KICK 1 & 2 uses the drum machine ‘kick' to explore iterative sculptural forms in space when played on stereo speakers. The source sound, a staple of electronic dance music, is detached from its usual framework to become an introspective physical object, interacting and expanding within the listener’s environs through the effects of concurrence of two or more sound events.
Jamie Drouin - 12 Sections for DF (2015)
Jamie Drouin’s TWELVE SECTIONS FOR DF uses two identical high frequency sine tones in the left & right speakers with variable oscillation rates to create twelve distinct sculptural ‘shapes’ through their shifting relationship. The combination of high frequencies, and relatively low overall volume, places these shapes just on the edge of perception. Even during passages of complete silence the latent effect of the pitches still colour the listening experience. CAUTION: for your hearing protection, play at average to low volume on speakers only.
Jamie Drouin - Two Works for White Noise (2014)
These two minimalist audio works reveal unique perceptual and sculptural experiences of white noise using simple, but formal procedures. In BLINDS 1, an identical monaural white noise is placed in the left and right speaker. During the course of the composition, the proportion of the white noise uniformally extends in the left speaker, and shortens in the right speaker. This not only creates the effect of left-right panning, but also the perception of complex groupings of the events, in contrast to the regularity of the composition. The original concept was two pieces of semi-translucent paper moving across each other, beginning as two, and then merging along the overlapping edges. GRADIENT 1 again places identical monaural white noises in each speaker, along with a basic EQ filter which systematically opens up to reveal lower frequencies over the first 20 minutes, and then switches roles to slowly remove higher frequencies over the second half. The white noise takes on various perceptual shifts and spatial associations through a gradual process of sonic addition and subtraction. These works are specifically designed for playback on two speakers positioned at an equal distance from the listener’s head.
Jamie Drouin - The Island (2014)
A 40 minute composition examining the sonic and environmental pollution on Sarichef, a small (12 km2) inhabited barrier island located along the Chukchi Sea in Northwest Alaska. By combining various types of microphones and sensors, THE ISLAND becomes a sensory-extended portrait of a fragile ecosystem under radical transformation from both natural and human intervention. In 2010 and 2011, I travelled to the remote island of Sarichef , located in Northwest Alaska, to collect recordings for a sound installation. The island had already been the focus of several news stories on its rapidly eroding shoreline, due to the increasingly higher annual temperatures and sea levels, melting permafrost, and more intense storms. My installation Perimeter:Sarichef was created as a sonic ‘time capsule’ of the island’s receding perimeter. This new work, entitled The Island, attempts to present another complex layer in the portrait of this fragile island, it’s extensive environmental and sonic pollution, something which stood in stark contrast to what I had expected based on my initial research, but was ever-present during my recording process. Sarichef’s isolation, combined with importing consumer goods has resulted in a large community landfill that burns through the year, the constant deep resonant hum of 3-wheel recreational vehicles and generators, and rivulets of oily runoff which stain the coastline. The Island is a composition filled with sudden shifts in perception. The listener moves from a pastoral waterscape to the combined low frequency sounds of ocean waves and electrical generators, to buffeting wind mixed with the static crackle of burning waste. The Island creates a highly textural collage where the edges of natural and unnatural sounds bleed together to become another type of landscape experience. At the end of the composition we hear what sounds like radio static, but is actually the island in the process of disintegrating, as the permafrost breaks down, creating an audible hissing vacuum between the sand particles.
Zooplankton and Phytoplankton are organisms which drift in the oceans, seas and bodies of fresh water. The word ‘zooplankton’ is derived from the Greek zoon (ζῴον), meaning ‘animal’, phyto is derived from the Greek words φυτόν (phyton), meaning plant and planktos (πλαγκτός), meaning wanderer or drifter. Mammals, fish and crustaceans feed on zooplankton and they in turn feed on phytoplankton. Phytoplankton need two things for photosynthesis and thus their survival: energy from the sun and nutrients from the water. In the process of photosynthesis, phytoplankton release oxygen into the water. Half of the world's oxygen is produced by phytoplankton photosynthesis. Local abundance varies horizontally in the water column, vertically with ocean drifts and seasonally with the light. The Wanderer is a sound composition created from hydrophone recordings from the realm of these creatures in the Atlantic Ocean, made by Jana on her travels from the North Pole to the Equator. The Wanderer was produced for the Lorch Schive Art Prize, Trondheim Kunstmuseum in 2015.
Jana Winderen - Evaporation (2015)
Evaporation is an archive collection of installation works. The pieces have been decoded and mixed to stereo from their multi-channels sources (where applicable).
Jana Winderen - Out of Range (2014)
"Out of Range" is an audio work based on ultrasound and echolocation used by bats, dolphins and other creatures who operate beyond the range of human hearing - 'seeing' with sound, or perhaps 'hearing' objects. All sound is invisible; ultrasound is inaudible. Of course, many species have a greater range of hearing than us humans and also more specific and specialised with complex combinations of the different senses… Creatures on both land and under water produce and/or perceive very high sound frequencies. Some species of insects, birds, fish, and mammals can emit and hear ultrasound, used for communications, hunting and orientation. These creatures operate on a different level of perception to us, in an inaudible range above 20kHz... Many animals also use the acoustic properties of a space; a bat for example can use the echo from a tower block wall to amplify their calls for mates in the autumn; a toadfish uses the shape of a cave to amplify their calls to protect their habitat. Whales use the different acoustic properties at different depths in the ocean at different pressure levels to send their long distance calls. An astonishing fact about moths is that they have a reflex action with their wings to shut down when they hear the bat echolocation calls… That we reckon that this is so astonishing says something about us…. The mix for the piece is based on ultrasound, hydrophone recordings below the water and also of echolocation sound within audible range. The recordings were made in various locations in Central Park and East River in New York, USA, a forest outside Kaliningrad in Russia, Regents Park in London, UK, and various locations in Madeira, Norway, Denmark and Sweden. The ultrasound is time-stretched to bring it into a frequency range audible for human beings.
Jana Winderen - Débris (2012)
Scuttling Around in the Shallows is from the quadrophonic installation of the same name showed at Galerie B-312, Montreal, Canada 8th January - 5th February 2011. Drying Out in the Sun is from a four-speaker outdoor public installation at "Starfield Simulation #36", Scaniaparken in Malmö, Sweden, 4th September - 2nd October 2011.
Jana Winderen - Energy Field (2010)
Armed with four 8011 DPA hydrophones, DPA 4060 omni mics, a Telinga parabolic reflector mic and and a Sound Devices 744T digital hard disk recorder, Jana Winderen studies and records wild places which have a particular importance in our understanding of the complexity and fragility of marine ecosystems. The recordings were made on field trips to the Barents Sea (north of Norway and Russia), Greenland and Norway, deep in crevasses of glaciers, in fjords and in the open ocean. These elements are then edited and layered into a powerful descriptive soundscape. The open spaces of Greenland, northern winds, ravens and dogs in an icy landscape provide the setting for these haunting but dynamic pieces. Sounds of crustaceans, fish such as cod, haddock, herring and pollock recorded as they are hunting, calling for a mate or orientating themselves in their environment, are all included in the mix. The result is a powerful, mesmeric journey into the unseen audio world of the frozen north.
Jana Winderen - The Noisiest Guys on the Planet (2009)
Jana Winderen writes: “An ongoing investigation into the use and production of sound by decapods... When a recording is made underwater, you will definitely hear the crackling noise of what might be a creature from the order of Decapods. When recording on the coast of Norway, for example, this sound is what you are very likely to hear as soon as the ferries and motorboats have parked for the night. They seem to be everywhere, whoever it is making this sound. When you go for a swim and listen underwater you can even hear them. But who are they?
The pistol shrimp, or snapping shrimp, make this kind of sound, but they are not found in waters as far north as the Norwegian coast. In Thailand the same sounds can be heard in the freshwater River Ping.To get more of an understanding of this phenomenon, I called various Professors of Marine Biology in Norway who specialise in shrimp. I asked whether they knew what kind of shrimp it could be making these sounds. One of them sent a question to his world-wide shrimp network because he did not know that shrimp made these sounds. The replies came that the sounds are probably produced when they are feeding. I know that pistol shrimp make sounds when they snap they claws to paralyse their prey, but do others in the same family do the same? No one seemes to know. Underwater there is very little known about the soundscapes created by living creatures, and few understand the details of variations between the various grunts, knocking sounds and rumbling sounds that cod, haddock, pollock, other fish and crustaceas produce, and how they experience and orientate themselves through the use of sound.”
Marielle V Jakobsons - On Land and Meridian (2010) Marc Kate -Lavender Languished (Marc Kate Remix) (2016)
From Marc Kate:
"I think we’re far beyond the point of thinking that “remix” is a prescriptive term. Though after decades of remixing, it still implies that a track is shifted from one micro genre of music to another. One set of beats and synths are swapped out for another set. That’s the market function of a remix – to widen the appeal and sales possibilities of the original material by discarding the very idea of “original”. But I find that remixes are far more interesting when they are a “reimagining”. I’d rather hear and create a remix that views the original from a different perspective. A sort of audio Rashomon.
However, my approach here was very simple. I love Lavender’s album “Horizons Beneath the Surface”, and in particular, the track “Languished”. Finding myself replaying the album all day, I thought I would dilate it, rather than reprise it. Rather than stretch the work though, I pulled it open from the inside, examined the details, like a slow, lingering autopsy of the original. Not as cold and macabre, but just as lingering and unflinching."