Sound Art

of the soone

of the soone re-embodies the cognitive processes and creative voices of three agents (a deceased author, a deep learning neural net, and an ASMR performer) into a tangible device. The device transmits the soft vocalizations of a computer-generated text, attempting to induce autonomous physiological sensations that reveal the listener as an integrative part of the assemblage. These human and nonhuman agencies are further materialized in the object through words etched onto its surface as well as into the device’s silicon memory, blurring the boundaries between time, cognition, language, and technologies of communication.

 

The algorithmic process used in this work is a deep recurrent neural network agent known as “long short term memory” (LSTM). The algorithm “reads” Emily Brontë’s Wuthering Heights character by character, familiarizing itself with the syntactical universe of the text. As it reads and re-reads the book, it attempts to mimic Brontë’s style within the constraints of its own artificial “body”, hence finding its own alien voice.

 

The reading of this AI-generated text by a human speaker allows the listener to experience simultaneously the neural network agent’s linguistic journey as well as the augmentation of this speech through vocalization techniques adapted from Autonomous Sensory Meridian Response (ASMR). ASMR involves the use of acoustic “triggers” such as gentle whispering, fingers scratching or tapping, in an attempt to induce tingling sensations and pleasurable auditory-tactile synaesthesia in the user. Through these autonomous physiological experiences, the work aims to reveal the listener’s own cyborgian qualities as part of the hybrid system in place.

Exhibition History:

January 2018: Her Environment @ TCC Gallery, Chicago
March 2018: XXFiles Radio @ Nuit Blanche, Montreal
April 2018: NRW Forum, Düsseldorf, Germany

Erin Gee recording “of the soone” at Perte de Signal, Montreal

Erin Gee - 7 Nights of Unspeakable Truth at Nuit Blanche Toronto 2013

7 Nights of Unspeakable Truth

(2013)

7-channel audio installation, woven blankets, text work

8 hours duration

It’s a search for disembodied voices in technotongues.

“7 Nights of Unspeakable Truth is a recording that consists of dusk-till dawn searches for number stations on shortwave radio frequencies. Arranged in order, from day one to day seven, the installation allows one to physically walk through seven evenings of shortwave, synchronized in their respective times, in physical space. This spatialization of each night allows listeners to observe patterns and synchronicities in Gee’s nightly search for unexplained broadcasts that consist only of numbers, tones and codes.”

This body of work is informed by my fascination with mystery, symbolic organization and communication. I take on the nocturnal patterns of a solitary listener, connecting to other enthusiasts via online chat in order to share an obscure passion. The patterns of my searching during 7 Nights of Unspeakable Truth are woven directly into blankets, another evening activity partaken during Nuit Blanche 2013 in which I encoded and wove my audio searches into a physical form that you could wrap yourself in while you listen – two different versions of encoded time on radio airwaves.

More on this work:

Gautier, Philippe-Aubert. “Multichannel sound and spatial sound creation at Sporobole: A short account of live performance, studio design, outdoor multichannel audio, and visiting artists.” Divergence Press #3: Creative Practice in Electroacoustic Music (2016).

Erin Gee - Voice of Echo

Voice of Echo

(2011)

Works for video, audio, and digital images

Propelling the mythology of Narcissus and Echo into a science-fiction future, I translate Echo’s golem-like body into a digital environment.

What is the Voice of Echo?  It exists as a repetition – of what?  Of human voice, of Narcissus?  A voice that extends anothers’ voice, the activities of an environment, is it independent, does it vocalize at all?  The voice of Echo exists beyond its content, the repetitions, but how then to capture a voice devoid of content, devoid of sounding symbol?  The voice of Echo exists as a bouncing of processes, a distortion, a glitch, born of a love and desire uttered but never really communicated.  As artistic process I began by becoming Echo as image, in a video intended as love song for …Narcissus?  A camera?  A perverted gesture towards Echo’s self?

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Voice of Echo: Song of Love for Technological Eyes (2011) silent HD video for monitor playback, 18:01 (looped)  Photography by Kotama Bouabane.

Echo is in love with recording technology, particularly the video camera. The mirrors emanating from her throat are her concrete manifestations of her voice – the lovesong intended for the camera’s eye.

I took stills from this love song and translated the raw visual data into an audio editing program, choosing particular interpretation methods to “compose” the echo.  I bounced this data between photoshop and audacity multiple times, eventually coming at glitched sounds of data interpretation, as well as an accompanying distorted image for each “song”.  Echo may only traditionally exist as a re-utterance of Narcissus’ voice, but in this case her cyberfeminist reimagining points at perverse loops somewhere between love, repetition and becoming.