#01 UNTITLED SOUND ENVIRONMENT
FEB
2014
Sculpture Center
NYC
Daniel Neumann’s eight-channel apparatus for sound projection, Untitled Sound Environment (2014), was part of Chance Motives, an interdisciplinary program of time-based works curated by Kari Rittenbach for Sculpture Center's In Practice series.
Untitled Sound Environment (2014) is the first part of the ongoing electroacoustic live performance FROM WITHIN A FIELD. The spatialized sound field itself is being foregrounded in this installation-performance. A center cluster of five speakers and three surrounds..
From the catalog:
Untitled Sound Environment (2014) establishes an aural architecture that is sensitive to the museum’s post-industrial fabric, as well as the organization of the exhibition at large. Working with electronic sounds to build an expansive collection of tones and sonic textures through spatialized re-recording and decontextualized re-mixing, Neumann’s practice is rooted in the contingencies of a performance site rather than the airtight conceptualisms of the studio. His original compositions forChance Motives use the museum-building-as-studio-space to draw out new sonic variations, even as these energetic flows are redirected and interrupted by the errant motion of bodies through space. His suspended utilitarian system functions as a playback mechanism for the sequential soundscapes of each live performance, and a subtle means of delivery for recorded and re-edited environmental noise that emerges spontaneously in transitional intervals.
The complete Gallery Guide of Chance Motives.
Untitled Sound Environment (2014) is the first part of the ongoing electroacoustic live performance FROM WITHIN A FIELD. The spatialized sound field itself is being foregrounded in this installation-performance. A center cluster of five speakers and three surrounds..
From the catalog:
Untitled Sound Environment (2014) establishes an aural architecture that is sensitive to the museum’s post-industrial fabric, as well as the organization of the exhibition at large. Working with electronic sounds to build an expansive collection of tones and sonic textures through spatialized re-recording and decontextualized re-mixing, Neumann’s practice is rooted in the contingencies of a performance site rather than the airtight conceptualisms of the studio. His original compositions forChance Motives use the museum-building-as-studio-space to draw out new sonic variations, even as these energetic flows are redirected and interrupted by the errant motion of bodies through space. His suspended utilitarian system functions as a playback mechanism for the sequential soundscapes of each live performance, and a subtle means of delivery for recorded and re-edited environmental noise that emerges spontaneously in transitional intervals.
The complete Gallery Guide of Chance Motives.