THRESHOLDS
INSTALLATION  PROJECT     by adriana sa

'THRESHOLDS' is structured by the SOUNDING LIGHT INSTRUMENT (custom-made light sensors, i-cube and Lisa software), which translates light gradients into sound variations. It (re)establishes relationships between the site and its environmental context.

Natural and artificial light as well as body shadow affect sound behavior in real-time according to my previous programming. Sound-source materials relate to personal site-specific memories and perceptions. builds upon loops of previously prepared samples, whose transformations depend on the sensors' . Their resulting mix is unrepeatable as the day unfolds. The inconstant behavior of light also guarantees a certain range of unpredictability, which must be framed during the site-specific work process - please note the technical .

The set-up offers different performative possibilities. Along the day, people are shown an orchestra of slow daylight changes playing within massive sound density; the site is here maestro. When it is dark outside, the installation invites for inter-acting on the soundscape; shadows play upon the sound-pictured city. By twilight, both sorts of playfulness overlap while soundscape features its peak behaviors.

The poetic logics underlying this work play with subtle . Technical components like cables also assume the value of physical raw-material while drawing themselves volumetrically in space.


VISUAL SHAPES:

view

 

closeups

 

playfulness

windowsensors

 

Above: sounding light instrument set-up with light sensors both attached to windows and suspended indoors (ACAC, Japan)

 

The physical set-up of the SOUNDING LIGHT INSTRUMENT is ajustable to almost every spatial situation, although the minimum visual interference is preferred. Otherwise, its visual strenght can get enhanced by the use of water-pipe segments.      

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Below: light sensors in an outdoor-installation for the Luzboa Biennale and in a performance (Lisbon, Portugal)

 


META(LOCAL)MORPHOSE installation

VIDA OU_VIDA performance



SOUND ARCHITECTURE:

 

Soundscape is unrepeatable as the day unfolds within the THRESHOLDS installation. Sound changes tend to develop very slowly during the day and quite quickly by twilight; at nighttime sound qualities shift according to people's intervention.

Original looping source-samples in the Lisa software buffer last minimum about 30" and maximum about 3'5". These loops are re-sampled and processed in real-time according to parametric values. Re-sampled loops might get as short as 1' if sample length or sample start are audio-parameters mapped to a controller (light sensor). Likewise, if tuning is one of these parameters then the sample will stretch and contract.

Actual sample collection/ selection, edit and control-mapping are drafted but not definitely established yet; many decisions depend on the real site-specific context. The following audio material might provide an idea regarding the field of present possibilities (please also try out overlapping multiple sound layers simultaneously); yet these can only be heard in musical imagination.

 


BRIGHT  OUTDOORS:

 slow daylight changes play massive sound density (water + field ambients); soundscape controlled by LIGHT SENSORS 1 and 2; click for a 3' re-mix and corresponding explanation (4MB)

DARK  OUTDOORS:

 interactive shadows play upon NYC audio-pictures (field ambients + people); soundscape controlled by LIGHT SENSOR 4; click for a 3' re-mix and corresponding explanation (3.3MB)

TWILIGHT  OUTDOORS:

all LIGHT SENSORS 1, 2, 3 and 4 active in the soundscape; PLEASE CLICK AND REPEATEDLY to simulate the overlapping sound-layers; day-peak and audio peak-behavior; read about it in the NOTES



PHYSICAL SET-UP AND MAPPING:


diagram
 

LIGHT SENSOR

PLACEMENT
LIGHT SOURCES
PHYSICAL VARIABLES
SAMPLE SOURCES
EFFECT ON SOUND
FRUITION
LS 1 (ctrl) attached to glass window natural light (bright and twilight) realative earth / sun position + local weather + local architecture bass-tending ambient field recordings
parametric processing: volume (silent = dark), tuning, panning, sample lenght, ressonance frequency		 contemplating: soundscape changing as slowly as daylight

LS 2 (ctrl)

 water parametric processing: volume (silent = dark), tuning, panning
LS 3 (note) natural light NYC field recording mix (people + environments) half-bright / dark = ON
bright = OFF
ON-OFF-ON = playback overlap

LS 4 (ctrl)   suspended in-doors  

natural light (twilight) + hanging fluorescent lamp (can also move)

  faint of day and/ or people interacting through body shadows and moving lamp 
(*)		     parametric processing: tuning, panning, sample length, sample start   contemplating or playing the soundscape with body and lamp shadow

(*)  people's degree of intervention on the soundscape is proportional to the absence of natural light;
likewise, the controllable range of light-shadow gradients captured by SL 4 tends to increase after sunset

 


TECHNICAL REQUIREMENTS:

 
 
  • room with window and minimum (in- and outdoor) external light interference by night

  • full-range stereo sound system, speakers w/ stands + cables (dubble-jack or rca from my audio-card)

  • electricity plug 

  • small table for laptop, audiocard and i-cube

  • possibility of screwing on the ceiling (very small screws), or of using gaffa tape instead

  • ladder reaching the ceiling (for all the set-up time) + hammer and drill (in case of using screws)
  • about a week on-site prior to the opening for: physical set-up + sample (re)arrangements and programming (please note also that sensor calibration for twilight has a single opportunity a day...)

 

 

OUT-SITE LINKS

 

adriana sa including / / /
sounding light instrument components and