Immersive soundscapes compare today's urban cacophony to the island Henry Hudson encountered in 1609. History unearths wonder in the green heart of New York.
Bill Fontana (born April 25, 1947 in Cleveland, Ohio) is known internationally for his pioneering experiments in sound art
Yorgo Alexopoulos is a New York-based artist best known for combining a variety of media into immersive fine art installations and artworks. He makes works of art by fusing his own paintings, drawings, photographs, and films with digital animation and sound. He often creates his artworks by combining and synchronizing multiple monitors or projections. Alexopoulos' artworks often touch upon transcendental themes.
Binaural recording is a method of recording sound that uses two microphones, arranged with the intent to create a 3-D stereo sound sensation for the listener of actually being in the room with the performers or instruments.
Signe Lidén (1981) is an artist based in Bergen. Her installations and performances examine man-made landscapes and their resonance. She is interested in how places and their histories resonate; in memory, through narratives and various materials, as ideological manifestations and political territories. Her work spans from sound installations, sculpture, video and performance to more documentary forms such as sound essays and archives.
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.