ANYWHERE ALL THE TIME, A PERMANENT SOUNDTRACK TO YOUR LIFE
android application / listening walk
Sound Studies Master Austellung, Kühlhaus, Berlin, 2015
Kongress der Möglichkeiten, Kunstraum, Bethanian, Berlin, 2015
Shedsound, Experimentelle Klangkunstreihe, Shedhalle, Tübingen, 2015
Liquid Architecture Festival, The Channel, Arts Centre, Melbourne and
First Draft, Sydney, 2015
An application for android devices that sonifies wireless WI-FI and GPS networks, providing a sonic presence to phenomena that usually lies beyond human perception. Intersecting with the social, technological and political convergences within contemporary, mobile society – one walks through the city intercepting these wireless global infrastructures, the sonification of which, creates a compositional mapping within our everyday environments.
Portable smart devices, by the very characteristics that determine their success, also make them particularly suitable as surveillance devices. Wi-fi technology, cell phone towers and locative media provide specific geo-reference to material territories so that it becomes possible to quite literally ‘follow the actor’.
By providing a direct sensory experience of data through sound I’m interested in how it feels to live in a culture where our public space is mediated by technological infrastructure that simultaneously empowers via communication and compromises via mass surveillance. Do our smart devices operate primarily as bridges or walls?
ANYWHERE ALL THE TIME, A PERMANENT SOUNDTRACK TO YOUR LIFE - Walking down the main street of Reykjavík, Iceland
SOUND SELFIE - encrypt your identity in sound
computer / face osc freeware / max patch / usb armbands
West Space, Melbourne, September 2015
Technology and Protest Conference, Technical University, Berlin, 2014
Stationed at the Technology & Protest Conference at the Technical University, Berlin & again at West Space gallery in Melbourne - I provided participants with the opportunity to make their personal Sound Selfie. Looking into the camera on my laptop, facial recognition algorithms detected and analysed conference / gallery attendees’ faces, and the individual facial data generated sound. Exploring modes of participatory surveillance as well as making a parallel action to the usual chain of events for the Selfie, the Sound Selfies were instantly uploaded and archived to a Facebook page.
Investigating how the surveillance of identity can lead to a biological reductionism, I programmed a basic form of digital synthesis (FM synthesis) to emphasise the reductive process of digitally encoding the face into a few basic measurements. By taking measurements at regular intervals and storing them as numbers, digital (binary) encodes by marking thresholds of absolute distinction. The gap between two thresholds is a range of quality, but digitisation imposes a uniform value on this range thereby erasing difference. Digital excludes excess, singularity and uniqueness in favour of static fixed forms. I’m interested in what this means when our identities, choices, and personalities are transformed into streams of data under the algorithmic gaze.
*Facial recognition technologies (FRT) use mathematical algorithms to create a digital template of a person’s face. FRT when employed as a surveillance technology requires no involvement from the person that is being surveyed or incidentally captured by camera. Unlike other biometrics FRT can operate anonymously in the background. People do not need to surrender their face image as they would their fingerprint or their iris scan. A face can be captured and (de)coded without the person’s consent or active participation. FRT is therefore considered to be a ‘silent technology’.
site specific audio visual installation
35 cardboard boxes / video projector / ghetto blaster
Protolab, Kleinmanchnow, Germany. 22.02.2014
Collaboration with Ilan Katin
By treating mundane cardboard boxes aesthetically, rather than for their intended functional purpose, we aimed to invoke a sensual experience and appreciation, that all objects have a life beyond our immediate and static perception of them.
Expanding beyond the rectangular screen, through the illumination of mundane objects, a reshaping of materiality takes place. The projected image, no longer restricted to the conventional frame, allows for the minds eye to become the frame, creating a link between cinema, animation and sculpture. The soundtrack was made entirely from recordings of cardboard boxes being ripped, tapped, cut up, punched caressed, and provides a voice for these inanimate objects.