Cunningham, David (2003) The listening room at Ikon Gallery: A gallery installation and an offsite project. [Art/Design Item]
|Type of Research:||Art/Design Item|
The three upper galleries of Ikon house two variants of The Listening Room. Each installation amplifies the sound of a gallery in real time, introducing low-volume feedback, pitches delineated by the architectural characteristics of the space and modulated by the transient nature of people passing through.
In between is the central gallery, a space where the sound of the two Listening Rooms actively mixes and merges, allowing the two activated spaces to affect each other - in a very real sense the Galleries are listening to each other.
The technology in each room consists of a system of microphone, noise gate, amplifier and speakers in the room, arranged in such a way that when the microphone and loudspeaker begin to feed back the amplitude of the sound causes the noise gate to cut off the signal. The feedback notes resonate through the space accentuated by the reverberation time of the space. As the sound falls below the threshold of the noise gate the system switches back on and the process continues. Available feedback pitches are a function of the resonant frequency of the space.
complex. A system of amplification is used to audibly enhance and extrapolate what is already there - the peculiar resonant space created by the glass and reflective walls of the corridor. One intention is to isolate and highlight singularities created by the architecture of the available space. The technology consists of a double version of the system used in The Listening Room. The two systems, electronically separate, inhabit the same acoustic space, and affect each other in ways that are not entirely predictable. The system assimilates and adapts to any sound made in the space, including incidental sound leaking into the system from elsewhere in the building.
The English critic Andrew Wilson has written: "There is no metaphorical dimension, Cunningham's work is a presentation of fact. He relies on isolating sonic or other sensory elements from the conditions of their sources and through subtle framing makes us aware of that which would otherwise be disregarded. This hum that surrounds our lives, by being isolated, is also magnified and the dynamism and effect of everyday actions made clear." (1)
For myself the most important quality is that it is a situation which is physically referential both to external contexts and to its own structure. With this work it is important to maintain the scale, volume and complexity at a level which creates a coherent individual experience. Less is more
|Additional Information (Publicly available):||
Activated Space is David Cunningham's project to develop and present a series of installations that alter an architectural space in real time to allow its resonant frequencies to become audible and interactive. The project combines elements from sculpture, electronic media, music, architecture and acoustics.
|Keywords/subjects not otherwise listed:||listening, installation, sound art, performance, gallery, buildings, music, interactive technology, feedback, ambient sound, humidity, movement of air, space, acoustic|
|Your affiliations with UAL:||Colleges > London College of Communication
Research Centres/Networks > Creative Research into Sound Arts Practice (CRiSAP)
Other Affiliations > RAE 2008
|Date:||23 September 2003|
|Copyright Holders:||David Cunningham|
|Related Exhibitions:||The Listening Room, 1m3, L'Exposition Continue, Lausanne October - November 2008, A piano in a gallery, Carter Presents, London July - August 2006, The Listening Room, Camden Arts Centre June - July 2005, Exterior, Architectural Association, London April - May 2005, Interior, Kanazawa October 2004, The Listening Room, Ikon Gallery, Birmingham September - November 2003, Listening to the Architecture, Clerkenwell Magistrates' Court, London August 2003, The Listening Room and Stairwell (untitled), ICC, Tokyo July - September 2003, Where a straight line meets a curve (with Karen Mirza and Brad Butler) March 2003, A position between two curves, Tate Britain, London February - May 2003, The Listening Room, The Connecting Principle, Newcastle October 2002, Listening to the Architecture, Helsinki February 2001, The Listening Room, Biennale of Sydney September - November 1998, Open Square, Copenhagen June 1997, The Listening Room, Chisenhale Gallery, London September 1994|
|Event Location:||Ikon Gallery, Birmingham|
|Locations / Venues:||
|Material/Media:||microphone, speakers, gallery space|
|Date Deposited:||28 May 2008 14:29|
|Last Modified:||04 Sep 2015 19:26|
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