2009: Wunderflater, Sculpture/Architecture/Installation/Networked live audio-feed. Tomas Welton Gallery, Stanford. MFA group collaborative show with Michael Arcega, Reed Anderson, Kazumi Shiho and Jina Valentine.
Ringing through connected disconnected spaces which is a new continuity..
Conceptually, this work challenges ideas of territory, control, transmission, tranception and how we listen to the world. The tunnel is live and interactive: the participant becomes the transmitter and is transmitted/ displaced (in sound) in many actual places in fractions of milliseconds. A recursive eavesdropping becomes possible in this unseen territory. Live sound travels from location to location, reverberating in each space. A kind of anonymity reverberates through the piece. It is a borderless territory designed for listening. Acoustically the reverberations and other characteristics of each space add up, thus creating a new recombinant space that is the distorted and warped sum of its parts. The directional audio tunnel - loudspeaker to microphone to network device to loudspeaker to microphone to network device and so on … traveling around the world through sound.
Rooms, each with microphone and loudspeaker, are daisy-chained in a directional live audio tunnel - each individual space, is a node and is able to receive audio from another node through the internet and play it into the space through a loudspeaker, record the reverberations and other ambient sounds of the environment and send it back over the internet to the next similar device with no noticable latency...
The mixer/router in Max/MSP that controlled the routings levels being pumped into each space and the level that is received from each space - a flexible way to change direction of signal flow or make different patterns over time:
Unique microphones were built for the space:
Scematic for each space:
Local gallery schematic: