| Allquestions |
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artista : John Duncan - CM von Hausswolff | |
| titolo : Stun Shelter | ||
| etichetta : Allquestions | ||
| formato : CD | ||
| packaging : box | ||
| cod. nr. nifo-01 | ||
 | 2003 | |
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CD and 50 page catalogue with photographs of the installation by Ela Bialkowska in a plastic DVD box. Released by Galleria Nicola Fornello and Allquestions. "John Duncan and Carl Michael von Hausswolff have been operating in an ever-changing creative sphere for more than twenty years, expressing themselves through diverted codes, overdone to the point of absurdity, yet subtly tacit and keenly mingled. The rhythm of their art stems from a strong vision, from an aesthetic journey resulting from extreme and accurate personal experiences; the variability of the rhythm represents the unbalance caused by doubt as the element that unceasingly questions certainty. Their activities spread out in countless directions, taking in conventional style in order to immediately subvert it. The subversion mostly involves the conventional perception and contextual location of expressive forms, complying with the need for a boundless creative fluency. For the exhibition in Prato, the artists have agreed to arrange their works in the same exhibition space: a strong impact and a finely expressed sensitivity are features of these two installations. John Duncan's See is a video installation made up of four separate and simultaneous projections of sequences taken from the John See Series, a series of adult movies he directed in 1986-87 during his stay in Japan. On entering the dark exhibition space, the viewer is assailed by immense flashes of images and sound cut-ups... In those moments in which the sound is softer, a voice emerges, whispering Japanese phrases until it is drowned once again by the wave of louder sounds. Carl Michael von Hausswolff's Thinner & Low Frequency Bar / Glue & High Frequency Lounge consists of two bars made of steel and glass on which lie bottles and cans containing volatile substances... glue and thinner. On the bar two oscillators produce frequencies varying in intensity, whose sound penetrates the ears altering normal perception levels. Both works fill the space perfectly, one by means of strong images (See), the other through the substances shown. The attention level is at its maximum in attempts to grasp the Japanese whispering (See) and the ghost-sounds of the oscillators (Thinner Bar...), defying the threshold of audibility as they act on the unconscious." * Daniela Cascella [extract from the catalogue] |
| Prezzo: € 18,00 offerta! |
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artista : John Duncan | |
| titolo : Infrasound - Tidal | ||
| etichetta : Allquestions | ||
| formato : cd | ||
| packaging : copertina apribile - fold-out cover | ||
| cod. nr. aq-05 | ||
| 2003 | |
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Tidal This recording represents a period of nearly three centuries, based on the tidal spectra published by the Australian National Tide Tables. The sound is that of the tidal pattern at 60 'standard ports' around the Australian mainland. The Australian National Tide Tables specifies the magnitudes of the 22 most important tidal components. Each port has a characteristic frequency spectrum. Most components have a period of approximately 12 hours (semi-diurnal) or 24 hours (diurnal). There are also components with longer or shorter periods which occasionally make significant contributions to the spectrum. The spectra have been transposed so that 1 year is compressed into 1 second. Seismic Recorded at Kalamunda, Western Australia; 3 to 28 May, 1998, using seismometers oriented north-south and east-west to produce a stereophonic image similar to a crossed figure-8 microphone array. Data and notes supplied by seismologist Arie Verveer: The big explosion is a magnitude 7.4 earthquake from southeast Taiwan. Just after the main event you can hear the echoes bouncing off Earth's inner core. Magnitude 7.5 3 May Southeast Taiwan Magnitude 4.8 11 May Indian nuclear test Magnitude 6.6 13 May New Britain region, Papau New Guinea Magnitude 6.6 21 May Minahassa Peninsula, Sulawesi Magnitude 6.0 23 May Mindanao, The Phillipines Barometric This recording was made over a period of 48 years, beginning on 1st July 1951. The barometer for one channel was in Williamtown Air Force Base (near Sydney), and the other in Laverton Air Force Base (near Melbourne). Data supplied by the Australian Bureau of Meterology, with the generous assistance of Simon Hayman. * Densil Cabrera 1998 Densil Cabrera and I have yet to meet face-to-face. Our collaboration began in 1998, when Densil posted an offer to an audio chat list, open to anyone curious to hear and possibly work with tidal recordings he'd made. I responded that same day, intrigued to hear how tidal measurements would sound, more than with their value as scientific research. When his CDr arrived, I accepted the audio sources as 'pure' sound, and sent him a message offering to work with them as such. Densil agreed, and we kept in contact by email. While working on this project, listening to the sources, checking Densil's website, I tried to deduce something about his character, why he'd chosen to record these sounds, why he'd chosen to share them openly with anyone. Aside from a few technical images from his audio research, these recordings were all the evidence there was available to form an impression of who I was working with. They seemed to imply a person as fascinated with the technical processes of making the recordings -- designing and building the recording equipment, making the tests, writing the software -- as he was in the results. Clearly he was seeking some sort of contact with someone outside of his immediate colleagues and friends, but he appeared not to be interested in knowing anything at all about who I was. It was a conscious decision on my part to accept these limits of his interest, to focus entirely on what the sources had to offer. At the same time, for me this added a human dimension -- isolation, separateness, the monotony of repetitive research, impermanence -- to the marine, atmospheric and geological basis of the audio sources. The inherent linearity of the scientific data represented in these sounds has deliberately been destroyed, modified into material -- data, if you like -- that operates on several levels at once. According to the time scale represented in several of these recordings, it could be said that the entire process involved in producing this work, spanning five years, took a matter of seconds to complete. And in that time, I still know as little as ever about Densil. * John Duncan 2003 |
| Prezzo: € 9,90 offerta! |
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