Sonic Vibrations: The Analogue Infinity
A dichotomy between the idea of the infinite richness of sound is filtered through a specific technological perspective chosen by the artist to define his or her field of interest in the vibrational continuum of the sonic universe. The discourse of analog sound can express itself in many layers related to resolution, grain, noise, mixing processes. From the moment of capturing the world with recording to the moment of reproducing it trough the musical interpretation and manipulation, these artists seeks a close listening on the authenticity of the sonic matter beyond the pure digital representation of it.

Florence To - CYEMA
Florence To designs and produces sound and light installations creating generative motion graphics and light productions with a strong focus on architectural spatial design and site specific projects. With an educational background in textiles and tailoring, she merged her skills with digital technologies later on to develop installations in underground and disused spaces using its defects as an advantage. Through working in various disparate environments she ventured further into exploring the effects of cognitive and emotional triggers, and how different sensory arrangements are experienced within space. To currently uses information in relation to vibrations including psychoacoustics, neuroscience research and the understanding of computational methods to visualise the process in her work.

In 2015 she developed an acoustic instrument ‘CYEMA’ to create a highly resonant component working with multi-channel systems that could be used for live performance and installation. CYEMA is an instrument of reconstructed iron rods, originally discovered in old clocks that produce a reverse-chord when struck. It was realized through researching and testing materials for a site-specific installation working with psychoacoustic properties in an abandoned swimming pool in Glasgow. In this progressive performance the acoustic instrument is bowed using different tensions and temperaments to gradually augment intense reverberation, using finer digital modular manipulations to explore the hidden vibrations within the highly resonant tones in the instrument.

She has established residencies at the Société des Arts Technologiques [SAT] in Montreal, 4DSOUND Spatial Sound Institute in Budapest, and The Spatialization and Auditory Display Environment [SpADE] in Limerick. To has exhibited, performed and given workshops at LABoral Centro de Arte y Creación Industrial in Gijon, Southbank Centre in London and has been supported by the European Network for Contemporary Audiovisual Creation [ENCAC]. In 2017 she was awarded a creative fellowship with the DCN (Department of Clinical Neuroscience) in Edinburgh.
http://florence-to.com

Performance by Jan Jelinek
Jan Jelinek is a musician, producer and remixer. His works deal with the transformation of sounds, translating source materials from popular music into abstract, reduced textures. Bypassing traditional musical instruments, he constructs collages using tiny sound fragments from a wide variety of recording devices: tape recorders, digital samplers, media players and the like. The recordings are processed into repetitive loops that boil the original down to its essentials, the source material becoming indecipherable in most cases.

He began releasing his work in 1998, initially under the pseudonyms Farben and Gramm. In 2000, his sound collages played in the Young Media Pavilion at the EXPO2000 worlds fair in Hanover. Over the following years, he worked with artists like Sarah Morris and the German writer Thomas Meinecke, collaborated with the Japanese improvisation ensemble Computer Soup and the Australian jazz trio Triosk, and created audio-visual performances with video artist Karl Kliem at venues including the Centre Pompidou in Paris. In 2007, with Andrew Pekler and Hanno Leichtmann, he founded the improvisation trio Groupshow that refuses any repertoire and any limitation on performance duration.

In 2008, Jelinek established the faitiche label as a platform for his own experiments, for joint projects, and for work by musician friends. The sixteen releases to date include a collaboration with the vibraphonist Masayoshi Fujita and the work of sound researcher Ursula Bogner, whose scores, drawings and writings have been presented and performed around the world. Since 2012, Jelinek has been writing and producing experimental radio pieces for state broadcaster SWR that deal with fictional identities and soundscapes. The theme of fictional and multiple identities runs through the whole of the faitichecatalogue. Under the pseudonym Gesellschaft ur Emanzipation des Samples, as Ursula Bogner, or using his own name, Jelinek’s oeuvre ranges from field recording collage to electroacoustic music to minimalistic drone. What these various works all have in common is live processing of previously collected sound material. In his current live performances, Jelinek weaves diverse sound materials into intense drone collages and soundscapes.

Sonic Vibrations is a series of hybrid events presenting scientific and technological research applied to sound-art, new musical instruments and installation art in form of exhibitions, conferences and live acts. Principles of Physics, Mathematics, Biology, Psychoacoustic, Body Anatomy and so on are used by artists creating media works which are pushing the definition of cross-disciplinary boundaries between technology and science applied to vibrational art. Curated by Alfredo Ciannameo