B-FORMAT SIGNAL SET WAVES INTO CATHEDRAL PARK
20 August 2016
This project demonstrated audio composition from seven artists utilizing B-format ambisonic panning and head-related transfer function processing in a large public park. Cathedral Park lies at the base of the St. Johns Bridge, a historic bridge designed by renowned engineer David B. Steinman. The audio pieces were designed to interact with the foundational architecture of the bridge, utilizing six long-throw audio horns meant for long range projection. Commissioned by the Andy Warhol Foundation for the Visual Arts.
With this project I am looking to further explore perception(s) of simple sonic events in time and space within a multichannel installation format. My personal aim is to help activate the space for audience members, on an individual and group platform, and to stage an opportunity for us all to sculpt and compose our own perception with awareness and consciousness in time and space
Justine Highsmith is an experimental video and sound artist currently working in Portland, OR. Her site-specific installations explore the technological dreams and disasters found in science fiction, post-human identities, and dystopian glamour
Jesse Mejía is a composer, performer, engineer and educator living in Portland, OR. With a rigorous focus on interdisciplinary process, and research - Mejía uses sound, video, generative technology and custom electronics in contextual relation to bodies and space. Mejía directs a community choir (ask about joining!), and teaches Max/MSP at PCC. The piece presented here is an excerpt from a new/in progress endless generative installation work stemming from ongoing research being done in collaboration with Taka Yamamoto for his upcoming piece "A Direct Path to Detour" which will be presented by PICA in Spring 2017
So much of my past year has been spent waiting. Waiting for new work, waiting for rare opportunity. Feeling stuck in the political machinations around me. Knowing projected outcomes; enduring the time before that outcome arrives. This piece is a study in distention. That wavering state where your spirit arrests and your body keeps moving and all the thoughts in your head seem to drip out your left ear.
Anita Spaeth is a multidisciplinary artist utilizing video, sound, and sculpture to create atmospheric and installation based works covering topics from family rituals and human compassion, to the beauty in the banality of daily life
The structure of the work is inspired by English handbell ringing traditions - or "change ringing" - as originated by campanologist Fabian Stedman in the mid-1600s. Specific types of method ringing involve hocketing patterns derived by algebraic structures tied to group theory and are fascinatingly similar to other hocket-based ancient musical structures (for example, those found in Central-African pygmy vocal music). Within this work, these Stedman-inspired patterns are used in a circular 6-point structure (using FM synthesis tones emulating bell resonance) with an interlocking multi-part arrangement for voice and Armenian duduk
the process of re-listening and re-interpreting the sounds that we hear daily (the noise floor of our lives) is a worthwhile pursuit. it enables deeper awareness of our surroundings, and greater impetus to pause and consider
this piece is a recursion of diffuse ambient sound from the park itself, and is an attempt to re-engage the geographic space with it's aural signature, albeit through a heavy layer of audio effecting and ambisonic panning
i was pleased to also have some simple tonal content available from a public piano that happened to be in the space during the initial field recordings.. yet another layer of artistic diffusion