Fleeting Components Ep. 3- Kristen Roos’ Electrosmog
Fleeting Components is a micro doc series following the experimental radio broadcasting platform, RADIUS through it’s year long series, GRIDS. The GRIDS series consists of four mobile commissioned radio broadcasts at four different Chicago geographical locations throughout the 2014 calendar year.
Radius Ep 54 – theradius.us/grids
Electrosmog is concerned with themes of electromagnetism and material processes which sonify inaudible events. Using an electrosmog high frequency receiver, Roos captures sounds produced by mobile phones, wireless phones, wifi, microwaves, and other electronic devices (between 800 MHz – 2.5 GHz). Important to electrosmog is that wifi operates on the same frequency as a microwave oven (2.4GHz), and when modulated into audible frequencies, wifi sounds like pops and clicks and a microwave creates a deep drone.
Cross Waves is a Canadian Sound Art series that includes performances and internet radio programs curated by eight media artists representing various regional and cultural perspectives in Canada. This edition is curated by Anna Friz. Friz’s radio and performance program “Material Sounds” explores the materiality of sound, and artists who collaborate with every day devices to reveal audible but unstable systems of sound and signal.
Featuring work by Kristen Roos, Nancy Tobin, The User (Emmanuel Emmanuel Madan, Thomas McIntosh), Andrea Jane Cornell, Peter Peter Courtemanche, Music for Lamps (Adam Basanta, Max Stein, Julian Stein), and Gambletron. Read more here
As part of a recent yearly theme on “Grids” Radius tackled the electro-magnetic field space of the city by inviting four artists to create new works to be performed near power stations. In his piece electrosmog, Canadian artist Kristen Roos utilized a high frequency receiver to sonify signal activity in the 800 MHz – 2.5 GHz range, which includes mobile phones, wireless phones, wifi, and microwaves. His site-specific performance took place overlooking the Fisk Generating Station in Chicago, and included microwave ovens and micro-watt transmission to a sound system made of radio receivers. Thus the work was site-specific to both the transmission ecology of urban Chicago and the field effects of the electrical grid, mixing material signals with a speculative approach as to what the cumulative effects of living in this built environment characterized by centralized power could be. In Roos’ work, radio space contextualized and revealed the real–though naturalized and often invisible–relationships between people, things, and systems, where a microwave oven gestured at both danger and musicality.
– Anna Friz (read the full article here)
Electrosmog is concerned with themes of electromagnetism and material processes which sonify inaudible events. Using an electrosmog high frequency receiver, Roos captures sounds produced by mobile phones, wireless phones, wifi, microwaves, and other electronic devices (between 800 MHz – 2.5 GHz). Important to Roos’ electrosmog is that wifi operates on the same frequency as a microwave oven (2.4GHz), and when modulated into audible frequencies, wifi sounds like pops and clicks and a microwave creates a deep drone.
The inclusion of the Fisk Generating Station as a site-specific element in electrosmog speaks to the emergence of site-specific sound and radio art. In acknowledging the spaces that Roos creates within, he uses them as an aural palette of sorts. Our everyday lives consist of mixing and creating sound collage and microscopic sound sculptures — largely because sound is constantly entering and vibrating our bodies. With the addition of wifi and other inaudible high frequencies, we are also being confronted by another world of frequencies.
Will the electrosmog created by our North American obsession with wireless devices be looked at in the same way we turn our noses at burning coal and the coal smog that once filled our cities to create power? Roos’ electrosmog explores what the electrosmog equivalent would be to the shutting down of the Fisk Generating Station. Conversely, the work ponders whether we are, in fact, heading down a road that sees an increase in coal power plants and a disregard for all forms of smog. Would this be a place where inaudible radiating pops and clicks of information float in and out of fog as thick as pea soup?
LE LIEU – CENTRE EN ART ACTUEL : Quebec City
solo sound installation: vernissage: may 16th
Trans X – Transmission Art Symposium: Toronto
performance with Anna Friz May 19th
Sounds collected from the Surrey Art Gallery in 2012 were used in a performance at the Surrey Art Gallery Sound Symposium, Destroy Vancouver, and The Klinker at noise=noise, London, UK. The performance involves using a radio transmitter to transmit the sounds to several radios around the audience, and using the sound system at the venue primarily for low frequencies. I’m interested in touring this and looking for dates in the near future.
VIVO VIDEO BAR: Winter Social
February 24, 2012 – 8:00pm – February 25, 2012 – 12:00am
Ambient social. Last Friday of the month. Free.
facebook event: https://www.facebook.com/events/364733666879587/
connect_icut | http://connect-icut.com/
Sparse improvisations on a virtual Fender Rhodes, sampled live and arranged using custom-built generative music software. Dreamy and disorientating, if all goes to plan.
loscil | www.loscil.ca
This incarnation of Scott Morgan’s loscil project features remixes of past works and premiers of new creations with live, improvised accompaniment by long time collaborator, Jason Zumpano on Rhodes piano. With a penchant for slow moving, low level, nearly static compositions, loscil carves out a soundtrack for hidden worlds and creates a listening space dually suited to deep listening or purely subconscious absorption.
Kristen Roos | www.kristenroos.com
Kristen’s live performance will involve using his voice and small percussive instruments manipulated with looping, delay, pitch and filtering pedals, to create a kind of psychedelic wallpaper, as background music for conversation at the bar.
Fieldhead | www.fieldheadmusic.com
Fieldhead produces ambient/electronic music that delights in tape hiss, geography, bleak landscapes and decaying analogue loops.
Emma Hendrix is a sound designer and installation artist who uses improvisation as a means to building textural sound compositions.