Sound designed by me, visuals by Peter Ng.
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Shots from our final showcase:
(photos by Peter Ng)







Muskan models off the ayuverdic herbal wrap she made as part of the spa experience:


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Kelly Chen (F, 35) Los Angeles, US Immortal since Mar 29, 2007 Uplinks: 0, Generation 1 ![]() |
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From kbug FINAL SOUND |
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From petergng Animated Sequences |
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From kbug The Animatrix -... |
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From kbug Entertainment | Gaming |
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"Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating." - John Cage, 1937
"As a visually oriented culture our essential responses to the everyday world are semantic. Everyday sounds are regarded as not having semantic significance (noise). Noise pollution (with the exception of sounds that are dangerously loud (close proximity to a jet aircraft or heavy machinery) can be explained as a semantic problem. Because sounds must be semanticized in order to be meaningful, our main aural concerns as a culture have been language and music.
[...]The world of everyday sound is full of semantic ambiguity. Most people approach this experience without recognizing patterns in everyday sound. Noise is the resulting interpretation given to the normal experience of unsemanticized sounds. The semantic ambiguity of sound will change when society develops a capacity to perceive patterns or qualities that are recognizable as part of a context of meaning, such as the sound vocabularies of contemporary music and acoustic art.
The problem of noise has developed historically from an accumulation of bad designs caused by a lack of thinking about the acoustical by products of everything that happens in the human environment. Noise pollution is a circular problem: people don't pay attention to the sounds they hear and live with everyday and therefore it is not a part of the design of anything to consider the acoustical consequences. This problem is a self-perpetuating cultural blind(deaf) spot on the collective consciousness."
"Space colonization is, at its core, a real estate business. The value of real estate is determined by many things, including 'the view.' " - excerpt from Orbital Space Colonies by Al Globus
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LANDSCAPE SOUNDINGS, was commisssioned by the Vienna Festival, in cooperation with the Austrian State Radio Company and the Kunsthistorisches and Naturhistorisches Museums.
This was a large-scale sculptural installation realized in the plaza situated between the Kunsthistorisches and Naturhistorisches museums in the center of Vienna. It translated the architectural theme of art and nature represented by the parallel facing museums into an acoustic transformation of this formal urban garden by overlaying the sensuous live sounds of an existing ancient Danube wetland.
"Sound Island" was installed at the Arc de Triomphe, in which the live sound of the sea from Normandy was broadcast to 48 loudspeakers hidden on the facade of the monument, creating the illusion that the cars circling the place de l'Etoile were silent. The Arc de Triomphe is an island at the center of an immense traffic circle. It is an urban architectural island not because it is surrounded by water, but by a sea of cars. The constant flow of hundreds of encircling cars are the dominant visual and aural experience one has when standing under the towering monument, looking out at Paris. This sound sculpture explored the transformation of the visual and aural experience of traffic. Live natural white sounds of the sea from the Normandy coast were transmitted to loudspeakers installed on the facade of the monument. The presence of the breaking and crashing waves created the illusion that the cars were silent. This was accomplished in contradiction to the visual aspects of the situation. The sound of the sea is natural white sound, and has the psycho-acoustic ability to mask other sounds, not by virtue of being louder, but because of the sheer harmonic complexity of the sea sound.
Since the end of World War II, the church of St. kolumba has been a ruin, inhabited by thousands of pigeons. "Pigeon Soundings" is an 8 channel sound map of the acoustic life and movements of these pigeons in St. Kolumba; where they nest along the top of the west wall, and fly back and forth across a large rectangular open gap, to the top of a parallel roof surface, that diagonally slants downward across the remainder of the ruin.
This sound map is an 8 channel real time recording of the movements and voices of pigeons in the ruin. Eight microphones were mounted in two parallel groups of four that were placed along the two sides of the rectangular space. The resulting recordings mapped out the movements and overlapping sound fields of the pigeons behavior and flights within the space.
In the future, when the new museum is built, it will no longer be a nesting site for pigeons. These 8 channel recordings will be played from a sculptural installation of 8 loudspeakers that are placed in the same spatial positions as the microphones, becoming an acoustic evocation of this 50 year period in between being a functioning church and a museum for the next century.
This ruin being taken over by pigeons may at first give the impression of decay and death. It is certainly nature's way of reclaiming what had gone out human control. In this 50 year span of pigeons sounding in the ruin, many timeless generations of pigeons came and went. In this passage of nameless birds, the space was returned to a pure state of timelessness, where all of its soundings were supposed to be unheard. These pigeon soundings became the space dreaming to itself, returning to a primal state that lay in the realm of new beginnings.
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