Date(s) - Monday, July 31, 2017 - Saturday, August 5, 2017
Regular Gallery Hours: Aug. 1st–5th, 12-5 pm
Jake Meginsky’s Sound Installation seeks to directly engage listeners with the normally unheard sonic properties of everyday structures and settings by using pure electronics and electro-magnetic transducers to set architectural spaces and materials into vibration. In this work, all musical elements of each piece—pitch, rhythm, duration and timbre—would be determined by the physical qualities of the vibrating objects and/or spaces themselves. In essence, this project exists as a dynamic intersection of music, sound and architecture.
Every space and object has a set of specific preferential pitches, or resonant frequencies—essentially nodes of stored vibrational energy which, when activated, have the ability to reverberate and reinforce themselves at higher amplitudes when the stored energy is released. Resonance, one of the most mysterious and poetic physical properties of sound, occurs in all types of vibrations or waves when one vibrating system or object drives another to spontaneously oscillate at specific frequencies directly related to its physical properties.
While the tonal content of each piece would be determined by the resonant frequencies inherent in the objects/spaces, the rhythm would be determined by other properties intrinsic to the components of the work. For example, the duration of each discrete vibrational event could potentially be defined by the actual geometry of the resonating material. Thus, in a work using a collection of rectangular material such as walls, or panes of glass, the conceptual relationship of width=tone on / height = tone off creates an environment where every aspect of the sound would be directly defined by the oscillating material. By approaching the set of projects in this fashion, each composition/installation would be intrinsically site-specific, creating sonic environments that use only the unique physical attributes embedded within each site. Combined with pure electronics, these spaces and objects would reveal their normally veiled sonic potential, both altering and amplifying the listener’s experience of each particular space and continually locating the act of listening in the present moment as the pieces unfold over time.
incision objects 1
6 channels audio : subwoofer, transducers, sinewaves. 5 pieces of glass and A.P.E gallery space vibrating at resonant frequencies, in patterns determined by their height and length
incision objects 2
1 channel audio : ultrasonic directive speaker
curl-crested manucode (manucodia comrii – the bird of paradise)
straight-lanced katydid (Conocephalus strictus)
dawn chorus : spotted catbird (ailuroedus maculosus), pacific emerald dove (chalcophaps longirostris), white-throated treecreeper(cormobates leucophaea), bower’s shrikethrush (colluricincla boweri), little shrikethrush (colluricincla megarhyncha), spangled drongo(dicrurus bracteatus), brown gerygone (gerygone mouki), ashy robin (heteromyias albispecularis), brown cuckoo-dove (macropygia phasianella), lewin’s honeyeater (meliphaga lewinii) chowchilla (orthonyx spaldingii), golden whistler (pachycephala) pectoralis, golden bowerbird (amblyornis newtoniana), eastern whipbird (psophodes olivaceus) wompoo fruit-dove (ptilinopus magnificus), rose-crowned fruit-dove (ptilinopus regina), superb fruit-dove (ptilinopus superbus), victoria’s riflebird (ptiloris victoria), large-billed scrubwren (sericornis magnirostra)
bird and insect sounds courtesy of macaulay library at the cornell lab of ornithology
incision objects 3
2 channels audio : transducers, aluminum flashing, whispers
activate, research, create.
ARC is A.P.E.’s second curated summer program that runs from June 26 – August 5. ARC continues the investigation of a contemporary art gallery as an active space within the community.