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Listening Room 4th October - 15th November 2008  AV. DE LA HARPE 45 CH-1007 LAUSANNE SWITZERLAND Phone: +41 (0) 21 601 27 91 Mobile: +41 (0) 77 43 777 45 mail@galerie1m3.com http://www.galerie1m3.com |
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L'EXPOSITION CONTINUE
Une exposition de Mathieu Copeland
pour 2 centres d’art; Circuit & 1m3
David CUNNINGHAM
On KAWARA
Charlemagne PALESTINE
et des peintures de Birgir Andresson, Jean-Sylvain Bieth, Francis Baudevin, Michel Castaignet, John Cornu, Philippe Decrauzat, Noel Dolla, Olivier Mosset, Christian Robert-Tissot, Evi Vingerling, repeintes de la même couleur que le mur par Claude RUTAULT.
Vernissage le vendredi 03 octobre 2008 à 18h00
Exposition du 04 octobre au 15 novembre 2008
Ouverture: Ve. et Sa. de 14h à 19h et sur RDV.
The Listening Room allows the resonant frequencies of a room to become audible. This process is modulated by very slight acoustic changes as people move around the room, by ambient sound, by humidity, by anything that causes air to move.
The work uses the architecture, the air enclosed in the space and the presence of people in the space. A consistent structure which is moderated by conditions of the space. The Listening Room has a musical function, a slowly shifting chord based on a fundamental which is always a resonant frequency or a harmonic of the space modulated as described above.
At times the amplification is silent, exposing the spectator to the unaltered sound of the space they are in. This is not as simplistic as it may appear - the difference or absence creates an observational opportunity at a moment where the listener is prepared.
The presence of the spectator integrates the object of the work with its subject.
Technical:
The installation consists of a microphone connected to a noise gate, amplifier and speakers in a reverberant room. The system is arranged in such a way that when the microphone and loudspeaker begin to feed back the amplitude of the sound causes the noise gate to cut off the signal. The feedback notes resonate through the space accentuated by the long reverberation time of the room. As the sound falls below the threshold of the noise gate the system switches back on and the process continues.
The available pitches of the sound are primarily determined by the distance between the wall, floor and ceiling surfaces in the space, and by the location of the system; by the time it takes a sound to travel and be reflected in three dimensions.
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