#brian house

[boogflake]

where is brian???

[sonifying]

Change Ringing [Brian House][2013]

Sonification of astronomical, weather and social data / radio-art (one minute pieces transmited every hour)

Available at: https://brianhouse.net/works/change_ringing/

[zangtumb]

Quotidian Record (2012) - Brian House

A limited edition vinyl recording that interprets a continuous year of location-tracking data, each place visited is mapped to a harmonic relationship.

[sonifying]

You’ll Just Have to Take My Word For It [Brian House][2013]

Sonification of data from the black box of a car involved in a accident / instrumental music for two guitar and saxophone

Available at: http://brianhouse.net/works/youll_just_have_to_take_my_word_for_it/

[sonifying]

Forty-Eight to Sixteen [Brian House][2012]

Sonification of bio-feedback data / music piece for solo cello

Available at: <http://brianhouse.net/works/forty-eight_to_sixteen/>. Acesso em: 19/05/2019.

[thepeoplescloud]

What Does The Internet Sound Like?

Brian House, 2015 - Center for Contemporary Art, Tel Aviv

When visitors to the Center for Contemporary Art in Tel Aviv attempt to join the museum’s wifi network, they are presented with a randomly selected message. The text is drawn from answers solicited online to the question, “What does the internet sound like?”

Sound and the space in which it reverberates are inexorably linked. But online “space” is elusive, slipping between media, a sense of connection (or lack thereof), and infrastructure. How do we imagine this sound, if we could hear it? The alternately breathless and melancholy answers reflect our ambivalent relationship with contemporary digital life.

           Video documentation:        Maya Pasternak, Andrew Wasserstein.                Curators:        Chen Tamir, Yoav Weinfeld, Tal Messing.    

[thosewhomakewaves]

Animas River Sound Sculpture

IDEA: Environmental degradation represented in a sound sculpture.

WHAT: Animas comprises four suspended panels of industry-processed metal, each 26”x42,” made of iron-oxidized steel, aluminum, copper, and lead respectively—all metals that have exceeded EPA tolerances in the river. A contact microphone and audio transducer are affixed to each panel in a feedback circuit together with an amplifier. This causes each metal to vibrate at its own resonant frequency, creating a complex drone in the gallery space. The quality of the sound is adjusted by modulating the gain of the amplifiers—Animas does this in accordance with real-time data from water quality sensors placed in the river by the USGS. Changes in the clarity of the water, invisible indicators of the dissolved metals within it, and the dynamics of its daily and seasonal flows all become sound in the gallery, producing timbral “color” from the river’s continually changing composition. Animas is the result of a residency at the Rocky Mountain Biological Laboratory.

WHY: The Animas River flows through the mountains of Southwestern Colorado, through what was once the undisputed land of Ute and Navajo people before the encroachment of miners in the 19th century. In 2015, the EPA was performing maintenance on the abandoned Gold King Mine when it accidentally released three million gallons of wastewater contaminated with heavy metals into the river, turning it a bright orange and threatening agriculture, tourism, and an already “disturbed” alpine ecology. Animas resists over-simplified representations of environmental degradation, creating a felt relationship to the river. It acknowledges how our limited temporal sensibilities are challenged by the imbrication of the geologic time of minerals, the historical time of extractive industries, and the immediate urgency of sane and equitable responses to rapid ecological change.

BY: Brian House , Commissioned by: Vicki Myhren Gallery, data: UU Geological Survey in cooperation with the Colorado Department Of Health and Environment. 

[bloeiend]

(Brian House)