An explanation of my process working with electromagnetic frequencies and modular synthesis.
Acoustic Radiator is a site-specific sound installation created for Radio Revolten International Radio Art Festival in Halle, Germany in September-October 2016. The building in which it is housed was abandoned for 15 years prior to the festival occupying it for – installation spaces, a radio station, offices and a performance space. The installation uses a high frequency RF receiver to receive the packets sent from a wifi router, and translates them into audible sound. These fast tapping packet rhythms are used as a clock, and sent to a modular synthesizer. The synthesizer subdivides the rhythms, and sends them to three modified speakers that vibrate a door, two radiators found in the building, and a subwoofer also buried under a pile of radiators. The lighting used in the installation was also found in a discarded pile in the building.
Electrosmog is concerned with themes of electromagnetism and material processes which sonify inaudible events. Using an electrosmog high frequency receiver to capture sounds produced by mobile phones, wireless phones, wifi, microwaves, and other electronic devices (between 800 MHz – 2.5 GHz).
Caterpillar Rhythms - research funding from the Canada Council for the Arts that involved listening to the sounds of insects that have been recorded in the Neuroethology Lab at Carleton University in Ottawa. This Lab is used to study and record the acoustics of insects, and focuses on the acoustics of caterpillars, bark beetles, and butterfly hearing. I’m interested in amplifying and enlarging sounds that are unheard or taken for granted, and the use of insect sounds is an extension of this approach to working with sound This work allowed me to investigate the implications of this hidden world of insect communication, and how they communicate through microscopic scrapes and rhythms.
Ghost Station is a site specific sound installation created for Nuit Blanche, Toronto. Lower Bay Station, which had been out of use since 1968 (Toronto’s ghost station) was used as a vessel to contain sounds that are within and below the threshold of human hearing – infrasound and tactile sound – where sound is felt rather than heard. Low frequencies created by cars and subways are contributors to the cacophony of infrasonic noise that exists deep below the rumbling of the city. These tactile sounds have also been associated with paranormal activity and ghost sightings.
Transduction – A collaboration with Dorion Berg.
In this installation, a group of eight identical sculptures combine cannibalized pieces of outdated household electronics with drumskins & water. The sculptures act as bodies into which are fed electronic sound signals which they then transduce in different ways. There are three main points of transduction: One, sound signal being fed directly into computer monitors, which produce different flashing patterns depending on sound intensity and frequency. Two, sound signal being fed into speakers at the apex of the sculptures, producing audible sound. Three, sound vibration traveling from the speakers along wire attached to a clear plastic drumskin filled with water, causing patterns of vibration on the surface of the water. The drumskins of water sit directly above the strobing monitor so that, when viewed from above, patterns on the monitor are modulated by patterns in the water.