Notes from Your Presentation:
– proposal: streaming nature is an interactive installation that connects audiences to nature environments in real-time by sound (weather, water bodies, animal activities, silence).
– precedents: bill fontana, kunstradio, locus sonus
– Telematic Art: breaking the barriers of time and space. (E. Shanken)
– perception: vision is optical perception, audio is mechanical (air vibrations and mechanical waves). listening is experiencing the “simultaneous mechanical activities.”
– installation description: 1) in each site, an outdoor microphone is set up and streams the soundscape through the internet to the computer located in the exhibition hall; 2) physical objects represent sounds in nature. viewer trigger the sounds by picking up the objects.
– Your concept is interesting, but can be taken further. I am not sure what the sounds of nature would do for people within the white box exhibition space. Will you be exploring the entire space to support your concept of integrating “nature” (rural sounds) in urban contexts? The white box is not an urban context. It is context-specific. It puts you in a setting of contemplation. You are THERE to contemplate. Nothing is really poignant or especially unusual about hearing birds whistle through an artificial object. I would comment on your use of “nature” that you use, here, to mean a number of different things. Perhaps it would be useful for you to redefine “nature” and only use that term when it really refers back to your definition. It is important.
– you also write of telematic art and I see that you have good references for that, I suggest you also take a look at the philosophy of dromology (Paul Virilio), which is the theory of speed specifically in terms of telecommunications as it relates to time and space. It might be helpful in defining your goal with this installation and the kinds of emotional responses you would like to receive from every sound and the kind of shapes you choose for your interactive objects and the sounds corresponding to them should be informed by your emotional response requirements/target.
– Also look at different theories of color, optical illusions, simulations, etc. I would be curious to hear how children respond to your proposed installation. Look at therapeutic art… explore motion as well, why not? How can you extend the interaction and give additional meaning to sound, shape, space and time? Give meaning to action. Otherwise your audience is simply listening to separate pieces of “nature” sounds. How interactive and meaningful is that? How can viewers interact with remote locations?
– What is your ultimate message?
– “Eric Mead: The magic of the placebo.” http://www.ted.com/talks/lang/eng/eric_mead_the_magic_of_the_placebo.html
– “Golan Levin makes art that looks back at you.” http://www.ted.com/talks/golan_levin_ted2009.html
(on simulation/reality and the spectacular)
– Baudrillard, Jean. Simulacra and Simulation. Translated by Sheila Faria Glaser. University of Michigan Press: 1995.
(on space and time)
– Virilio, Paul. Open Sky. First Published as La vitesse de liberation, by Editions Galilee: 1995. Translated by Julie Rose. Verso, London: 1997.