the steel surfaces through six to nine powerful transducers which are mounted inside the double cylinder shell.
    The work acts as a focus point of contact events between bodies and architecture. As soon as vibrations resonate with the steel they are registered and stored. The events recorded are looped and slowly rise in pitch over time. The cylinder assumes the function of a repository for infrastructure vibrations, while producing a moaning melody coloured by the steel’s resonance. The melody is always in transformation as it is combined of pitchshifted tones and the arrival of new low energy content from realtime vibrations.
    All low frequencies evaporate after some hours when they have lost all of their materiality and they leave the steel sculpture’s memory as high-frequency remainders.

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  2. Language is a collection of either sonic or visual objects that are structurally related to one another and thus create a system that has significance for the user of that system. For the uninitiated this code produces no semantics and only the aesthetic form and sometimes the exotic appeal of the language remain.

    LANGUAGE I consists of a compilation of individual speaker cones that are put under tension. There is no audio signal, but the electrical voltage makes the cone expand to its maximum for a fraction of a second.

    The sequential on and off switching of a defined set of elements can be described as the formal prerequisite for language. Language is a collection of discrete elements that can be combined according to certain rules. The minimal set of building blocks are phonemes (sounds) or symbols: letters (alphabet) and numbers (machine language).

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  3. A 13 minute video by Rui Ribeiro documenting a presentation of the Staalhemel installation in the central Horta hall of Bozar, Centre for Fine Arts in Brussels.
    This video focuses on the experience of the visitor. Different facial expressions reveal inner reflections of visitors that are in interaction with the machine.
    Check http://www.staalhemel.com for more documentation.

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  4. In the interactive installation 'timecodematter' the visitor enters an arena that is bordered with vibrating sheets of massive steel. The steel objects are pulsating with low frequencies and they react to the approach of persons. The acoustic energy in this installation is both penetrating and intangible: the resonant properties of twelve different steel sheets respond to the low frequencies and produce a conjuring effect.
    More info on: http://www.deepblue.be

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  5. In 2005 the first sound performance in the 'time code matter' series opens at Concertgebouw, Bruges (Belgium). The aim of the sound artists Christoph De Boeck and Yves De Mey is to stress the tangible aspect of sound in a setting that is both intimate and monumental. In the second 'time code matter' production (2007) they use steel resonance to create a strong physical and emotional impact.

    'time code matter II' is an electronica concert and a sound performance in which sound waves are sent to twelve steel sheets through transducers. The steel plates function as loudspeaker diaphragms and add to the original sound a specific resonance, depending on the steel's dimensions. The timbre is different for each sheet since all steel objects have slightly different sizes. This giant resonating device is controlled from the performers' laptops by 12.1 surround audio software. Minimal sonic structures are laid out dynamically over the circle of 12 steel plates. Spatialisation of a sound alters the timbre of that sound as it travels along the resonating surfaces. The cyclical spatialisation produces subtle timbral and dynamic variations which depend on the position of the listener. Spectators are encouraged to move freely. In this performance you see what you hear and you feel what you see. The audience stands in the middle of this installation and this guarantees a unique listening experience for each individual. This performance pairs up with the 'timecodematter' installation by Christoph De Boeck.
    More info on http://www.deepblue.be

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Christoph De Boeck

Christoph De Boeck

Christoph De Boeck co-founded the collaborative structure 'deepblue' in 2002 together with Heine Avdal and Yukiko Shinozaki. From within this production structure he engaged in many productions as a sound artist, sound designer, and electronic musician.

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Christoph De Boeck co-founded the collaborative structure 'deepblue' in 2002 together with Heine Avdal and Yukiko Shinozaki. From within this production structure he engaged in many productions as a sound artist, sound designer, and electronic musician.
De Boeck aims at rendering sound tactile through spatialisation and with alternative choices of sound transmission, like transducers to incite steel resonance. For concerts in multichannel audio set-ups he often teams up as Audiostore with Eavesdropper/Yves De Mey.
He collaborates with biomedical scientists on the sonification of brainwaves in the art&science project 'Staalhemel'/'Steel Sky' (2009).

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