Tag Archives: installation

Opera (birds) – by jimpalt.org/

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Info This is a computer program that plays bird sound. The bird sound follows some of the laws of nature and is also affected by the position of the sun. The composition is partly random. The singing comes from birds that are site specific and from birds that have been selected on esthetical grounds. This is an opera that will go on 24 hours a day and could be heard in central Gothenburg 7/5-22/5 -05. It try to show the nature at the specific place were the art piece is shown. The piece is also shown at a computer inside the gallery and online.

http://jimpalt.org/
http://jimpalt.org/JIMPALT.ORG/admin/files_htm/birds_info.htm#

haptic drone

For Behram, this video is nothing exceptional. “This was like any other day in Waziristan. Coming out of the house, witnessing a drone in the sky, getting along with our lives till it targets you. That day it was in the morning and I was at my home playing with my children. I spotted the drone and started filming it with my camera and then I followed it a bit on a bike.” http://paglen.tumblr.com/post/30105766943/reaper-drone-over-waziristan-shot-b…

Please, Please, Pleased to Meet’cha

Grackle

Soundtracks, solar panels and speakers mounted to trees, commission for Wave Hill’s Generated@WaveHill summer series, Wave Hill, the Bronx.

Wave Hill, a 28-acre park/garden in the Bronx, commissions a public piece each year for the grounds as part of their program called “Generated@WaveHill.” In summer 2006, I made a sound piece that was installed in six of the trees on the grounds. It stemmed from my interest in birdsong, which has to be one of the most elusive sounds to describe. Trying to do so stretches both our linguistic and visual descriptive systems, and poses a very unique translation problem. Please, Please, Pleased to Meet’chaconsists of sound systems, installed into six trees on the Wave Hill grounds, with human voices vocalizing birdsong. In choosing the human voices, two things became important. I wanted to work with people who knew nothing about birds. I also wanted them to have a deep engagement with translation, so I put out a “Call for Participants” to the translators and interpreters at the United Nations. None of the “voices” I worked with had previously heard the particular birds they were vocalizing. Their performances were interpretive, generative acts: spot translations that were performed without previous familiarity with the materials. A birding guide, available at each tree, reproduced the materials that the voices had worked from so that a listener could compare interpretations.

Go to http://www.wavehill.org/arts/nina_katchadourian.html to hear sound excerpts