Sound Art Installations

A selection of stand-alone transducer-based installations will populate EMPAC’s interstitial areas. Visitors will have the opportunity to experience these evocative pieces as they run throughout the symposium’s duration.

Works

• Level 6 Mezzanine
• What is Your Emergency? (2024)
• KS Brewer
• Plastic, rubber, and silicone; bone conduction transducer, amplifier and audio player; metal conduit; paper on clipboard
• You see the face of the original CPR manikin, Resusci-Anne, mounted like a death mask—in plastic purgatory, she spends eternity helping you help you. She calls you to put your forehead against hers, and plug your ears. Just like that—now, you will be saved.
• Level 7 Main Lobby
• watershed (2023)
• John Eagle
• Transducers, contact microphones, PVC pipe, vinyl tube, plexiglass, aluminum foil, super absorbent polymers, water, wood, steel, glass bottles, plastic, salvaged metal, slate, water pump
• At the center of this water cycle, the path splits via a bell siphon mechanism and diverts some water across the surface of a sheet of aluminum foil, which is shaped by the changing water flow. This flow is further affected by super absorbent polymers (SAPs), which absorb water and gel together, thus adding weight and slowing the flow. An array of paired surface transducers and contact microphones suspended below the foil start feeding back when the foil becomes depressed above the contact mics, effectively closing the circuit. As the feedback increases, the sonic energy transferred through the transducers tends to increase the local flow of water as it pushes the water down the slope.
• Level 6 spine—EMPAC Concert Hall bridge
• Fenestra
• Jenn Grossman
• Five acrylic panels (18 x 32 in, 1/8th in thick), surface transducers, amplifiers
• Fenestra is a 5-channel spatial sound installation made with transparent acrylic panels and surface transducers. It references a connective tissue membrane of the inner ear, a transparent spot, and the Latin term for window. Tonal and found sounds move from panel to panel, like a sonic skin. The piece evokes the embodiment of looking and listening through physical surfaces; muting and resonating sound while drawing attention to the environment around it.
• Level 6 Mezzanine
• Women's Labor: Embedded Iron (2021)
• Jocelyn Ho, Margaret Schedel
• Embedded iron, ironing board, coat rack, miscellaneous textiles
• Embedded Iron is part of Women’s Labor, a feminist-activist project that repurposes domestic tools to become new musical instruments. Based on an early-20th century wooden ironing board and antique iron, Embedded Iron uses spectroscopy, ultrasonic, LIDAR sensors, and machine learning to see the color, feel the texture, and sense the position of any fabric, to play different timbres and pitches. Audio quotes from a 19th-century marriage manual are mapped to the ironing of a special white apron. Women's Labor is the winner of the 2021 International Alliance of Women in Music Ruth Anderson Prize.
• Level 6 Mezzanine
• We were away a year ago (2023)
• Kazuhiro Jo, Paul DeMarinis
• Turntable with customized coils
• We were away a year ago is a work in which sound is produced through the flow of electronic current in a coil, generated by the magnetization of magnetic ink on a thin film caused by a magnet. There is no physical contact between objects in this work.
• Level 5 spine—EMPAC Concert Hall bridge
• apterygota (2022)
• Pascal Lund-Jensen
• Sound installation with exciters
• The installation represents a community of beings whose individual and group dynamics are fluid and constantly evolving. These dynamics of group behavior are continuously changing. A scenario is presented in which some entities behave similarly, while others exhibit different patterns. Communication, conflict, and chaotic interactions unfold among the ground-dwelling insects, creating a continuous evolution of shape-shifting, evolving abilities and intuitive transformations.
• Level 5—EMPAC Theater Lobby
• Summerland (2019–20)
• Matthew Ostrowski
• 24 telegraph sounders
• Summerland explores the interconnections between the electromechanical technology of the telegraph and the spiritual technology of mediumship, closely linked throughout the infancy of the electrical era. It seizes from the ether the voices of two individuals at the tangled nexus of 19th-century information technology: Samuel Morse, the inventor of the telegraph, and medium Kate Fox, a founder of the Spiritualist movement. A generative computer system attempts to reproduce their words through taps and clicks, using 21st-century synthesis techniques applied to 19th-century technology. All sounds in the piece are derived from Morse’s writings and Fox’s mediumistic encounters with the dead inhabitants of the Summer Land, materializing their voices in an electromagnetic séance of digitized speech.
• Level 6
• Untitled 12 (2021)
• Marianthi Papalexandri
• Twine, mic stands, rosin, foam board, motor
• Papalexandri’s practice stretches basic principles of how sound is produced and how we explore resonances and sounds by suggesting a new paradigm, which can be thought of as programming with material. By awakening micro-sounds within materials through physical interactions like friction, the work creates minimal but rather complex organic sounds and textures. The sound installation proposes a refined and focused exploration of everyday materials and sounds, carefully shaped and placed at different distances, without any post-processing.