Chladni Figures are created in this wave, sound and site-specific installation that uses our full senses and telemetry systems to explore, amplify and reinforce the sonic architecture of the chapel with the waterscape of the Island.
Opening July 21 @ Harvestworks
#602 596 Broadway, New York, NY 10012
THE STAINED GLASS / WAVE TABLES — The changing light from the three sides of stain glass windows and the waves in the table. They mix as projected and reflected light and changes in the sound in the church through processing. Chladni figures appear like live script being written in illuminations on the Wavetable, a surface of water modulated with sub audio and audio..
THE MIX—LISTENING — Light shifts as well as movement within and is harnessed to change the sound.
Listening, like in a rowboat, we are immersed in deep sonic patterns.Many sounds begin and end like waves rolling in with great force and shape.
The sound palette (with filters, transposition, synthesis and live processing) will vary, with deeply resonant voices, configuring and reconfiguring.
THE CHAPEL ARCHITECTURE is made of high arcs, with rib like exposed beams. The room has a clear sound when the speakers are placed in the nulls. The architecture is like the sonic structures I am forming from the crossing waves.
New harmonic voices emerge and resonate with audience presence, stillness, absence, and motion. The audience creates standing waves, freezing patterns in the chapel.
How We Make Crossing Waves
We are recording from multiple locations simultaneously around the island. We have sensors in the church and are sensing audience presence and stillness, location and movement to change sound structures and resonances and water waves. The synchronized recordings playback through a multi channel system.
We are experimenting with underwater recording as well as the sound above. In fog we capture the horns, bells and sirens that help navigation around the island. Sounds locate and pan across. Envelope followers and filters tune in to micro and macro patterns. The audience moves sifting through and setting new tuning on trails in the church soundscape.
Sound processing and spatialization creates constantly changing focus through out the day. Modulations are reorganized by the motion and stillness of the audience. With ultrasonics sonic formations can spin, freeze, ring through the speaker objects and space. Many computer, interactive señsor systems, live synthesis and processes are employed to create this multi-dimensional installation.
Liz Phillips New York-based artist Liz Phillips has been making interactive multi-media installations for the past 40 years. She creates responsive environments sensing wind, plants, fish, audience, dance, water, and food. Audio and visual art forms combine with new technologies to create elastic time-space constructs. Sound is often the primary descriptive material. Phillips received a B.A from Bennington College in 1973. In 1981 she co-founded Parabola Arts Foundation, a not-for-profit organization created by five media artists from varied disciplines (music, sculpture, film, video) which provides funding for art-related projects. Phillips received a Guggenheim Fellowship and numerous individual and collaborative commissions from New York State Council on the Arts and National Endowment for the Arts. She teaches workshops and lectures on Sound and Interactive Media at Purchase College. In the last ten years she has curated several exhibitions of emerging artists and women making installations with sound.
Phillips installations in art museums, alternative spaces, festivals, and public spaces include; the Milwaukee Art Museum, Albright-Knox gallery, Queens Museum of Art, the Jewish Museum, the Whitney Museum of American Art, the San Francisco Museum of Modern Art, the Spoleto Festival USA, the Walker Art Museum, Ars Electronica, Jacob’s Pillow, The Kitchen, Rene Block gallery and Frederieke Taylor gallery. Phillips has also collaborated with other artist’s including the Merce Cunningham Dance Company, Nam June Paik, Earl Howard,
Alison Knowles, Simone Forti and Robert Kovich. Her work was presented by Creative Time, the Cleveland Orchestra, IBM Japan and the World Financial Center. Public spaces as diverse as an alternative energy site in a wind turbine (1981) in the South Bronx , the anchorage under the Brooklyn Bridge, Peavy Plaza in Minneapolis and Art Park in Lewiston NY have been the locations of site specific installations.
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