155154 3 rd p155 Scanner Scanner (Robin Rimbaud) first became well known as a result of his use of intercepted cellphone conversations in live performances (his use of scanning radio receivers led to his ‘stage’ name). Subsequently, his work has focussed upon sounds, images and forms that are normally hidden to the listening (and watching) public. As a performer and installation artist, he uses both sound and image to create a wide range of works, from oral histories to live electronic improvisations and soundscapes. Facing page: ‘Echo Days’ A 2002 collaboration with Katarina Matiasek, exhibited in New Zealand, USA, Denmark, Australia and Spain. ‘The audio environment of the installation, Echo Days ,used decelerated and thus audible echolocation sounds of bats flying through cities and landscapes for an unsettling and stroboscopic composition. As the soundtrack entirely exists of reflected sound, it secretly transports absent structures. In the acoustic gaps of the music, the staccato image of the visible moving structures of Echo Days appears, their afterimages projected on to the black screen coinciding with each echolocation signal of the soundtrack. Thus edited in a mutually exclusive way, the relationship between sound and image speaks of the difficult reconstruction of any outside world by our senses.’ Images courtesy of Katarina Matiasek. Right: ‘Into the Blue’ A 2002 multimedia installation work at the Naughton Gallery, Queen’s University, Belfast ‘A field of balloons, as deep as the deep blue sea, engulfs the viewer, nestling up to them and creating a lighter than air environment. Soft carpet caresses your feet as you step slowly through this ever-adapting space, as warm microscopic sounds flutter around your ears. You are immersed in a new commission by London-based artist Scanner, whose work has consistently explored public and private spaces, injecting them with ideas that offer an insight into the human condition with warmth and a sense of humour. He collected responses from people in Belfast to a simple question, what does blue make you think of? The answers were then printed onto balloons that can be found all over the city and which are combined to create a multi-sensory work within the gallery. Into the Blue is contemplative, calming and a place to reflect. It is a place to touch, listen and imagine.’ Image courtesy of Scanner. MEDIA (Job no:76098C5 D/O : 16.04.07 Co: CM3) 76098_CTP_108-157.qxd 4/13/07 8:40 PM Page 155 3 rd p155 (Job no:76098C5 D/O : 16.04.07 Co: CM3) 76098_CTP_108-157.qxd 4/13/07 8:40 PM Page 155 3 rd p155 (Job no:76098C5 D/O : 16.04.07 Co: CM3) 76098_CTP_108-157.qxd 4/13/07 8:40 PM Page 155 QC Preflight Point 3 rd 33 p155 4 Job no : 76098 Title : The Fundamentals Of Sonic Art Client : AVA Scn : # 150 Size : 200(w)230(h)mm Co : M3 C0 (All To Spot)(Coagl) Dept : DTP D/O : 16.02.07 (Job no:76098C5 D/O : 16.04.07 Co: CM3) 76098_CTP_108-157.qxd 4/13/07 8:40 PM Page 155 Scanner (continued) Left: ‘Belsay Hall’ Another 2004 collaboration, this time with Jerwood Prize winner Shelley Fox, this installation work formed part of the ‘Fashion at Belsay Hall’ exhibition (which also featured works by Paul Smith, Agent Provocateur, Stella McCartney, Jean Muir and others). ’For this commission we wanted to evoke memories of past employees and inhabitants and in some way reclaim the interior. Shelley created false walls of padded fresh white linen whilst from within this soft room can be heard fragments of stories from original staff of the Hall, drawn from the Oral History Archive.’ Image courtesy of Shelley Fox. Left, below: ‘Diva’ A 2004 collaboration with Katarina Matiasek, Diva appeared at the Kunsterhaus Vienna and was also shown at ‘Phonorama: A Cultural History of the Voice as a Medium’, in Karlsruhe, Germany. ‘The voice of Maria Callas soars and cracks in a black space. Zoom out. The projection starts its movement with a zoom out of the black of the diva’s mouth, and her lips start closing in around the yet black projection screen, her voice fading… Speed up. Accelerating from an initial slow motion, the banal magic of the documentary footage incubates the screen. The diva accepts her applause with flirtatious ease, bows and closes her eyes. Fade to black. From the inside of the diva the performance starts anew. Loop. The voice of Maria Callas soars and cracks in a black space.’ Image courtesy of ZKM. p156 2 nd (Job no:776098C1 D/O : 09.03.07 Co: CM11) 76098_CTP_108-157.qxd 3/24/07 6:33 AM Page 156 p156 2 nd (Job no:776098C1 D/O : 09.03.07 Co: CM11) 76098_CTP_108-157.qxd 3/24/07 6:33 AM Page 156 p156 2 nd (Job no:776098C1 D/O : 09.03.07 Co: CM11) 76098_CTP_108-157.qxd 3/24/07 6:33 AM Page 156 p156 QC Preflight Point 2 nd 33 Job no : 76098 Title : The Fundamentals Of Sonic Art Client : AVA Scn : # 150 Size : 200(w)230(h)mm Co : M3 C0 (All To Spot)(Coagl) Dept : DTP D/O : 16.02.07 (Job no:776098C1 D/O : 09.03.07 Co: CM11) 76098_CTP_108-157.qxd 3/24/07 6:33 AM Page 156 157156 p157 Student works Chris Amey Right: ‘Music for Sleeping’ An environment created using SuperCollider software through which 20 musical tones are created and presented under the control of a complex computer algorithm. The gentle and randomly shifting harmonic pattern thus created is diffused into the space via eight loudspeakers and serves as a mask for distracting extraneous noise, creating a tranquil environment in which the visitor is invited to relax on the mattresses that form the physical part of the work. Image courtesy of Chris Amey. Jonathan Acker Far right: Untitled installation Hospital infusion bottles containing saline drip on to a heated plate upon which are conductive strips that are normally insulated from each other. The conductivity of the saline forms a temporary circuit between adjacent strips. The completion of these various circuits are translated into MIDI information, which trigger the playback of recorded voices.These voices recall (amongst other things) people’s experiences of being unwell, receiving medical treatment, being in hospital etc. Image by Tony Gibbs. MEDIA 2 nd (Job no:776098C1 D/O : 09.03.07 Co: CM11) 76098_CTP_108-157.qxd 3/26/07 4:33 PM Page 157 p157 2 nd (Job no:776098C1 D/O : 09.03.07 Co: CM11) 76098_CTP_108-157.qxd 3/26/07 4:33 PM Page 157 p157 2 nd (Job no:776098C1 D/O : 09.03.07 Co: CM11) 76098_CTP_108-157.qxd 3/26/07 4:33 PM Page 157 p157 4 QC Preflight Point 2 nd 33 Job no : 76098 Title : The Fundamentals Of Sonic Art Client : AVA Scn : # 150 Size : 200(w)230(h)mm Co : M3 C0 (All To Spot)(Coagl) Dept : DTP D/O : 16.02.07 (Job no:776098C1 D/O : 09.03.07 Co: CM11) 76098_CTP_108-157.qxd 3/26/07 4:33 PM Page 157 p158 Job no : 76098 Title : The Fundamentals Of Sonic Art Client : AVA Scn : # 150 Size : 200(w)230(h)mm Co : M3 C0 (All To Spot)(Coagl) Dept : DTP D/O : 16.02.07 (Job no:000000 D/O : 00.00.07 Co: CM0) QC Preflight Point 1 st 33 76098_CTP_158-176.qxd 3/24/07 6:36 AM Page 158 p158 1 st 76098_CTP_158-176.qxd 3/24/07 6:36 AM Page 158 QC Preflight Point 2 nd 33 p159 Job no : 76098 Title : The Fundamentals Of Sonic Art Client : AVA Scn : # 150 Size : 200(w)230(h)mm Co : M3 C0 (All To Spot)(Coagl) Dept : DTP D/O : 16.02.07 (Job no:76098C1 D/O : 09.03.07 Co: CM11) 76098_CTP_158-176.qxd 3/24/07 6:36 AM Page 159 2 nd p159 (Job no:76098C1 D/O : 09.03.07 Co: CM11) 76098_CTP_158-176.qxd 3/24/07 6:36 AM Page 159 2 nd p159 (Job no:76098C1 D/O : 09.03.07 Co: CM11) 76098_CTP_158-176.qxd 3/24/07 6:36 AM Page 159 2 nd p159 (Job no:76098C1 D/O : 09.03.07 Co: CM11) I hope that what you have read so far will have provided a stimulus for further exploration and discovery and even, perhaps, your own work. We have seen and discussed a number of aspects and examples of sonic art practice but obviously cannot claim these to be comprehensive. Accordingly, the following section sets out to help start interested readers on a useful pathway of study and investigation by providing suggestions for a range of informative resources. Conclusion 76098_CTP_158-176.qxd 3/24/07 6:36 AM Page 159 . his work has focussed upon sounds, images and forms that are normally hidden to the listening (and watching) public. As a performer and installation artist, he uses both sound and image to create. thus audible echolocation sounds of bats flying through cities and landscapes for an unsettling and stroboscopic composition. As the soundtrack entirely exists of reflected sound, it secretly transports. number of aspects and examples of sonic art practice but obviously cannot claim these to be comprehensive. Accordingly, the following section sets out to help start interested readers on a useful