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Harnessing Waves and Elastic Space

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Harnessing Waves and Elastic Space SPECIAL SECTION Harnessing Waves and Elastic Space Liz Phillips A s an artist, I use open systems to collaborate veillance through the use of bird- with audiences and to interact with the natural environment. call mimicry. When I walked along Sound in my work functions as a material (like steel or wood the tuned planks, the floors sang as or clay) and is both signal and music as it describes activity they once did to protect the castle’s in space. I began as a sculptor and migrated into music as original occupants [1]. Many large- electronic music opened up to include natural and electronic scale ancient architectural projects ABSTRACT sound and space. Sensing and harvesting sonic material al- were built with specific acoustics lows for dynamic transformations in composition. Stillness and made to respond to human inter- The author describes location, absence and presence, activity and nearness can be action. Churches with high bar- examples of her sculptural and abstracted from the material world. The creation of an inti- rel-vaulted ceilings enhance the installation works, which involve mate space and place for audience engagement (most often speaker’s voice, cause it to reverber- acoustics, electronics, visual in galleries and public spaces) provides one of the only ways ate and sound more “holy.” There elements and elements from natural environments. She also for the art audience to actively participate in abstraction. My is a long history of people harness- provides a background of histori- sound installation art is grounded in a consciousness of space, ing natural energy to enrich their cal works and influences. listening to architecture and an attention to the historical sig- environments. The early Greeks nificance of each site. designed the Aeolian harp, which is played when wind passes over its taut strings. ACOUSTIC STRUCTURES AND I responded to these older human-made acoustic structures. SOUND TECHNOLOGIES (I studied with the instrument-maker Gunnar Schoenbeck.) As The floors in the opening rooms in Ninomaru, a Japanese I began creating my own sound sculpture, I also embraced new imperial palace, are called the “nightingale floors.” Ninomaru technologies whose development I became involved in and was built in 1603 in Nijo Castle in Kyoto and designed for sur- that are crucial to my work. Early radio technology facilitated the creation by the Russian inventor Léon Theremin in 1919 of Liz Phillips (artist), 39-39 45th Street, Sunnyside, NY 11104, U.S.A. E-mail: <ofsound@ the theremin: one of the first known musical instruments to re- earthlink.net>. spond to a person’s movement in open space without physical Fig 1. Windspun. (Photo © Liz Phil- lips) This was my working Input- Output Chart for the Hunts Point installation of Windspun. ©2009 ISAST LEONARDO MUSIC JOURNAL, Vol. 19, pp. 57–62, 2009 57 SOUND ART INFLUENCES Sound art did not develop independently; as a new art form it involved collaborative work with other people working in other media. The video artist Nam June Paik, for example, was a mentor and colleague with whom I often shared ideas. He stud- ied music in Japan and electronic music in Germany before he created his first video art. In Magnet TV (1965), the im- age on a TV is “pulled” into shape by a large magnet above the TV. The electro- magnetic fields create abstractions. After this work, he created the Paik/Abe Video Synthesizer (1969) to gain more control of color and shape through electronic color processing and synthesis. Although this work was in another medium, its use of electronics to artistically shape output was highly influential in my work. One of the first stirring interactive sound sculptures was Jean Dupuy’s Heart Beats Dust (1967). I saw it at the Museum of Modern Art’s 1968 exhibition The Machine as Seen at the End of the Me- chanical Age. A cone of light shines into the box. Different exhibitions use a tape of heartbeats, and/or the visitor’s pulse as taken from a touch sensor. Ampli- fied heartbeats elevate red dust (Lithol Rubine, a pigment able to remain sus- pended in air for long periods). Human physicality becomes interactive when es- sential body rhythms activate space. In- teractive sound art has a unique ability to engage physical conditions such as the beating heart [3]. In my 1970 work Sound Structures, I was interested in how space becomes tangible for the audience. The theremin makes audible the distance between hands and antenna through sound; Jean Dupuy’s piece uses the sound of the hu- man heart to fill space with dust. In Sound Fig. 2. Windspun. (Photo © Mary Lucier) Opening event for Windspun at The Bronx Frontier Structures, a radio frequency capacitance Development Corporation. The art opening was sponsored by Creative Time at the Hunts field is radiated from a rectangle of metal Point alternative energy and composting site in 1981. under a rug. Sound is picked up on AM radios throughout the room. The sound contact [2]. Built with radio-frequency lations that were continuously changing. changes because one’s body conducts, oscillators, it responds to the distance With interactive sound, works traverse grounding the field. There is no sound between one’s hand and each antenna immediate performance and deal with until someone enters the threshold area with shifts in the pitch and amplitude of present, past and altered time. With at the outer edge of the field. As a person an oscillator. The theremin plays a single new electronic memory and digital con- moves toward the center, the frequency voice in response to immediate motion. trol, information and sounds change in of the sound emitted by the radios goes Analog sensing and synthesis made it inverse and proportional relationships higher and heterodynes through the ra- possible for me to create installations in and are delayed and accumulated. dios. People can experience the conduc- which changes in light or motion could Through sound synthesis, the ampli- tivity of their bodies in the space. As they be detected and played back as sound, tude, pitch, timbre, modulations and form chains (and touch things and each light and video. Sound could fill a space durations of sound events can be other), the surface area that their collec- and create an immersive tuned environ- activated and manipulated. An evolv- tive bodies are covering becomes larger. ment, whereas light could only be cast ing time- and space-specific artwork The conductivity to ground is stronger. on surfaces and/or seen in video on takes place without the presence of They hear these changes as changes in monitors. Analog sensing and synthesis the artist in a gallery or public space pitch. The frequency ranges become made it possible to create sound instal- setting. exponentially closer as the number of 58 Phillips, Harnessing Waves and Elastic Space Fig. 3. Wavetable, metal table, transducer, water, amplifier, oscillators and aluminum bowl, 44 × 42 × 14 in, 2002. (Photo © CJ Cartiglia) The first Wavetable in my backyard in Sunnyside, NY. people increases. Each space conducts and go from silence. People standing still sound events in multiple time periods. differently. The sub-audio edge of the build up sounds with their presence. The During my first 4 years of making sound field is felt at a different distance based integrating and proportioning of stored sculptures, I was dealing with the human on the room’s conductivity, humidity potential energy based on activity in time figure in relationship to a room as an in- and the temperature. People gather in and space is a key element. Many layers strument using synthesized sound. Then groups to shift the “sound walls” because of sound work together, responding in I was commissioned to make a piece for of their collective energy. different ways to presence and absence, the opening year of Artpark, in Lewiston, After Sound Structures I continued to stillness and activity in threshold spaces. NY, near Niagara Falls, one of the first make some of the first open systems in Sometimes I want people to feel as if they parks made for showing outdoor tem- galleries, which asked audiences to work had gone for a walk in the woods and porary artworks. Instead of electronic collectively to hear their parameters. stepped on many plants, or damaged a sound, I decided to use the sound of the I wanted to make work that could be garden, or grabbed something and taken river and record the river at different shifted, with the potential for growth and it away with them, upon entering a space stages from the bank before and after dynamic transformation over time, and close to a sensor/object. Everyone plays a the waterfall. I used the movement of the involved the audience in the process of part in the resultant sound patterns left audience down a pathway in the park to sculpting space. In these later analog in- behind. carve (filter) through the sound that was stallations, an electrical charge is stored set in multiple speakers along the path- based on the directions of people’s move- way. My participation in Artpark gave me ment. As a visitor moves toward a sensor, if SOUND SCULPTURES a chance to use natural sound. After that the voltage gets higher this fills (charges) AND SOUNDSCAPES I began to explore the more active, cy- a large capacitor (with a diode). It re- I define elastic space as the experience clical parts of nature, such as wind, fish leases in its own time, or a switch sam- of audience members when they gesture, and water. In these works, I use similar ples and holds that voltage and thus that traverse across or stand still in space to processing and control systems but col- tuning.
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