Ecology of the Digital World

The Sound of Clouds and other Sonic Memories

Joel Ong

Since 2015, Joel Ong has been collecting sonic memories through interviews and casual conversations. As part of his Residency with UCLA this summer, Ong turned his attention to sonic memories in the environment, and is collecting these in order to draw attention to fluctuations in the climate observed and remembered through the inter-subjectivities of a diverse group of interviewees.

That Unseen Vibrance

Yolande Harris

Can our conscious listening effect the world around us? That unseen vibrance. These are dense vibrations, larger than our bodies, larger than our eardrums. They work through us. They present as oceanic. I have a sense of being inside the sound, submerged in another medium, molten, or perhaps growing wings. Of enormous pressure depth yet vibrance shimmer. To dive into the oceanic with our own airborne sounds, feet on the ground, ears underwater. What animal could hear like this?

CoBot Studio

LIT Robopsychology Lab, Johannes Kepler Universität Linz (AT), Center for Human-Computer Interaction, Universität Salzburg (AT), JOANNEUM RESEARCH – ROBOTICS (AT), Polycular OG (AT), Österr. Forschungsinstitut für Artificial Intelligence OFAI (AT), Blue Danube Robotics GmbH (AT), Ars Electronica Futurelab (AT)

Wenn Menschen und Roboter zusammenarbeiten, ist das nicht immer einfach: Verbreitete Skepsis und fehlende Paradigmen in der Kommunikation werden in Zukunft für neue Herausforderungen am Arbeitsplatz sorgen. Wie kann Vertrauen und Akzeptanz entstehen? Wie können Arbeitsumgebungen für Menschen und Roboter gestaltet sein?

BALEINA

Julie Semoroz (CH)

Julie Semoroz shapes sound using several sources such as field recordings, live microphones, her own voice, and different forms of hardware and software.

Fischgeist (fish spirit), 2020

Tomoko Sauvage (JP)

Fischgeist was recorded in a disused water tank in Prenzlauer Berg in Berlin in August 2019. The nineteenth-century brick building is made up of five layered circles with a spiral staircase in the middle leading up to an exit to a hilltop. Inside, it’s humid and cold, the temperature always around 8–10 degrees Celsius. The building’s acoustics produce a long reverberation that lasts up to twenty seconds.

Chorus of Zong, 2020

Binta Diaw (SN/IT)

Chorus of Zong sounds like a polyphonic choir accompanied by water noises. It is the voices of young Afro-Italians in dialogue with the echoing voices of their ancestors. The polyphonic chorus recites verses from the 2008 poetry collection Zong! by the poet M. NourbeSe Philip, in which she gives voice to the 150 enslaved people who were thrown overboard into the Atlantic Ocean by the crew of the ship that carried them across the ocean.

Remix, Food Waste Biomaterial Makers

FabLab (ES)

The Starts Prize-nominated project for innovative collaboration is inviting you to a four hour-long biomaterials workshop at Fab Lab Barcelona. An emerging development in the field of industrial design, fashion and art is the creation of biobased materials, biofabricated in laboratories from microorganisms, bacteria and biopolymers.

Forging connections

Art X Company (IN), Arts & Culture Resources India (IN)

This networking mixer is themed on the digital evolution of artistic work and performances, innovations since 2020, and collaboration possibilities in India.

Sonic Portals

Gleb Yakushev (RU), Maria Karpovich (RU), Olga Zubova (RU), Leonid Kurashov (RU), Aleksander Senko (RU), Ekaterina Volkova (RU), Ivan Kalashnik (RU), Lana Tarvolaria (RU), Simona (RU), Steve Rocket (RU), Eva Reicher (RU)

Sonic Portals is a speculative digital environment, a matrix that presents sonic possible worlds made by students of HSE University (Sound Art & Sound Studies Department). Portals, having several meanings, can be perceived as an architectural entrance, a web-based platform, connecting different sources, a passage to different worlds, getting more mythological.

Xtal Castle

Katya Pravda (RU), Anna Novikova (RU), Yulia Yousma (RU), Alexey Ryumin (RU)

Katya Pravda’s art is viewer-oriented, it’s democratic. The parts this art is made of are a pleasure in themselves — flower petals, branches, stones, vegetables, mushrooms. But then vigorous intraframe editing jumps in the form of fake eyelash glue. The familiar is fading, giving way to the unknown.