Karl-Johan Ekeroth

INTERACTIVE SOUND SCULPTURE

Who doesn’t remember makeshift telephones made of wire and cans? The Invoxicated interactive play sculpture is a bit like that, but a bit more complex, a lot cooler looking, and it actually works! Children can explore the playful qualities of sound by talking into one end of the sculpture to produce sound for the listener on the other end. By bending parts of the sculpture and pressing its various buttons, a multitude of sound effects can be achieved in real time. (Taken from:http://www.yankodesign.com/2011/06/08/interactive-sound-sculpture/)

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Hillel Schwartz

Torque The New Kinaesthetic of the 20th Century 

The essay gives insight in to how the modern world has affected our movement. It also has a very informative section on prosthetics.

Here is the link to the essay: https://www.academia.edu/7824435/Torque_The_New_Kinaesthetic_of_the_20th_Century_

See: Zone: Incorporations v. 6 (Zone 6) ISBN: 978-0942299298

Yuri Suzuki

Yuri Suzuki is a sound artist, designer and electronic musician. Suzuki’s work raises questions of the relation between sound and people and how music and sound affect people’s minds.

Acoustic  Pavillon, 2015
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The Garden of Russolo, 2013
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 Make Something From Nothing, 2014 

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Mona Hatoum

Roadworks Performance, 1985

Mona Hatoum, Roadworks (actions de rue), 1985. Vidéo, couleur, son. 6&rsquo;45&ldquo;. Collection Nouveaux médias du Mamvp<br><br>Courtesy Musée national d&rsquo;art moderne © Mona Hatoum

Performance Still, 1995 

Throughout the first half of the decade of the eighties, Hatoum carried out a series of controversial performances brimming with political content. This piece was produced within this framework, in 1985, on the streets of Brixton, a predominantly black working class neighbourhood, located in the outskirts of London. Hatoum carried out two performances pertaining to an action organised by another artist Stefan Szczelkun entitled ‘Roadworks’, in which the intention was to create a relationship between a specific group of artists intervening in an impoverished community. In this way, these artists would produce their work in an environment and for an audience very different that that customarily visiting museums and galleries.

Hatoum is portrayed in the photogaph barefoot and strolling along the neighbourhood streets with a pair of heavy Doc Marten’s boots tied to her ankles. Her feet appear naked and vulnerable compared to the sturdy boots traditionally worn by the police or by skinheads. The artist presents herself as an impoverished person who questions the system, trying to make manifest its structural mechanism through an action in which even the basic act of walking becomes difficult.

video excerpt found here (text also taken from): http://www.li-ma.nl/site/catalogue/art/mona-hatoum/roadworks/8990#