Alex Davies (AUS)
Eröffnung : 7.Mai 2002 - 20 Uhr
Ausstellungsdauer : 8.Mai bis 14.Mai 2002
Filter Feeder [n ein im Wasser lebendes Tier welches Nahrungspartikel aus dem Wasser filtert indem es dieses durch seinen Körper strömen lässt].....ist eine mehrkanalige Soundinstallation des australischen Künstlers Alex Davis,
in der die Beschaffenheit, Dynamik und Bewegungen des Sounds von einem Fisch gesteuert werden.
Zufallsgesteuerte Manipulation und Fragmentierung von Soundenviroments , in denen organische Elemente neue Ebenen zu ansonsten künstlichen - maschinengesteuerten - Umgebungen eröffnen, ist hierbei das wiederkehrende Thema in Alex Davies Arbeiten.
Filter Feeder setzt den (Gold)Fisch als Zufallsfaktor ein, der gleichsam wie ein "Filter Feeder" hörbare Frequenzen aus dem "Ozean der räumlichen Geräusche" aufnimmt und rückwirkend mittels Sounds und Images im Raum positioniert werden. Und : obwohl die Aktivitäten dieses Wesens ein scheinbar zufälliges Verhaltensmuster zeigen, steckt hier offensichtlich doch ein komplexeres und struktuiertes System dahinter. - Filter Feeder wird unterstützt von Time`s Up. Weitere Informationen: http://schizophonia.com
in der die Beschaffenheit, Dynamik und Bewegungen des Sounds von einem Fisch gesteuert werden.Zufallsgesteuerte Manipulation und Fragmentierung von Soundenviroments , in denen organische Elemente neue Ebenen zu ansonsten künstlichen - maschinengesteuerten - Umgebungen eröffnen, ist hierbei das wiederkehrende Thema in Alex Davies Arbeiten.
Filter Feeder setzt den (Gold)Fisch als Zufallsfaktor ein, der gleichsam wie ein "Filter Feeder" hörbare Frequenzen aus dem "Ozean der räumlichen Geräusche" aufnimmt und rückwirkend mittels Sounds und Images im Raum positioniert werden. Und : obwohl die Aktivitäten dieses Wesens ein scheinbar zufälliges Verhaltensmuster zeigen, steckt hier offensichtlich doch ein komplexeres und struktuiertes System dahinter. - Filter Feeder wird unterstützt von Time`s Up. Weitere Informationen: http://schizophonia.com
Biographie Alex Davies
Date of Birth: 5/3/77, Sydney , Australia.
Education 1995 - 2001 :
Bachelor of Fine Arts with Hons
College of Fine Arts
The University of New South Wales
Selected Exhibitions & Performances :
2002 'Exit Festival' - BodySpin, Paris, France
2002 'VIA Festival' - BodySpin, Mauberge, France
2002 'Kunstraum' - Sonic Displacements, Linz, Austria
2002 'Big Day Out Festival' - Triclops International, Sydney Australia
2001 'Body Spin' - Times Up, Linz Austria
2001 'Stop Spot' - O.K Centrum für Gegenwartskunst, Linz Austria
2001 'Acoustic Trauma'- Helen Lempiere Travelling Arts Scholarship Artspace, Sydney (Aus)
2001 'Heterodyne' - Space 3 Gallery, Sydney Australia
2001 'Transient' Network Event - CEAT Festival California, USA
2000 'Closing The Loop' Network Event - Times Up, Linz Austria
2000 'Triclops International' - What Is Music Festival, Sydney Australia
1999 '18 is Enough' - Herringbone Gallery, Sydney Australia
1999 'Trancefix' - Sydney Fringe Festival, Sydney Australia
1998 'Citric Acid' - E.M.U Gallery, Sydney Australia
1997 'Depraved Melodies' - Silent Cells Film Festival, Sydney Australia
1996 'Ferment' - Cannery, Melbourne Australia
Grants and Awards :
2001 Australia Council New Media Arts Fund
1998 Australian Film Commission New Media Development
1997 Winner - Silent Cells Film Festival
Alex Davies - Filter Feeder
opening: Tuesday, 7th May 2002, 20.00
duration: 8th - 14th Mai 2002
is a multichannel sound installation in which textures, dynamics and motion of sound are controlled by a fish. The creature navigates through the electromagnetic spectrum drawing fragments of sound into the physical environment.
filter feeder n.1. an aquatic animal that traps and removes food particles from water passing through its body.
Join Carassius auratus auratus for a delightful excursion as it swims through oceans of atmospheric sound. Navigating through waves of sound the fish generates a turbulent symphony.
Spectral Drift: The atmosphere is inhabited by not only a cacophony of audible sound but also a dense stratum of radio frequencies that endlessly transmits sonic content. As the fish drifts through its aquatic environment it also swims through the frequency spectrum. Sonic content and visual imagery is subsequently positioned in the space and manipulated in relation to the creature`s activities. In a similar manner to a filter feeder, the fish consumes audible frequencies as they pass by creating an ocean of spatialised sound. Scanning the airwaves fragments of media, conversations, atmospheric noise and static are all absorbed. The mundane nature of the common goldfish in a bowl belies its considerable control of the surrounding environment.
The fish is utilised as a somewhat random parameter in the work. Biological input avoids some of the inherent flaws in random generation within machines, but subsequently adds new issues. Although the creature activities often display a seemingly random behavioral pattern there is obviously a complex and structured system at work. The goldfish adds a curious dynamic to the environment due to its notoriously brief memory.
Random manipulation and fragmentation of sonic environments has been a recurrent theme in several prior works http://schizophonia.com/installation. Sonic Displacements manipulated the live acoustic space by cycling the sounds and scattering random fragments back into the environment. Radio Engine utilized several thousand fragments from old radio plays which were randomly recompiled in real-time to produce new never ending narratives. During the sonic developments with Time`s Up on the Body SPIN project http://timesup.org/spin/ a great deal of interest in the project was in regards to the measurement and utilisation of human body functions as a control factors.
Biological factors provide a whole new layer of complexity to otherwise machine controlled environments. In this instance it is not a human but an animal that provides a biological system in which more complex feedback loops influence and manipulate the physical environment.
Alex Davies is an artist based in Sydney, Australia. His work spans a diverse range of different media varying from film, digital media and interactive sound installations. The last few years have brought a focus on various aspects of acoustics including research into the psycho-physiological attributes of sound and spatialised audio environments. He currently is working on sonic spaces for virtual environments in conjunction with Time's Up. Information regarding various projects is available @ http://schizophonia.com. Filter feeder is supported by Time's Up.
opening: Tuesday, 7th May 2002, 20.00
duration: 8th - 14th Mai 2002
is a multichannel sound installation in which textures, dynamics and motion of sound are controlled by a fish. The creature navigates through the electromagnetic spectrum drawing fragments of sound into the physical environment.
filter feeder n.1. an aquatic animal that traps and removes food particles from water passing through its body.
Join Carassius auratus auratus for a delightful excursion as it swims through oceans of atmospheric sound. Navigating through waves of sound the fish generates a turbulent symphony.
Spectral Drift: The atmosphere is inhabited by not only a cacophony of audible sound but also a dense stratum of radio frequencies that endlessly transmits sonic content. As the fish drifts through its aquatic environment it also swims through the frequency spectrum. Sonic content and visual imagery is subsequently positioned in the space and manipulated in relation to the creature`s activities. In a similar manner to a filter feeder, the fish consumes audible frequencies as they pass by creating an ocean of spatialised sound. Scanning the airwaves fragments of media, conversations, atmospheric noise and static are all absorbed. The mundane nature of the common goldfish in a bowl belies its considerable control of the surrounding environment.
The fish is utilised as a somewhat random parameter in the work. Biological input avoids some of the inherent flaws in random generation within machines, but subsequently adds new issues. Although the creature activities often display a seemingly random behavioral pattern there is obviously a complex and structured system at work. The goldfish adds a curious dynamic to the environment due to its notoriously brief memory.
Random manipulation and fragmentation of sonic environments has been a recurrent theme in several prior works http://schizophonia.com/installation. Sonic Displacements manipulated the live acoustic space by cycling the sounds and scattering random fragments back into the environment. Radio Engine utilized several thousand fragments from old radio plays which were randomly recompiled in real-time to produce new never ending narratives. During the sonic developments with Time`s Up on the Body SPIN project http://timesup.org/spin/ a great deal of interest in the project was in regards to the measurement and utilisation of human body functions as a control factors.
Biological factors provide a whole new layer of complexity to otherwise machine controlled environments. In this instance it is not a human but an animal that provides a biological system in which more complex feedback loops influence and manipulate the physical environment.
Alex Davies is an artist based in Sydney, Australia. His work spans a diverse range of different media varying from film, digital media and interactive sound installations. The last few years have brought a focus on various aspects of acoustics including research into the psycho-physiological attributes of sound and spatialised audio environments. He currently is working on sonic spaces for virtual environments in conjunction with Time's Up. Information regarding various projects is available @ http://schizophonia.com. Filter feeder is supported by Time's Up.
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