Audio Crossings

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Views: 1394

Interactive Audio Installation
Multiple distance sensors trigger sound events ας people move around and get close to the grid with the srceens. Specific spots in the surrounding space can cause crossings of the audio sources, either additive or subtractive, resulting in an either silent, noisy, subsonic or granular synthesis. People interact with the sonic environment by moving around causing random crossings and changing the audio behaviour of the space.



Wroom
Konstantia Makri
Wroom
In between moments
Sofia Androutsopoulou
In between moments
Sproulifindros
Josef Kloos
Sproulifindros
Finem
Fani Arapi
Finem
Windows
Konstantina Kaika
Windows
SpacelSelf
Ioanna Mazi
SpacelSelf
Intersecting Worlds
Intersecting Worlds
Me, herself & ai
Marinos Pavlidis
Me, herself & ai
Voices in our heads
Valassia Dodoulou
Voices in our heads
Natural Perversion
Luc Messinezis
Natural Perversion
Wroom
Views: 1128

The Wroom, is a movie that start with two red iron cars, a 1953 Chevrolet 1100 & a 1954 Magirus Deutz small fire engine, spilling out of a race of skills, flips and drifts at speed in the dining room of their home. In a brightly room, in a world where imagination knows no bounds.

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In between moments
Views: 1139

Moments that meet and compose new ones through clips of a few seconds. Their common point is the associative thinking during their creation and the sense of the surrealistic-dreamlike mood.

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Sproulifindros
Views: 1897

Τhis piece refers to a suffocating relationship between a father and a son. This oppressive relationship is expressed by the father’s obsessive calls to the son to come and eat his food warm. The son lives in an imperative rhythm of breakfast/lunch/dinner with few getaways because his father never stops calling him, while having a piercing voice. The father lives in a rhythm of constant orthostatic food production. A very elastic son, a very rigid father. A piece of wood, also rigid, who attracts the son. She had been washed by the sea. The highest boiling temperature is at sea-level. Splashing and seething became one. Apnea and immersion in his father’s pot, which is the symbol of his influence, eventually are leading to his release. He tightened so tight on her that for the first time he was stabilised. They were swept away from the waves and while floating they turned into furniture.

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Finem
Views: 1393

The performance Finem deals with app[ause ας a transformative act. The aim of the action is to deconstruct applause ας a social expression of admiration and recognition.

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Windows
Views: 1184

The atmosphere of the space and the emotional charge are the dominant points in the work. The windows ας protagonists have a dual meaning. Internet windows - tabs ας a means of socialization and communication, a substitute for a life.

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SpacelSelf
Views: 1189

Α work based on the rules of kinetic poetry and explores the relationship between Space and Self. The Space defined by our Self [Ego] is malleable, it changes and interacts with the Space of Others. Physical and non-physical, the Space covered by the Ego is hetero-determined and constantly changing in eternity.

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Intersecting Worlds
Views: 1576

Creation of a group installation entitled Intersecting Worlds. The installation raises questions about the diversity and dynamics of the digital world, the limits and possibilities of technology and how it interacts and transforms contemporary life, creating new stimuli and a new way of looking at everyday life.

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Me, herself & ai
Views: 1463

Mirror project that interacts with "Me myself & ai" by Sofi Moutafi. The creation of this work results from the collaboration of man and machine, which places it at the intersection of these two great sets.

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Voices in our heads
Views: 1404

Α video art piece with performance and art installation elements in public space.

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Natural Perversion
Views: 1590

In the realm of acoustic hyper-reality we meet aural simulacra of the order of maleficence. These are signals that mask and denature a profound acoustic reality. They are referential and representational, but in a way that they dissimulate reality and become its twisted Doppelgängers. Simulacra of the order of maleficence are perversions of reality. With the sound artwork ‘Natural Perversion’ Through a set of sonic processes the artist delves into autogenerative, autopoietic, responsive and biomimetic modes of creation exploring how the original naturally produced audio signal can be transformed into a sonic caricature and depending on the way it balances between its signifier and its signified aspect, it may re-interpret naturally produced concrete audible events into a musical language which serves both the acousmatic and the non-cochlear approaches to contemporary sound art.

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AVARTS IONIAN UNIVERSITY

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