Artist Richard Mosse and his collaborators Ben Frost and Trevor Tweeten embark on a global journey to capture and document under-reported humanitarian and environmental crises. By repurposing surveillance technologies and scientific tools, Mosse aims to make the unseen visible and evoke a deeper understanding of these issues. Through projects like “The Enclave” and “Incoming,” he sheds light on conflicts and systems of surveillance and dehumanization. Mosse’s recent works, such as “Broken Spectre” and “Tristes Tropiques,” focus on the Amazon Rainforest and highlight the realities of climate change. Using innovative imaging techniques, he reveals the scale and impact of deforestation, aiming to confront viewers with their own implication in these issues.
Mexican filmmaker Miguel Buenrostro captures the innovative music collective Fulu Miziki in his short film “Kanga Munoko Yoka.” The Congolese DIY artists repurpose discarded materials found in Kinshasa’s dumping grounds to create groundbreaking instruments and an afrofuturist sound. The documentary explores the group’s artistic process, from sourcing items to sound development, intimate rehearsals, and performances. Fulu Miziki’s music defies categorization and embraces artistic freedom while promoting environmental action. Buenrostro’s film invites the Western gaze to listen and learn, challenging prevalent representations of otherness. By spotlighting Fulu Miziki’s unique vision and sustainable design, the film showcases their innovative potential within Africa’s sprawling megacity.
Future Shock at 180 Strand” is an immersive experience that challenges perceptions of reality and explores the possibilities of our future. Located at 180 Strand, it offers a mesmerizing blend of art, technology, and interactive installations. Visitors are transported through time and space, encountering mind-bending exhibits that confront the impact of rapid technological advancements on society. From virtual landscapes to AI-driven narratives, this innovative exhibition provokes contemplation about our evolving world, pushing boundaries and inviting participants to embrace the uncertainties of the future. Future Shock at 180 Strand is an unforgettable journey that leaves visitors questioning the very fabric of their existence.
“Audio Culture: Readings in Modern Music” is an anthology edited by Christoph Cox and Daniel Warner, this book talks about a range of essays, interviews, and writings from respected artists, composers, and theorists. It offers a look into how sound and visuals intersect and influence each other in the realm of modern music. The anthology covers various aspects of sound and visual arts, delving into topics such as sound installation, experimental music, and the integration of technology in artistic practices. It provides critical analyses that examine the aesthetic dimensions of the interplay between sound and visuals. One significant aspect explored in the book is the transformative power of sound in the visual arts. It investigates how artists incorporate sound as a primary or complementary medium, highlighting the potential and immersive qualities that sound brings to visual artworks. The book also delves into how sound shapes our perception and enhances the visual experience, expanding the boundaries of traditional artistic practices.
Furthermore, “Audio Culture” explores the historical developments and contemporary trends in the field of sound and visual arts. It traces the evolution of sound in relation to visual practices, offering insights into the history of experimental music and its impact on visual culture.
In conclusion, “Audio Culture: Readings in Modern Music” offers a comprehensive overview of the intricate relationship between sound and visual arts. Through its diverse range of writings, the anthology provides valuable insights into the creative, theoretical, and historical aspects of this interplay.
“Audio-Vision: Sound on Screen” by Michel Chion is a remarkable book that delves into the fascinating relationship between sound and image in the world of cinema. Chion’s work offers a comprehensive exploration of how sound and visuals interact, examining how they can work together, amplify each other, or even create contrasting effects. He discusses the crucial role of sound design in shaping the storytelling process, as well as its profound impact on the audience’s emotions and perception. The book covers a wide range of topics, including the synchronization of sound and image, the use of voice-overs, the significance of silence, and the way sound contributes to the overall cinematic experience. It’s a highly acclaimed resource for anyone intrigued by the interplay between sound and visuals in film.
The sound design in “2001: A Space Odyssey” is a testament to Stanley Kubrick’s meticulous attention to detail. From the iconic opening notes of “Also sprach Zarathustra” to György Ligeti’s haunting compositions, the film’s soundscapes are carefully crafted to immerse viewers in the vastness and wonder of space. Kubrick’s deliberate use of silence and strategic placement of sound effects heighten the sense of isolation and surrealism, while the synchronization of music with visuals creates moments of awe-inspiring harmony. The sound in “2001: A Space Odyssey” is an integral part of the cinematic experience, contributing to the film’s enduring impact and legacy.
A key theme explored in the book is Eno’s exploration of generative systems and his embrace of chance and randomness as creative tools. Scoates delves into Eno’s notable generative works, such as “77 Million Paintings,” which captivate viewers with their ever-evolving, immersive visual experiences that resonate harmoniously with Eno’s ambient musical compositions.
Tate Modern opened two major exhibitions in the Tanks, the subterranean galleries in the Blavatnik Building. The works were displayed until 4 February 2018. Emeka Ogboh’s sound installation, The Way Earthly Things Are Going, combined stock exchange data scrolling around the circumference of the East Tank’s LED displays with a lament played through 12 speakers. Ogboh’s work was first shown at documenta 14 in Athens earlier that year. Indian artist Amar Kanwar’s The Lightning Testimonies, an eight-channel digital video installation, was also shown in the South Tank. The work explores sexual violence in times of political conflict.
Ryoji Ikeda’s exhibition at 180 Strand was titled “Data-Verse,” and it aimed to explore the relationship between human perception and the digital world. The exhibition featured a series of installations that combined light, sound, and digital technology to create immersive environments that engaged the senses. The exhibition showcased the potential of technology to produce visual and auditory effects that are not typically encountered in daily life. The equipment involved in the exhibition included projectors, speakers, and various digital devices that were used to create the installations. The minimalist design and precise use of technology made the exhibition a study in control and precision.
