My work investigates perception – and listening in particular – as an active, participatory, multi-modal activity which is distributed throughout a variety of human and non-human agencies. By interrogating points of intersection between the conceptual and sensorial, the psychological and psychophysical, as well as conscious, bodily and mechanical dimensions of the listening experience, I aim to draw the viewer’s awareness towards undiscovered facets of their own listening. In my recent work, I exclusively use objects from the world of commercial sound reproduction technologies. Disrupting their technical and economic functions, thus nullifying their potential as instruments of mass communication, these objects are transformed into sculptural sound- producing centerpieces. Through the use and subtle perversion of communication technologies, I aim to reveal their material agencies as prosthetic technologies-of-listening, while in turn allow reflection on the material agency of our own bodily "technologies" of listening. Arranging these objects into three-dimensional reconfigured listening situations, I create spaces for aesthetic and conceptual contemplation of sound, listening, sonic technologies, and the manners in which these elements are at constant interplay.
The Creative Audio Archive (CAA) is a Chicago based center for the preservation and investigation of innovative and experimental sonic arts and music. CAA is an initiative of the Experimental Sound Studio (ESS), formed in response to growing concerns over the general state of historical preservation of non-mainstream audio, in particular, recordings, print, and visual ephemera related to avant-garde and exploratory sound and music of the last five decades.
My varied artistic approaches to sound includes the generation, recording and production of works through techniques that range from the construction of original instrument devices and installations, to the capture of acoustic phenomenon through environmental field recordings to digital multi-tracking and manipulation. The resulting compositions are often studies in extended evolutionary permutations of a selected set of sound sources. These sources can concentrate on different properties of sound instigation and emanation that can range from the textural animation of inanimate objects or an open-air mechanical noise field to overtone resonances from a set of wires stretched across a room.
Christian Fennesz (born 25 December 1962) is an Austrian guitarist active in electronic music, often credited on recordings simply as Fennesz. Fennesz uses guitar and notebook computers to make multilayered compositions that blend melody and treated samples with glitch-influenced sounds and washes of white noise. He lives and works in Vienna, Austria.
Richard Skelton is a British musician. Following the death of his wife Louise in 2004, he began to make music as a way of coming to terms with the tragedy. His music, which uses a number of instruments – principally guitar and violin, has been compared with that of Arvo Pärt among others. His recordings explicitly reference places of emotional resonance, specifically the West Pennine Moors, and the area around the sparsely populated parish of Anglezarke. His album Landings has been compared with Brian Eno's Ambient 4: On Land in its evocation of place and memory. Skelton even goes so far as to include artefacts, such as twigs and alder catkins, from significant places in the packaging of his releases.
Thomas Köner (born 1965 in Bochum, Germany) is a multimedia artist whose main interest lies in combining visual and auditory experiences. He's been noted for his use of low frequencies. The BBC, in a review of Köner's work in 1997, calls him a "media artist," one who works between installation, sound art, ambient music and as one half of Porter Ricks dub techno.