| |
 |
| |
| Space:
TIC ongoing during opening hours. |
|
| |
|
 |
| The
Listening Room allows the listener within the space to hear the
sound of the room in a qualitatively different way. Subtle amplification
techniques are employed to allow the resonant frequencies of a room
to become audible in real time - see 'Technology' below. This process
is modulated by acoustic changes as people move around the space,
by ambient sound, by humidity, by the movement of air. |
|
| |
|
| |
|
Technology:
The basic system components of this installation is a microphone
connected to a noise gate (in principle a switch which activates
according to the volume of sound passing through it), amplifier
and speakers in a highly 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 reverberation time of the space. 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 distances between
the wall, floor and ceiling surfaces in the space, and by the location
of microphone and loudspeaker(s); by the time it takes a sound to
travel and be reflected in three dimensions; not a simple equation.
|
|
| |
. |
| |
. |
| |
| David
Cunningham was born in Ireland in 1954. |
|
| |
. |
| |
| Since
his first album release 'Grey Scale' in 1976 he has worked as a composer
and record producer, the first significant success with The Flying
Lizards' single 'Money', (1979) and since 1982 as producer of Michael
Nyman's music for Peter Greenaway's films and work with Ute Lemper
andothers. Other production work has ranged from rock groups (This
Heat, Owada) to improvisors (David Toop, Steve Beresford).
|
|
| |
. |
| |
| Specialising
in studio processes, loops and treatments, Cunningham's work has ranged
from pop music to gallery installations, including work for television,
film, contemporary dance, and a number of collaborations with visual
artists. |
|
| |
. |
| |
| Live
work has involved collaboration and performances with John Cage, Kathy
Acker, Michael Nyman, Peter Gordon, Panasonic, Michael Giles, Scanner
and others. |
|
. |
| |
| Installations
have included 'The Listening Room' at Chisenhale Gallery, London in
1994, described as 'a continuous piece of music over 3 days'. This
has been followed by installations in London, Copenhagen, Helsinki
and a large scale work in the 1998 Biennale of Sydney. David Cunningham
is currently AHRB researcher in Fine Art at Newcastle University.
|
|
|
|
. |
| |
Further
info:
http://www.stalk.net/piano/dcbio.htm
current work under
the AHRB Fellowship is proposed in detail at:
http://www.stalk.net/piano/proposal.htm
A personal history
of this series of works:
http://www.stalk.net/piano/listen.htm
|
| |
|
