Elastic Reality is an exhibition about the internet, about its ubiquity and ability to permeate physical space, it's about the way permanent connectedness has added layers and complexity to the notion of 'reality'. Elastic Reality is not just reality, nor is it simply virtual reality or augmented reality, it is an expanding, ever-morphing reality.
This ever more complex environment blends the virtual and the real, the dataflow with the landscape. Whereas new terms are regularly coined to describe this state of things, none truly encapsulate the multi layered realm we inhabit. Hence, comes the notion of elastic reality, which was inspired by the works on display in this exhibition. The participating artists not only play with these distortions of the "real", but also pioneer new ways to interact with their work. The formal exploration of new interfaces is as much part of their preoccupation, as is the content of their work, and the kind of commentary on the current state of reality we live in.
Elastic Reality was co-produced with Le Fresnoy, Studio des Arts Contemporains, a post-graduate art school and audio-visual research and production centre, where young artists are invited to produce new work under the mentorship of guest artist-professors. The exhibition is a selection of the works produced in the course of last academic year (ending in June 2012.)
Some of the works are openly political, others are of the 'move around and interact' kind, some invite to introspection, others are made to dazzle. There were good surprises (notably Tarnac, Chaos and Grace.) and a few fresh ideas but I must say that half of the description texts drove me CRA-ZY. Do french-speaking people really have to write in such a convoluted way? Does being arcane equal being smart?
Anyway, here's a couple of works i found particularly interesting:
The Mafia's retaliation was brutal. Bombings, murders, attacks on touristic spots and other demonstrations of violence. Vincent Ciciliato grew up against that background and the game he has developed unfolds in six different locations in Palermo, some of which are the stage of a murder. Players have to re-enact the murders and fire at moving targets inspired by real murders but they don't actually know if the person is an innocent passerby or the specific person who has to be eliminated. The identity of the victim is revealed only after they have been shot (to kill people, players have to do the well-known gesture of holding a handgun up and then aiming and firing with the finger.) The executor becomes the witness when the shot is followed by a series of archives documents that reveal the murder that took place at that exact spot some 30 years ago.
Zahra Poonawala's Tutti installation made me think of Futurist composer Luigi Russolo's magnificent Intonarumori but the reference was actually the acousmonium or loudspeaker orchestra, a set of 80 loudspeakers of various sizes and shapes designed by Francois Bayle for tape playback.
Tutti invites visitors to a dynamic experience of listening by walking around the components of the orchestra. The characters each have their own volume, register and a different personality. In front of this background the soloists stand out, isolated loudspeakers that are mobile because they react to the movement of the spectator who is incited to move to make them react. The different layers of sound intensify this spatial organisation. From a fundamentally complex chord which forms a base, the reaction to the spectators' movements determines the changes of intensity, ignites solos which stand out from the sound mass.
Ryoichi Kurokawa was one of the mentors of the students at Le Fresnoy in 2012 and as such, he was invited to develop his own work during his stay in Northern France. As can be expected from the über-talented artist, the result is jaw-dropping.
Dead End is a charismatic metallic sculpture inspired by abandoned industrial monuments and futurist constructions, the start of fantastic progress of the edification of a modernist mirage; hybrid architecture striving to rise up but also to deconstruct, to gradually deteriorate.
"The void of distance is nowhere else."
Véronique Béland's installation attempts to listen to radio waves that civilizations living on other planets might broadcast. This is exactly what the SETI program has been doing with very little success since the beginning of the 1960s as part of its mission to find intelligent extraterrestrial life.
The young artist, however, proposes to capture «non intelligent» radio broadcasts and process it through an automatic generator of random texts. The data is captured by radio-telescopes from the Paris Observatory, the algorithm turns it into a text and a synthesized voice articulates it in the exhibition space in real time.
More descriptions, details and essays in the press kit.
Previously: Tarnac, Chaos and Grace.
Elastic Reality. Beyond the Exhibition: New Interfaces for Contemporary Art in Europe was curated by Benjamin Weil. The exhibition remains open at LABoral Centro de Arte y Creación Industrial (Art and Industrial Creation Centre) in Gijón, Spain, until 8 September 2013.
I discovered the work of Arcangelo Sassolino in 2008 at the Palais de Tokyo in Paris. He was showing a nitrogen-powered sculpture that shot empty beer bottles against a wall at 600km/hr inside a zoo-like metal cage. 5 years later, i'm listening to the podcast of a presentation that the artist made at CCC Strozzina in Florence. the podcast gave me the opportunity to 1. get to know his work better 2. write a quick post about it and 3. advise you to check out Strozzina's archive of podcasts because, as i mentioned on twitter the other day, they contain real gems (quick selection at the end of this post.) Some are conversations between the artist and a moderator from Strozzina. Others are more akin to 'proper' lectures. Most are in italian though.
Here's the gist of Sassolino's talk:
At the time of this presentation, Sassolino was showing a new commissioned (and untitled) piece at CCC Strozzina for the exhibition Francis Bacon and the Existential Condition in Contemporary Art.
A heavy industrial piston is linked to an oil hydraulic system and set up following the longitudinal direction of the room. Another component of the work is a thick rope which traverses the entire length of the room at the height of the visitors' eyes. The rope passes through the piston and its ends are tied around two thick wooden beams anchored between the stone doorposts of the two entrances at opposite ends of the room.
Without warning and at irregular intervals the hydraulic system is activated and starts up the action of the piston that gradually pulls the rope taut. The traction is increased slowly until breaking point is reached, but just before the irreparable happens the piston eases the tension causing the entire system to return to a state of precarious calm.
That's the kind of work that Sassolino makes. It has danger, mechanical tension, darkness and makes the spectator vaguely uneasy ("Is this going to break? Will i be hurt? Shouldn't it take one step back?") In fact, Sassolino also explained that the beams vibrate but they hold the pressure. The system actually gets in motion when a visitor gets closer to the work. And that's when, as the artist puts it, a kind of Sadomasochistic moment emerges: the visitor would like to see some dramatic collapse of the wooden structure but doesn't dare to get too close to it.
In his talk, Sassolino explains that what he likes is to take a material 'by the neck' and torture it in order to make it scream and admit the truth.
A "variation on the same theme" --as he puts it-- is another work without title that made a piece of wood moan until it split.
As the video below demonstrates, sound is an important dimension of Sassolino's work:
The artist is generally less interested in bringing a completed art work in a gallery than in showing a material, be it a piece of wood or marble, that will gradually be stripped of its 'flesh' and maybe reach the point of collapse.
The most literal example of this would be Figurante.
The powerful jaw crushes a femur bone over 3 hours. The work references the sterilized war images we see on tv. They never include the sound of people suffering.
Another work discussed was Elisa, a sculpture assembled from four mechanical digger parts and hydraulically animated by a random generator. The digger arm moves with spasms like a big animal slowly dying.
A couple more image, mostly for my own pleasure:
Dilatazione pneumatica di una forza viva (Pneumatic Expansion of a Living Force) features a bullet-proof glass structure enclosing a glass bottle, which is set on a tube attached to nitrogen cylinders. The gas slowly fills the bottle, which explodes with a shatter of glass when its maximum capacity has been reached. After every explosion the glass bottle is replaced.
In case you're dying to see Sassolino speak about his work in english, here's his comment on Time Tomb, a sculpture he installed at Z33 back in 2010.
More podcasts i'm looking forward to listening to: Loris Cecchini talks about his work, Domenico Quaranta explores art and identity online, Gianfranco Pecchinenda discusses Video games and the production of the American imagination, Vito Campanelli talks Process flow and Web, Fabio Chiusi's lecture is about Transparency and freedom of expression after Wikileaks, Emiliano Ilardi imagines A modernity without catastrophe, etc.
The latest exhibition of the Hayward Gallery is quite hard to resist. If you're into scientific experiments and geeky installations, you're bound to find something that will excite your senses and curiosity. But the exhibition is also a joy to visit if all you're asking for is pure entertainment, disco and thrills.
The Light Show displays the works of artists from the 1960s to the present day who have used artificial light as a medium.
With all the word plays about light at their disposal (the journalists certainly had a field day writing about "stepping into the light", a "dazzling show", the "light at the end of the tunnel", etc.), the curators chose the simplest title at their disposal and I decided to borrow their minimal approach and visited the show without even reading the texts explaining the works. That was a first for me, and also probably a very dumb idea as i've missed most of the references and dimensions of the works. But i only realized it when i went back home and flipped through the catalogue (a little gem that one!)
Here's just a couple of my favourite works:
Ann Veronica Janssens' Rose is a room filled with fake mist that makes the intersecting beams of light appears as if they formed a luminous, tangible star.
Katie Paterson never puts a wrong foot. I discovered her work only a couple of years ago and she keeps amazing me with each new piece. Paterson plays with moonlight, melting glaciers, dead stars, grains of sand and Gamma Ray Bursts. Light Bulb to Simulate Moonlight is a specially manufactured lightbulb that softly illuminates a small exhibition room with artificial moonlight, a light that, due to increasing light pollution, is almost never experienced in urban settings.
In the same way that lighting manufacturers created the standard incandescent 'daylight' bulb, Paterson worked with a lighting engineer to produce its opposite: a bulb that replicates the light emitted when the moon is in opposition with the sun. The finished artwork consists of a single, lit bulb together with a sufficient quantity of spare bulbs to provide a lifetime's supply of moonlight.
Carlos Cruz-Diez's neon-lit installation, Chromosaturation, gave me an almost physical understanding of the expression 'solid colours'. You walk from one red room to a green one, to a blue one. A few geometric shapes interrupt the monochromatic environment.
'Since the retina usually perceives a wide range of colours simultaneously,' Cruz-Diez explains, 'experiencing these monochromatic situations causes disturbances. This activates and awakens notions of colour in the viewer, who becomes aware of colour's material and physical existence. Colour becomes a situation happening in space.'
Ceal Floyer casually threw a puddle of light on the floor.
Bill Culbert's Bulb Box Reflection II easily tricked me. It looks like an incandescent light bulb and its reflection in a mirror but it's actually the opposite. The bulb's reflection is alight while the actual bulb itself is not.
The exhibition isn't overly socially-engaged, it is mostly sheer distraction from the grey London February. However, one of the works on the top floor is a huge stock exchange-style display of LED texts taken from declassified US government documents exposing the operations, interrogations and abuse that took place at Guantánamo.
Another politically charged piece is Reality Show. Iván Navarro invites visitors to step inside a phone box. Once you've closed the door behind you, you discover that the illuminated space above and below you seems to go on for ever. The sides have one way mirrors and when your eyes try to escape the vortex below and the one above, all they can find is your own face in the mirror. It's disturbing, with this infinite space that makes you feel isolated from the rest of the world. The work is a reference to the interrogation rooms and disappearances that characterized the brutal regime of Pinochet in Chile, where the artist grew up.
A couple more images and i'll close shop for the day:
Just for the title:
Previously: The Magic Hour.
Today i'm stuck in Turin, it's been snowing all day long. I'm not complaining but i don't feel like venturing outside to see exhibitions so i'm going to point you to an online exhibition over at dARTboard, a digital art space that the Vilcek Foundation created to 'celebrate the accomplishments of foreign-born artists living in the United States and working in the realm of digital art.' This year's featured artist is Marc Böhlen who's showing two works that investigate the relationship between people and automated systems.
The first work is WaterBar, an installation that geoengineers water in response to news on global water crises. The liquid is first filtered to be perfectly clean and then remineralized using a filter bank which releases traces of magnesium, iron, calcium and other elements in proportion to the intensity of related problems found in pertinent realtime online news.
The minerals delivered are connected to a number of locations and symbolic significations. For example, increased readings on water conflicts caused by greedy corporations are countered by adding more of the water mineralized with sandstone from La Verna, Italy, where St. Francis cared for the poor. Similarly, increased readings on topics suggesting over confidence in technology, is counterbalanced by adding more water mineralized with quartz-rich granite from Inada by Fukushima, home of the latest devastating high-tech catastrophe. The result is a unique water mix that acts as an 'antidote' to the news of the day.
The second work, MakeLanguage - SyntheticAccents, attempts to overcome the shortcomings of commercial text-to-speech (or TTS) systems which only offer standardized, idealized speeches devoid of any slur or strong accent.
MakeLanguage - SyntheticAccents creates accented Englisch (Frenglisch, Genglisch and Spanglisch accents in limited vocabularies) to speculate upon the imagined lives of these accents without origins.
To be honest, i wasn't particularly impressed by Volcek's "electronic art space" because i can't see how a couple of webpage that reproduce some of the content of the artist's website can be regarded as an online exhibition. I was expecting more curatorial weight, effort, and inventiveness. That said, i'm not only impressed by the Foundation's general aims and missions but i also welcomed the news of this online show as it allowed me to catch up with Marc Böhlen, an artist-engineer whose work i've been admiring almost ever since i started this blog.
Extracts of our online interview:
Hi Marc! Let's start with WaterBar. The installation is a 'water-well designed for the post-sustainability age when clean water is simply not good enough.' Can you explain what you mean by post-sustainability age? Is this when we realize that achieving sustainability is impossible? Or when we go to extreme lengths in order to obtain what we regard as 'sustainable'?
WaterBar is inspired by two different and related ideas.
The second idea is the current fixation on the 'sustainability' model. No doubt, sustainability is of paramount importance in the near and midterm. But one day, we will have solved the sustainability challenge (provided planet earth still exits). And then what? What kind of relationship can we build with resources beyond risk management and damage control?
I just showed WaterBar for one month in Singapore, where industrial level water management delivers clean (as in not risky) water to the entire island. Even waste water is recycled and returned to the drinking water system. The water cycle is complete. From a sustainability perspective, the problem is 'solved'. Interestingly, the exact proportion and timing of the release of this processed water (coined 'new' water) into the public drinking water system is a state secret; details are withheld from the public. The researchers at the Aquatic Science Center I consulted claimed that people simply do not want to know this because of the unresolved relationship to dirty water in general. Similar responses have been reported in San Diego (USA) where a novel waste water processing plant delivers 'clean' drinking water. In short, the water problem is not just a technical, not just a political problem. It is a problem of a 'failed' relationship between people and technology. It is a civilization challenge. Up to now, good water was equated with fresh water. But there is not enough fresh clean water to serve everyone on the planet. The future will require new approaches to this problem. That is one reason geo-engineering is so important. These are the aspects of sustainability WaterBar responds to.
To me, WaterBar sounds a bit like a satire of the fashion for food that will 'heal' us more than feed us, for the new 'superfoods' that keeps being praised in the health pages of newspapers. But of course i might be completely wrong so what motivated this desire to 'improve' the water we drink?
Well, there is a component of satire, but not in the installation. The WaterBar installation really does produce mineralized water. It adds iron, calcium, magnesium and other minerals in minute but detectable levels.
The satire is in the shelves of supermarkets and restaurants that sell mineral water to health-fashion victims. The improvement, as it were, that WaterBar offers is an improved relationship to water, to the water mix of the day as it is influenced by current water problems occurring all over the world.
The remineralized water is offered for public consumption. Are people eager to test them? Do they taste very different from each other?
WaterBar searches the internet for news on water problems that concern everyone. WaterBar makes in response to this collection of information (usually bad news!) by passing water from its reservoir through the filter banks and mixing it to a 'catch of the day'.
The relationship between the filter banks (of collected rocks and minerals from different parts of the planet) and the news feeds is based on an oppositional mapping scheme. For example, the Inada Granite filtered water is added to the mix when the system finds instances of 'overconfidence in technology'. (This Inada Granite was sourced from a quarry south of Fukushima, home of the latest high tech meets natural resources catastrophe). Anyway, depending on the mix, the water tastes different. You can't taste all the variations - at least I cannot - and it usually has a bit of chalky taste due to the choice of limestone and marble in the filter banks. Some people really enjoy it.
In order to 'mineralize' the water one has to expose the water to the filter materials for a certain time. At about 30C it takes only about 5 hours or so for the filters I have chosen to reach close to saturation level. At colder temperatures it can take longer. I usually fill up the filters 24hrs in advance and refill overnight.
Yes, the mixes are always different, as different as the news feeds describing water problems. News feed change all the time, but luckily water catastrophes have a slower update rate! This is an interesting problem - how do you relate temporal flows of information systems to the temporal flows of geological systems. Anyway, some mixes taste very different from others, some seem hardly different. The variations in chemical properties are far greater than the resultant variation in tastes.
Some people were very eager to taste the water. During the first show in Buffalo, NY, one fellow stopped by the WaterBar every day. At the end of the week, he stopped by with a large canister to get WaterBar water for his cats and plants!
Can you also explain us the 'internet-scanning, text-processing control system"? What does the system scan exactly? And how does its search influence the final mixing/mineralizing of the water?
WaterBar's software contains a module that checks a large list of websites on water resources, including, waterworld.com, circleofblue.org, ecology.com, mondediplo.com and many others. Depending on where WaterBar is operating, I add sites with locally pertinent information. The internet-scanning algorithm checks these sites, dissects the content and maps it onto an 'association matrix' that relates the origins of the filter banks to the web search results. This is where information directly becomes material. I use the simple 'bag of words' approach. For example, the Inada filter (see above) bag of words contains the concept attributes: 'hazard', 'hightech', 'disaster', 'nuclear', 'contingency', 'emergency', 'highrisk', 'failure', 'advanced technology' (with spelling variations). The algorithm creates a normalized distribution map based on frequency of occurrences for all the filter banks and concept attributes. This does not produce an exact representation of the information flow relevant to the filter topic. But the error rate is uniform across all the filters. From an engineering perspective this is not really good enough, and certainly needs some more attention. But even if I spend the next five years perfecting this, there will always be a difference between what I can capture, what is flowing in the internet and what actually happens in the world. I see the current approach more like a fishing expedition.
The catch of the day are fish that were actually in the water at the time you went fishing, but the fish you catch do not necessarily represent all the fish in the ocean. Anyway, the result from the internet scanning algorithm might suggest this kind of distribution: 20% filterA, 35% filterB, 15%filterC and 30%filterD. A second algorithm creates a water mix in this proportion by opening and closing the electronic valves that connect the filter banks to the bottom jar. A third algorithm calculates the effective chemical composition of the resultant water (based on the mix ratios and measurements of the water in the filter banks). E mg/L of iron, F mg/L of calcium, and so on. Just like the descriptions on commercial mineral water bottles. This info is scrolled on the large LED screen at the top of WaterBar. Gravity is the only force moving the water from the top to the bottom.
My experience has been that people find these accents mostly humorous. I don't know why! To me they are vehicles of 'Entfremdung'. They sound like humans with a life history but are fake!
To me the weird experience hearing these voices is not unlike the 'uncanny valley' effect coined in robotics that describes the effect of experiencing an almost living/human thing and then all of a sudden realizing that what was thought to be alive is inert (technology). The fall from the initial attraction is augmented by the degree of veracity of the effect. I don't think we have culturally come to terms yet with machines that really sound like we do. Not only because of this direct audible disjoint, but because of the subsequent intuitive step of assuming that what sounds human must be human. Maybe this is as disruptive a step as the introduction of the telephone that undid the notion of presence and voice. Prior to the popularization of the telephone, presence was coincidental with physical proximity. The advent of the telephone changed that, and a 'live' voice could be heard from faraway. It took some time before people could grasp this in daily life.
Now this might be a naive and silly question but how did you record these heavy accented sentences? Did you ask a german-speaking person to speak like a computer? Or did you tweak the TTS system instead?
The accented utterances are 100% synthetic! They have never been uttered by a living person, and can be generated on the fly by the system.
Synthetic speech systems use various approaches, but one popular one is based on the unit selection principle by which elementary units of speech (phonemes and diphones) are combined based on language specific rules to larger units such as word and phrases. One starts with a collection of sound bites (a corpus of utterances) made by a specific human being, recorded in a studio. Synthetic speech engineers refer to people whose voices are used as 'voice talent'. Anyway, these utterances are then dissected, rearranged and 'atomized' to elements that can be recombined ad lib, usually in the language model of the native speaker. Whatever such a synthetic voice says will sound as if the original human being said it. Anyway.
Back in 2005 I approached a startup company (SVOX, no longer operating..) that had, in my view, an excellent synthetic speech engine and asked them if I might experiment with the system, promising 'interesting results'. Luckily I received access to the software. It would have been almost impossible to do this project having to build all the software from scratch.
My very simple but effective approach was to selectively mix units of speech from one language with language models from another. This in itself did not produce good results, so I added some 'accent rules' to address the problem of intonation. Even that did not work well. I had to make lots of special rules, and the system got rather unwieldy. I was not able to create a general purpose accent generator (as I hoped for in wild dreams) but a system that would work with a few languages for limited vocabularies. One rather weird part was the testing. Who do you test on? How do you know when the fake accents sound 'right'? So I concentrated on language mixes I am familiar with through my own history and background and tested the strange voices on myself. Once I was ok with the basic sounds, the question of content moved front and center. What should/could these voices say? Some very weird conversations between the voices and me ensued, as you might imagine. Amway, I ended up mostly in the service industry (hotels, airports) and played with the kind of phrases you hear in those impersonal settings. It felt so right in a very wrong way.
What does an exhibition on the online platform dARTboard, bring to your practice? Do you think that an online exhibition has as much strength as one in a brick and mortar museum? In terms of audience, recognition and also ability to engage with an artwork?
I do prefer brick and mortar for installations like WaterBar. I really do want people to drink the water. The installation has a powerful presence, I think. Video documentation is a compromised replacement. Plus you don't get to see people's reactions.
The synthetic voices from the MakeLanguage trilogy are a different matter. I don't think they lose much by being online. Maybe that is the only place they can really be at home after all.
The Winter Sparks show at FACT Liverpool is small and efficient. Three large-scale installations that experiment with scientific phenomena and pay homage to Nikola Tesla. The works can be experienced without mediation but each of them also conveys several layers of meanings and readings, whether you're intrigued by the technical description or by the sheer beauty of the sparks, lightening bolts, and sonic properties of the works. Each piece in the exhibition also functions as both an art installation and a musical instrument that the artists played during the opening night of Winter Sparks.
I already told you about the Evolving Spark Network installation yesterday so let's move on to Alexandre Burton's Impacts, a work that demonstrates convincingly that you can still stun and amaze the crowd using a technology that was invented around 1891. The installation uses Tesla coil and a quick look at its wikipedia entry taught me that the electrical resonant transformer circuit is so popular that its enthusiasts show off their home-made Tesla coils at "coiling" conventions, that Björk used a Tesla coil as the main instrument in the song Thunderbolt, and that others use coils to play Mario Bros theme song.
Right before we approach the installation, we are advised that it's better not to go too close to the work -actually "Do not to touch!" is a better way to describe the warning, not to enter the room with a pacemaker, nor to let unaccompanied children in. Even mobile phones are not invited to the party as "there is a chance that the electromagnetic field emitted by the tesla coils could corrupt the flash or damage the memory of your mobile device or crash running programs."
The Tesla coils are activate by the presence of the visitors. As you go near, arcs of electricity of variable intensities come crashing against a glass pane. The violent flashes of light and sound are dramatic and fascinating, because of the lightning bolt patterns formed of course but also because you have the feeling of being in close proximity to danger.
With this new work, Alexandre Burton proposes the use of plasma (loosely defined as an electrically neutral medium of positive and negative particles) as matter and medium itself, circumscribed by a defined frame and articulated through unique programming. In this way, IMPACTS serves as a reminder of the danger and muscle of this marvel while capturing its sublime beauty and rhythmic potential.
Part physics experiment and part art work, the installation takes its cue from the Wilberforce pendulum, a spring hung on the ceiling with central and eccentric weights that alternate between two oscillation modes. Once calibrated, vertical and circular movements alternate even without additional external energy. It is an example of a coupled mechanical oscillator.
Bosch & Simons equipped the springs with audiovisual equipment that documents everything around the FACT Atrium. The video camera, microphone and loudspeakers capture sounds in the environment and in turn, generate visual and audio data that visitors can experience on a screen located in a dark room nearby.
This weekend, i'd like to send you to Liverpool. There's a good show -as usual- at the Open Eye Gallery and a couple of exhibitions at Tate Liverpool and Bluecoat (i haven't seen those but they sound promising). Plus, some one told me that i had just missed David Hasselhoff the other day. What more would you want? Maybe a few large-scale installations showing the work of artists who use scientific experiments as a raw material?
That's what the exhibition Winter Sparks at the FACT gallery is all about. The figure at the core of the work exhibited is the one of the engineer whose inventions and ingenuity almost single-handedly shaped the 20th century technology: Nikola Tesla. There are only three installations in the show, each of them large-scale, impressive and attempting to make scientific processes visible. I'm going to single out Evolving Spark Network and write about the others in my next post.
There's something direct and almost visceral in each of the works exhibited but Edwin van der Heide's installation is particularly powerful in the way it hypnotizes you.
Evolving Spark Network hangs from the ceiling in a grid of small modules that produces sudden bursts of light and sound. Electric sparks are flashing, crackling and exploding above your head. It's loud, the sound seems to physically hit your body, and it's a bit scary. Yet, you can't peel your eyes off them.
An electric spark is one of the most elementary forms of light generation, while the impulse produced produces the shortest imaginable sound. Composing with these impulses can therefore be seen as one of the most fundamental forms of composition in time and space.
Winter Sparks remains open at FACT in Liverpool until 24 February 2013.