Sound Art and Spatial Practices: Situating Sound Installation Art Since 1958

This dissertation examines the emergence and development of sound installation art, an under-recognized tradition that has developed between music, architecture, and media art practices since the late 1950s. Unlike many musical works, which are concerned with organizing sounds in time, sound installations organize sounds in space; they thus necessitate new theoretical and analytical models that take into consideration the spatial situated-ness of sound. Existing discourses on “spatial sound” privilege technical descriptions of sound localization. By contrast, this dissertation examines the ways in which concepts of space are socially, culturally, and politically construed, and how spatially-organized sound works reflect and resist these different constructions. Using an interdisciplinary methodology of critical spatial analysis and critical studies in music, this dissertation explores such topics as: conceptions of acoustic space in postwar Western art music, architecture, and media theory; the development of sound installation art in relation to philosophies of everyday life and social space; the historical links between musical performance, conceptual art, and sound sculpture; the body as a site for sound installations; and sonicspatial strategies that confront politics of race and gender. Through these different investigations, this dissertation proposes an “ontopological” model for considering sound: a critical model of analysis and reception that privileges an understanding of sound in relation to ontologies of space and place.

Interview with Paul DeMarinis

Since the early 1970s, the American electronic media artist Paul DeMarinis (b. 1948, Cleveland, Ohio, USA) has created works that re-imagine modes of communication and reinvent the technologies that enable communication. His works (see Table 1) have taken shape as recordings, performances, electronic inventions, and site-specific and interactive installations; many are considered landmarks in the histories of electronic music and media art. Paul DeMarinis pioneered live performance with computers, collaborated on landmark works with artists like David Tudor and Robert Ashley, undertook several tours with the Merce Cunningham Dance Company, and brought to life obscure technologies such as the flame loudspeaker (featured in his 2004 sculpture Firebirds). His interactive installation The Music Room (1982), commissioned by Frank Oppenheimer for the Exploratorium in San Francisco, was the first automatic music work to reach a significant audience. His album Music As A Second Language (1991) marks one of the most extensive explorations of the synthesized voice and speech melodies to date. Installations like The Edison Effect (1989-1993), in which lasers scan ancient recordings to produce music, and The Messenger (1998/2005), in which electronic mail messages are displayed on alphabetic telegraph receivers, illustrate a creative process that Douglas Kahn (1994) has called "reinventing invention." [etc]

Performing Space

This article discusses how the notion of performance provides impetus for the design of interactive digital environments. These environments can ultimately be regarded as user-spaces; a condition which replaces the "fixed" art-object with a configuration of interactions. Our understanding of space, as suggested by Lefevbre (2001), defines the "inhabitant" as a full participant, a user, a performer of space. What is at play when the installation artist designs environments that invite performative exploration? The issue of improvised performance in the inhabiting of installation spaces is exposed. Two interactive installations by the author and works by others in the field provide a context for discussion for discussion and analysis.

Contemporary Radio Art and Spatial Politics: The Critical Radio Utopias of Anna Friz

The article explores the work of the Canadian sound artist Anna Friz over the last decade. Her work deals explicitly with issues of technology and the relative absence of women's voices on radio. Exploring her work as a composer, installation artist, instrumentalist, performance artist and storyteller, and contextualising these practices within feminist critiques and radio conventions, the article explores Friz's ‘self-reflexive radio’. Ideas of ‘supermodernity’, ‘displacement’ and ‘critical utopia’ are deployed to discuss specific pieces of Friz's work in relation to identity and space. The article argues that Friz reconfigures the radio as a site of resistance to dominant constructions of contemporary globalised space and cultures, the politics of informational capitalism and the uneven flows that these cultures and politics engender.

Bord Gais Above Ground Installation:Flow

The objective was to design a treatment that would dematerialise an above ground gas installation on the Liffey quayside while still meeting the functional requirement to ventilate the pressure reducing chamber inside. To do this we wrapped the installation in a skin of glass that allows the air to enter below the skin and to escape behind the parapet. The installation building is covered in plastic sequins and the glass is treated with alternating bands of dichroic film. The flow of air causes the sequins to shimmer reflecting spots of coloured light back onto the glass. At night a similar effect is created by lighting concealed within the outer skin. This project won a commendation in the RIAI Awards 2010, and an AAI award in 2011. It was published in New Irish Architecture 26. The British architectural historian William JR Curtis described it as ‘a beautiful understated little kiosk.’

Recomposing the City: A Survey of Recent Sound Art in Belfast

This article introduces examples of recent sound art in Belfast, a city that has undergone radical transformation over the past decade and is home to a burgeoning community of sound artists. The text investigates the ways in which sonic art can redraw boundaries in a city historically marked by myriad political, socioeconomic,
religious and sectarian divisions. The article focuses on sound works that reimagine a “post-conflict” Belfast. These include site-specific sound installations in urban and public spaces, soundwalks, sculptures, locative and online works, and experimental
sonic performances that draw upon traditional Irish song and music.

Development of a novel immersive interactive virtual reality cricket simulator for cricket batting

Research in the field of sports performance is constantly developing new technology to help extract meaningful data to aid in understanding in a multitude of areas such as improving technical or motor performance. Video playback has previously been extensively used for exploring anticipatory behaviour. However, when using such systems, perception is not active. This loses key information that only emerges from the dynamics of the action unfolding over time and the active perception of the observer. Virtual reality (VR) may be used to overcome such issues. This paper presents the architecture and initial implementation of a novel VR cricket simulator, utilising state of the art motion capture technology (21 Vicon cameras capturing kinematic profile of elite bowlers) and emerging VR technology (Intersense IS-900 tracking combined with Qualisys Motion capture cameras with visual display via Sony Head Mounted Display HMZ-T1), applied in a cricket scenario to examine varying components of decision and action for cricket batters. This provided an experience with a high level of presence allowing for a real-time egocentric view-point to be presented to participants. Cyclical user-testing was carried out, utilisng both qualitative and quantitative approaches, with users reporting a positive experience in use of the system.

Sound Art and Public Engagement in the Built Environment: Reflections from an Architecture Center

This article explores the deployment of sound in architectural-curatorial and community engagement contexts through the work of PLACE, a multidisciplinary not-for-profit architecture center in Belfast, Northern Ireland. The author, who worked with PLACE and contributed to the projects discussed here, contextualizes architecture centers and their relationship with sound before examining the specific case of sound and sound art in Northern Ireland and case studies of projects delivered by PLACE. Specifically, the article evaluates two sound installation artworks and three community engagement projects for young audiences. As a means of curating urbanism and architecture, sound-art-as-public-art affords useful strategies to examine, describe or critique the environment as alternatives to traditional architecture exhibition formats. Sound’s temporality and materiality allow sound art works to exist as temporary sculptural interventions in the urban sphere, with attendant implications for public art procurement and urban acoustics. Rich territories of engagement are opened when using sound in a community participatory context.