Interactive Sound Installation 2019 - 2020
Dancer Nina Munoz - Producer Pippin - Special thanks to Kavka
Interactive sound installation
In the process of creating this interactive sound installation my overall goal was raising awareness for our actions. As humans, we don't always realize what impact we have on our surroundings. Mainly because we don't see the wide impact that our actions have on our surroundings.
With this piece I've made a human invisible action visible.
When does an installation becomes art?
This piece narrows down the fine line between applied installations and fine art sculptures. Is it possible to create an installation that's both applied and self- contained? Why do we feel the need to differentiate these subjects? The installation is an autonomous art piece but can also be transformed into a DJ -booth, a bar, a set etc. We need to think about reinventing the purpose of installations we produce.
By organizing NECTAR festival I want to narrow the difference between art and sets for social events. During this festival I'll look for the multiple goals of autonomous art installations. This piece will be one of them.
The specific colors are a reference to the dramatic bushfires that took place in the summer of 2019. Due to the bushfires, the sky turned deep red on several places. This tragedy is a result of our luxury lifestyle. During this phenomenon I was in Indonesia and could see it in person. However, I was too busy looking and filming the beautiful glance of the sea. When I returned to Belgium and saw it on the news I was shocked and felt very naive.
This project shows a red bubble when sound emerges. The sound represents the impact we have on our surroundings even though it isn't always visible. The red bubble of the projection refers to the sky that turned deep red in Indonesia. With this piece I've made an invisible action visible.
The blue colored background is based on the beautiful glance of the sea which I filmed in Indonesia and what refers to the beautiful balance of untouched nature.
"How can I reveal our improvident and unconscious human behaviour with an interactive installation?"
" The language of light reaches everyday audience. All of us are touched by it. Non of us can hold it. In the theater we get to start in a dark room, devoid by light. We scenographers try to find new ways to sculpt and carve light. We search for words for things we that we no longer need to say." "Our work endures in the memories, in synaptic sculptures, in the minds of those who where once present."
- Es Devlin, TedTalk 2019
synesthesia - seeing sound in the mind
"Our eyes are flooted by the brightness of the sun lightning the atmosphere and we can not see through it to see the stars that are there. Light illuminates but can also obscure."
- James Turrell, a retrospective p.100
"It's a way of framing the landscape. Now I don't see much sky, water and rocks, so it frames the world and makes it a very different thing when it's carved. I always think that it's about the place between building and land that is really the object . Like in music, the rest in music are as important as the notes."
- Extraordinary homes, two hulls: by Mackay- Lyons Sweetapple Architects
"At once scientific and aesthetic, Nicolai's projects cross the divide between sound and vision through presentations that are directly physical, publicly accesible and manifestly sensual."
- Autopilot, Nicolai Carsten p. 16
sound - installation - interactive - light - immersion
Cymatics = the study of visible sound and vibration, a subset of modal phenomena...
"Alexander Lauterwasser's book focused on creating detailed visual analogues of natural patterns ranging from distribution of spots on leopard to the geometric patterns found in plants and flowers, to the shape of jellyfish and the intricate pattern found on the shell of a tortoise."