HOUSE CALLS – thrum shakes tenfifteen maple
words/images/recordings by Brendan Yandt
Open to the public February 6-8, the work centres around two ubiquitous late 20th century domestic devices – the microwave and the cordless phone; and also their 21st century counterpart, the Wi-Fi router. All three operate at 2.4 gigahertz, a standardized broadcast range that each device transmits on with its own distinctive pulse and rhythm. Roos has orchestrated the signals into a sonic experience that overtakes the field house – made possible by its removed park location, a high frequency analyser, and the artist’s own technical tools and abilities. Read more
Someplaces: Radio Art, Transmission Ecology and Chicago’s Radius
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. Read more
By: tiina liimu
With a representation from harsh noise, drone, DIY, free jazz, noise punk and to the unexplainable, this event has been the host to some of the most dedicated locals and performers, aerosol constellations, The Rita, Worker, Kristen Roos, Giorgio Magnanesi, Prophecy Sun, Totems, Italian Husbands, Magneticring, Whip of The UFO, No 213, Winters In Osaka, Rusulka, Mass Marriage and many others. Read more
Destroy Vancouver III – VIVO MEDIA ARTS CENTRE; OCTOBER 25, 2012
By: Dan Adleman
Kristen Roos’ droning, vibratory atmosphere probed the thresholds between meaningful signals and vaporous, but never vapid, distortion. Read more
The Art is to Make the Sofa Hum
By: Lucy Hyslop
Two black sofas vibrating in the lobby of an art gallery. Though subtle at first, the low- frequency thrum is almost like listening to a lullaby. That is, until an escalating quiver suddenly surprises the people sitting on it. What is that sound? Is it emanating from some machine close by? For Kristen Roos, such reactions are music to his ears. The Canadian artist is obsessed with the resonance of these deep sound waves. Read more
Profile – Musicworks
By: David Dacks
Every musician in the world produces invisible waves when making music—such is the nature of sound. Relatively few musicians, however, are concerned with those waves once they are absorbed and processed by the auditory system of the listener. Kristen Roos is an artist who exploits the power of invisible radio waves and ultra-low sound waves to create much richer listening experiences. What intrigues him is the ability of these waves to add and subtract layers of percep- tion to an observer’s experience of his or her surroundings. (PDF of full article here)
A Marriage of Voice and Processing
By: Marc Weidenbaum
It’s not a battle, per se. The two forces at work on the album Hex tend to feel like they’re seeking balance, even if it’s more often the case that one or the other takes clear prominence. These forces are the voice of Prophecy Sun and the electronic processing of Kristen Roos. Together the duo record as Spell, which isn’t an inappropriate name for an act that offers a fair amount of enchantment. Hex‘s first and third tracks, in particular, serve up a mysterious, haunting effect. And those, perhaps not surprisingly, are the ones where the vocals don’t so much take a back seat to the equipment as give themselves over to it, in “Forest” allowing for vowels to emerge slowly from a harsh thicket of white noise, and in “Fading Away” achieving a patina of madrigal-like antiquity.
Spell casts a shamanistic Hex
For his sound installation, Roos set up several powered subwoofers in the train cars and tactile transducers, which vibrated pieces of metal above (hidden in the ceiling tiles) creating a powerful atmosphere with deep, booming and ambient sound. Read more
For one night, the market retreats
This year’s Nuit Blanche will be equally spread out and focused on the city. Among the 275 odd projects included in the event is Kristen Roos’ Ghost Station, a sound installation in the unused Lower Bay subway station.
It will be used, the Vancouver artist explains, “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. Read more
TTC Media Advisory
The TTC’s “ghost” station, Bay Lower, will host an interesting art exhibit during the 2nd annual Scotiabank Nuit Blanche event, which will be held during the evening of Saturday, September 29th until the early morning hours of Sunday, September 30th.
British Columbia based artist Kristen Roos will present his exhibit, The Ghost Station.
Bay Lower Station will be 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. Read more
By: Sarah Smellie
“You can’t really close your ears,” points out Kristen Roos, whose upcoming installation at the Eastern Edge Gallery, called Micro Radio, has a few ears perked with interest. He is interested in the sonic montage we are perpetually and unconsciously creating from the ambient noise surrounding us. Read more
Espace public en otage
Le projet de Roos, c’est de “créer un environnement acoustique, une sculpture sonore, en procédant par collage de sons qui ont été recueillis dans le quartier Saint-Roch pendant les dernières semaines. Je voulais expérimenter la radio. Je voulais que chaque personne reçoive un message unique. Puisque j’ai capté des sons avec lesquels sont familiers les habitants de Saint-Roch, chaque son va être reçu différemment, selon les expériences personnelles de chacun”. En tout, c’est une heure d’enregistrement sonore qu’il a et qu’il diffuse (jusqu’à samedi) en boucle sur les ondes radio (97,5 FM), de 7h à 23h. On peut aussi voir son installation, son poste d’émission – un transmetteur radio à basse puissance – à la Chambre blanche. Une antenne a même été installée à cet effet sur le toit de l’édifice. Read More