2012: 0.1 GHz – 2.5 GHz

soundthink performance
The performance I’m calling 0.1 – 2.5 GHz uses sounds produced by Bluetooth data transfer, mobile phones, wireless phones, wifi, microwaves and other electronic devices (between 0.1 – 2.5 GHz).

The live performance uses a radio transmitter to transmit the sounds to several radios around the audience, and the sound system at the venue.

12wtx


The sound is split between:

  • the high and mid range : being  sent to a 12 watt radio transmitter, and received on several radios around the audience. The radios are carried around and placed, and turned on and off during the performance.
  • The low frequencies : amplified through the main sound system at the venue.

The sound can get very small and quiet as it is emitted from only one hand held radio, and grow to a large drone as it is received on all of the radios and the sound system at once. The highs are noisey, but don’t delve into the territory of harsh noise, and if there are substantial subs the low end will be felt by the audience. The entire piece comes together as it peaks into a complex, glitchy drone.

 

Here is a recording of sounds collected from the Surrey Art Gallery for a performance in the fall of 2012:

 

Performances have taken place at the Surrey Art Gallery Sound Symposium, Destroy Vancouver, and noise=noise, London, UK.

Kristen Roos | @ Vivo Media Arts Centre | Destroy Vancouver III

performance at Destroy Vancouver

 

words on performances of  0.1 GHz – 2.5 GHz :

“Kristen Roos’ droning, vibratory atmosphere probed the thresholds between meaningful signals and vaporous, but never vapid, distortion.”

- Dan Adleman, Discorder Magazine

“In my selection of presenters, I’ve tried to be balanced in terms of how they engage with electromagnetism.  In some ways, artists like Carrie Bodle, Peter Courtemanche and Kristen Roos are very close to the factual, materialist, and scientific ‘naive realist’ aspect of electromagnetism, in that their work is very much connected to the use and display of material processes in generating the work, (they use material processes to sonify invisible and inaudible events) but their work also treats both art and science as ways of mediating nature, as anthropocentric modes of representing a more fundamental reality beyond our grasp.  Their work seems to implicitly make science an art, and art a science. Additionally, electromagnetism becomes a kind of medium used to create immersive, spatiotemporal sound installations and performances.  There is a phenomenological exploration of the senses that is characteristic of their works as well, which exists alongside their other concerns.”

-Ross Birdwise, curator

Snap, Crackle, Hum: Electromagnetism, Sound and Audio Art