The SINE WAVE ORCHESTRA stay

YEAR

2017

TITLE

The SINE WAVE ORCHESTRA stay

format

installation

about

Each visitor is given a small device which can play a sine wave, chooses its frequency, and positions it at a location on one of the 49 spiral-shaped columns of copper wire that are arranged in a grid in the exhibition space. These sine waves remain audible for the rest of the exhibition period, which means that the sound field – starting with absolute silence at the beginning of the exhibition – gets increasingly complex with every single visitor’s contribution towards the end of the exhibition. It is thus a collective performance, creating a work that continues to change while revealing different sonic qualities depending on the listening point, and number and position of device being installed.

details

WSK Festival
Arete Theater, Manila, Phillipines
15 – 27 Oct 2019

Prix Ars Electronica Exhibition
OK Offenes Kulturhaus, Linz, Austria
5 – 15 Sep 2019

Vanishing Mesh
Yamaguchi Center for Arts and Media [YCAM]
18 Feb – 14 May 2017

Commissioned by Yamaguchi Center for Arts and Media [YCAM]

MEDIUM

ceiling structure, copper wires, AC/DC converters, circuit protectors and self made sine wave devices

Project

The SINE WAVE ORCHESTRA (SWO) is a project that works exclusively with sine waves that was launched in 2002 by Ken Furudate, Kazuhiro Jo, Daisuke Ishida and Mizuki Noguchi. ”The single sine waves, which the participants each play freely without a score or conductor, rise and intricately interfere with each other like thin strings, and ultimately create an ocean of sine waves.” Based on this image, the SWO presents works between and within performances, installations and workshops and invites the public to create a collective sound representation.

http://swo.jp

Prix Ars Electronica Exhibition photos © Otto Saxinger

Photo © Kiko Nuñez

Photos © Kazuomi Furuya, Courtesy of Yamaguchi Center for Arts and Media [YCAM]

Continue Reading The SINE WAVE ORCHESTRA stay

Terrain of a Route

YEAR

2017

TITLE

Terrain of a Route

format

installation

about

This piece of audio file is an outcome of an experiment to explore the terrain of the internet through an impulse response. For this piece the result of the network diagnostic command “traceroute”, with its formal similarity to impulse response data, was obtained from accessing the whereveryoufindit.net website from Berlin Neukölln. It was then translated into impulse response data and used to make an audio convolution. Convolution overlays the characteristics of the particular space it originated from, onto another signal of sound, giving the impression as if this signal was reproduced within the original space and therefore allows for conclusions to be drawn about said space. This experiment offers a glimpse into the virtual space and may allow a reverse engineering experience, imaginable by the results of a traceroute command.

details

exhibition The House of Dust by Alison Knowles
http://whereveryoufindit.net
CNEAI= art center, Magasins Généraux, (Pantin/Paris, France)
9 Sep – 19 Nov 2017

MEDIUM

audio data

Photos © Daniela Silvestrin

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A Wave

YEAR

2017

TITLE

A Wave

format

installation

about

Indistinct images are projected onto a large screen, accompanied by inarticulate sounds reverberating across the entire exhibition space. All of these images and sounds are created by disassembling and recomposing algorithmically in real- time from vast amount of video materials that are picked up from the internet continuously over the period of the exhibition. The fragmented videos that provide the visual and acoustic source material are recomposed/reordered based on their respective data of luminance and sound (magnitude/level) to create a sine wave, which means that the original videos are deprived of their meaning, and reduced to abstract elements of light and sound for the construction of a sine wave. While all sounds in the world can be represented through combinations of multiple sine waves, in this work a single sine wave is produced by cutting and connecting large amounts of source material.

details

Exhibition Vanishing Mesh
Yamaguchi Center for Arts and Media [YCAM]
18 Feb – 14 May 2017
Commissioned by Yamaguchi Center for Arts and Media [YCAM]

MEDIUM

black screen, white screen, projector, loudspeakers, computers, display, high speed internet connection and audio interface

Project

The SINE WAVE ORCHESTRA (SWO) is a project that works exclusively with sine waves that was launched in 2002 by Ken Furudate, Kazuhiro Jo, Daisuke Ishida and Mizuki Noguchi. ”The single sine waves, which the participants each play freely without a score or conductor, rise and intricately interfere with each other like thin strings, and ultimately create an ocean of sine waves.” Based on this image, the SWO presents works between and within performances, installations and workshops and invites the public to create a collective sound representation.

http://swo.jp

photos © Kazuomi Furuya, Courtesy of Yamaguchi Center for Arts and Media [YCAM]

Continue Reading A Wave

The SINE WAVE ORCHESTRA in the depths

YEAR

2017

TITLE

The SINE WAVE ORCHESTRA in the depths

format

installation

about

This sound installation consists of four loudspeakers that play sine waves in a small concrete-walled room. Frequency responses were measured beforehand at each point on a 30 x 30 cm grid in the exhibition space. Based on these measurement results, revealed the spatial “deviations” that found the characteristic frequencies and combinations of these create the space’s distinctive sound. Even though the individual sounds themselves do not change, together they make up a dynamically transforming sound field in which sounds intensify or cancel out each other depending on the listening position in the room. While walking around the space of four invisible layers of sine waves, visitors discover and explore their own individual narratives, the characteristics of hearing, the interaction of sine waves, and the acoustics of the space itself.

details

exhibition Vanishing Mesh
Yamaguchi Center for Arts and Media [YCAM]
18 Feb – 14 May 2017
Commissioned by Yamaguchi Center for Arts and Media [YCAM]

MEDIUM

loudspeakers, mixing console projector, loudspeakers, computers, display, lightings and audio interface

project

The SINE WAVE ORCHESTRA (SWO) is a project that works exclusively with sine waves that was launched in 2002 by Ken Furudate, Kazuhiro Jo, Daisuke Ishida and Mizuki Noguchi. ”The single sine waves, which the participants each play freely without a score or conductor, rise and intricately interfere with each other like thin strings, and ultimately create an ocean of sine waves.” Based on this image, the SWO presents works between and within performances, installations and workshops and invites the public to create a collective sound representation.

http://swo.jp

PHOTOS © KAZUOMI FURUYA, COURTESY OF YAMAGUCHI CENTER FOR ARTS AND MEDIA [YCAM]

Continue Reading The SINE WAVE ORCHESTRA in the depths

Cascaded Development

YEAR

2015

TITLE

Cascaded Development

format

installation

about

Cascaded Development is an experiential acoustic exploration of the halls of the Akademie der Künste, Berlin through Plato’s concept of Khôra. Khôra is an ancient Greek word coined by Plato as a term for space, receptacle or site. He proposed that Khôra is a space that holds no characteristics in itself and that cannot permanently contain anything but bodiless, ephemeral, time based media and which reflects the character of the medium passing through. Drawing an analogy between such media and sound, the installation thematizes Khôra as an object of acoustic investigation.

The artist transposes this idea to the AdK’s interconnected rooms on the ground floor and challenges us to understand the space solely through an auditive illumination. Daisuke Ishida uses a process of pink noise, which carries an equal amount of noise power in each octave, and further 16 descending sine wave sweeps to excite the space via a wave field synthesis system in a linear set up, opposed to a traditional circular one. This will reveal the resonance frequencies of the rooms which then will be foregrounded to make them experienceable. These collected sounds and their reflections will disclose the unapparent acoustic properties of the rooms.

details

exhibition Kontakte 2015
Akademie der Künste, Berlin, Germany
25-27 Sep 2015
technical support: Kathrin Scheidt

MEDIUM

wave field synthesis system

photos © Natalia Bustamante

Continue Reading Cascaded Development

Hemisphere

YEAR

2012

TITLE

Hemisphere

format

installation

about

Daisuke Ishida explores space solely by means of sound. The artist creates and shapes architecture, the forms, boundaries and volumes of which are strictly of an acoustic nature.

An omnidirectional loudspeaker buried beneath the ground of Friedrich-Wilhelm-Platz creates a hemispherical sound space, the size and tension of which is defined by the loudness and sound patterns emitted. Set within a busy public space with heavy traffic, the artist prompts active listening in the passer-by by introducing synthetic sounds with no evident source, that stand out against the urban acoustic signature. Through this accentuation the listener is made aware again of the daily urban soundscape.

details

exhibition klangstaetten/stadtklaenge 2012
Friedrich-Wilhelm-Platz, Braunschweig, Germany
3 -21 Oct 2012
support: Allgemeiner Konsumverein Braunschweig
technical support: Kathrin Scheidt

MEDIUM

portable music player, transducer, amplifier, wood

Photos and illustration © Kathrin Scheidt

Continue Reading Hemisphere

Acoustic Octahedral Geometry

YEAR

2012

TITLE

Acoustic Octahedral Geometry

format

installation

about

Daisuke Ishida explores space by forming it through sound. He tries to create architecture by acoustically defining its actual spatial boundaries. “Acoustic Octahedral Geometry” facilitates a tangible experience of such a space.

The room’s borders are sculpted by twelve thin sound lines, produced by super directional sound. This takes advantage of the extreme focus of super directional speakers and the reflective properties of its output sound. The space can be observed through sound propagation and variations of sound patterns over time. Therefrom emerges an invisible geometric architecture – the beams and their reflections form an octahedral room in space. Within this, the weight of the sound field energy is shifted via sound patterns to enable an experience of this space’s dynamics.

The spectator may visualize the eight faced shape and is able to interact with the geometry by crossing one or more sound beams and therefore reflecting it with his/her body. These interferences form new invisible lines and change the overall shape temporarily.

details

Exhibition Impuls und Bewegung
Automobil Forum, Unter den Linden, Berlin, Germany
12 Jul – 16 Sept 2012
support: Ars Electronica, Volkswagen AG
technical support: Kathrin Scheidt, Akitoshi Honda, Kazuki Saita

MEDIUM

wood, parametric speakers, metal, computer

Photos and illustration © Kathrin Scheidt

Continue Reading Acoustic Octahedral Geometry

Vordergrundgeräusche

YEAR

2012

TITLE

Vordergrundgeräusche

format

installation

about

The use of motors and the constant increase in private and public traffic have fundamentally changed the sound character of our environment. These kinds of noises, and even more so the intensity of the sonic burden, have multiplied so that city life these days means being permanently surrounded by traffic noises. Whether we are aware of it or not, we have grown accustomed to this ambience and more or less accept conditions as given. Only when these sounds are suddenly diminished or absent, such as when we travel and find ourselves in a completely different environment, do we notice how pervasive they normally are.

In Daisuke Ishida’s installation Vordergrundgeräusche (Foreground Noise) the ambient sound, as well as sound pressure level, is visualized through lights placed along the arched passageway of the Art University building. The lighting functions as an indicator of the measurements in real time and brings attention to the existence of ambient sound as well as its dynamic changes. In this way the beams of light begin to turn background noise back into foreground noise.

details

Exhibition Lebensräume, The Big Picture, Ars Electronica 2012
Kunst Universität Linz
30 Aug – 3 Sep 2012
technical support: Akitoshi Honda, Kathrin Scheidt

MEDIUM

computer, microphones, electronic parts, micro controllers, radio transmitters, LEDs, wood

Continue Reading Vordergrundgeräusche

Die akustische Erforschung des Raumes Nr.1

YEAR

2011

TITLE

Die akustische Erforschung des Raumes Nr.1

format

installation

about

Die Akustische Erforschung des Raumes Nr.1 is an installation which allows the spectator to experience the audible character of a room by means of a modified acoustic measurement method. In order to modify the procedure of the Impulse Response, the two most relevant aspects of it, impulse-like sound and the swept sine wave, were appointed and combined. As a result the short sound of the sine wave is triggered by a rhythm with the repeating sweep line as a guidance of the frequency value. The room is excited with a rotating source emitting short sine waves. Each variously directed sine wave consists of only one frequency, so that the specific response spectrum of the room can be heard. In some case of sound parameter settings, the sound may be perceived as a pattern, each of the sounds will be difficult to distinguish from one another. Depending on the number of sine cycles and triggering rate, a sound may be triggered before the last sound ends. They may overlap on the time axis. This installation is a universal medium to reveal the acoustic character of a room and is meant to allow exploration of multiple spaces.

details

exhibition Aufhören!
Homebase Berlin, Germany
18 – 31 Mar 2011
technical support: Kathrin Scheidt, Wilm Thoben

MEDIUM

active loudspeaker, light, motor, computer, wood, metal

Continue Reading Die akustische Erforschung des Raumes Nr.1

Another Facade

YEAR

2010

TITLE

Another Facade

format

installation

about

Today we are constantly surrounded by traffic noise in any urban situation. The environmental sounds have changed significantly since the motorization and the perennially increasing private transportation. Variations of noise in terms of kind and amount as well as levels of noise have multiplied. Consciously or not, we have adapted ourselves and accepted these changed circumstances for the most part. Not until a trip to the countryside however, we become aware of the existence of the otherwise constant noise by its absence or reduction. The installation “Another Facade” brings attention to the variations of the noise level and the momentary times of silence that occur. The sounds of the flowing traffic in front of the building and on the highway, varied by the rhythm of traffic lights, are mapped parallel onto the one hundred meter long facade between Mansfelder and Brienner street, by light. The light units are mounted on the roof-edge of the building and are directed downward. They are inactive until the noise level on the street drops below a defined threshold value.

details

Exhibition Experimentelle Klanggestaltung im öffentlichen Raum
Hohenzollerndamm 174-177, 10713 Berlin, Germany
19 Dec 2010 – 6 Feb 2011
technical support: Kathrin Scheidt, Akitoshi Honda, Thomas Koch, Elen Flügge and Tomek Wochnik

MEDIUM

LEDs, electronic parts, microphones, micro controllers

Continue Reading Another Facade