Projects in the Audiokinetic Experiments Lab.
(((20hz))) – blue|red: VIMS\SIMS
VIMS\SIMS is the first in a series of blue|red works which fuse multisensory aesthetics and the simultaneous analysis of their experience through audio commentary. This particular work explores visually and sonically induced motion sickness – through the relationship between perceived motion and implied movement as well as aural metaphor and spatial disorientation. The audient places their hand in the well of the plinth and watches their shadows dance to the sound. The experience is by turn dissociative and enveloping - but most importantly, through both vection and rapid foveal stimulation, potentially nauseating.
In all (((20hz))) blue|red works, two headphone options are provided. The bluepill offers an audiovisual aesthetic experience; the redpill, the same experience, but simultaneously annotated by a commentary. This voiceover identifies the physiological mechanics of what is happening to the viewer, step by step, as they are unfolding.
Serious academic discourse as popular entertainment; physical discomfort as fine art.
Installed as part of Morbis Artis exhibition, RMIT Gallery until February 18, 2017
(((20hz))) – Contagion (February 2017)
Spilling out of the Morbis Artis: Diseases of the Arts exhibition inside RMIT Gallery, Viral Screens will contaminate the nine RMIT Info Corner windows on La Trobe Street.
Contagion devolves from calm abstraction into structural infection and accruing visual disintegration.
7pm-7am February 18, 2017
(((20hz))) line_array (March 2017)
From a considered, synaesthetic audiovisual lock, to an infectious dance of audio and colour, line_array is an energetic celebration of the sound of light.
This project has been the culmination of a series of experiments (((20hz))) have been undertaking for the City of Melbourne. These trials explored the idea of a music for the deaf – and the musical voice composers bring when they work with light.
A small scale visual work using naked LEDs invites close focus and contemplation as patterns accrue over time. Underpinning this intricacy is a full bandwidth, Ryoji Ikeda-like celebration of 90s electronica – infectious grooves driven by showy crisp clicks and punchy sub-bass. The liquid architecture of music as both an invitation and a beacon for something
simultaneously intriguing and delicately beautiful. The relationships between the sound and light are designed to be more than merely decorative however. Behind the beats is an intricate sound design which crafts an unworldly sense of unfolding narrative – an intriguing cinematic environment which fuels the mystery of just what this system is and the purpose of its journey as it builds, unfolds and develops.
Ten minutes. Three showings. March 17 at 9pm, 9:20 and 9:40
Seating is limited. Email firstname.lastname@example.org to book.
Antony Hamilton vs (((20hz))) – Number of the Machine (May 2017)
This installation/performance carries layers of meaning that respond to a number of philosophical ruminations, such as the synthesis of technology and biology, human primacy, perceptions of sentient machines, and the problematic belief in progress. Performed over several hours each day, audiences are invited to watch this kinetic sculpture as two human bodies become components, disassembling and laboriously transporting a timber dwelling from one synthetic island to the other over the course of many hours.
The machines exhibit a sentient quality that rivals the human body's rank in the space.
Central to the work are two 6DOF (six degrees of freedom) motion simulators which activate the bodies.
The work operates as a poetic treatise on our binding connection to the unwieldy and dominating force that is technology. Perhaps it moves alongside us and not necessarily with us, or for our benefit. Ritualistic clothing, totemic shapes and seemingly purposeful movement of the machines all serve to challenge the proposal that the biological bodies and their mechanised environment are entirely bound by social determinism.
RMIT Gallery 18 May – 10 June, 2017
(Z)ero Deci(.)mal Five
(Z)ero Deci(.)mal Five is an exploration into audiokinetic relationships, mediation technology, sensory immersion, and space-time perception.Find out more (Z)ero Deci(.)mal Five
A series of small wire objects (many of them uninteresting)
Object 1 takes a useless spatial object and turns it into an interesting temporal one.Find out more A series of small wire objects (many of them uninteresting)
A series of small wire objects (many of them uninteresting) Object 2
After its success at the Globelight Festival, McFarlane & Verhagen’s audiovisual plinth returned as part of Experimenta: Recharge.Find out more A series of small wire objects (many of them uninteresting) Object 2
Audiokinetic Jukebox is a single participant, immersive artwork integrating sound, movement, vibration and light into a multisensory aesthetic experience.Find out more Audiokinetic Jukebox
Einsturzende Neubauten’s Klangbewegungmaschine
The Klangbewegung Maschine was a single participant installation for sound, movement, sensed vibration and light.Find out more Einsturzende Neubauten’s Klangbewegungmaschine
Procoz is an audiovisual abstraction of an audiokinetic artwork built in RMIT University’s Audio-Kinetic Experiments Laboratory.Find out more Procoz