audio art Tag

of the soone

25.04.2017 , Digital Media, Gallery Artwork, Portfolio, Robotics/AI/XR/Quantum, Sound Art

of the soone (2018) Print

2014

A disembodied voice invites the listener to partake in a speculative audio treatment that promises to awaken underdeveloped neural passageways through exposure to the non-human processes of neural network language acquisition.

In this work, media artists Erin Gee and Sofian Audry expose listeners to the architectures of an artificial intelligence algorithm through the sounds of an Autonomous Sensory Meridian Response (ASMR) roleplay. ASMR is a genre of audio and videomaking developed by internet aficionados interested in using specific everyday sounds (whispering, soft voice, crinkling and textured sounds) alongside verbal suggestion to “trigger” pleasant tingling reactions in the body of the listener. The artists combined these ASMR principles of sound with artificial intelligence to create a speculative neural conditioning treatment. In of the soone, the listener encounters a soft female voice that whispers a script written by a machine learning algorithm as it slowly loses its neural training and “forgets.” This combination of algorithmic text and ASMR connects the unconscious, automatic processes of artificial intelligence algorithms to the autonomous reactions of the human body to sound, using intimacy to “hack” into the subconscious of the human listener and recondition neural pathways.

Credits

Sofian Audry

Erin Gee

Exhibition history

October 2020: Digital Cultures: Imagined Futures Audio Programme curated by Joseph Cutts. Adam Mickiewicz Institute, Warszawa Poland

June 9 to August 19, 2018: Pendoran Vinci. Art and Artificial Intelligence Today curated by Peggy Schoenegge and Tina Sauerländer. NRW Forum, Düsseldorf, Germany

January 2018: Her Environment @ TCC Gallery, Chicago

Sounds

of the soone (2018)

Gallery

of the soone – print. text 2018. Courtesy of artists.

MediaLive Festival 2017

26.03.2017 , News, Performances

Happy to announce that I will be presenting a new version of my “BioSynth” at the MediaLive festival (Boulder Museum of Contemporary Art) in May. This year’s festival features an amazing group of artists, gathering under the theme THE VOID. For this upcoming performance I will be moving towards a more sophisticated sonic treatment of the physiological signals, and returning to the ideas of “choir” and “vocality” of emotion that I began with my earlier work “Song of Seven: BioChoir” with the Hamilton Children’s Choir.

BioSolo

28.11.2016 , Performance, Portfolio

BioSolo 2016
Photography: Wren Noble

2016

Using the BioSynth, I improvised a set for my breath/voice and my sonified heart and sweat release at No Hay Banda in an evening that also featured the very interesting work of composer Vinko Globokar (Russia).

The improvisation is very sparing, the goal is to exploit interesting rhythmic moments between heavy breath-song and the heartbeat, all the while exploring limits of respiratory activity and seeing what effect it has on my physiology.

Exhibition/Performance history

BioSolo was first performed at No Hay Banda series in Montreal at La Sala Rossa, organized by Daniel Àñez and Noam Bierstone.

Gallery

BioSolo 2016
Photography: Wren Noble

Musicworks #126 Interview

26.11.2016 , Articles, Interviews, News

Click here to read my interview with Alex Varty. “ERIN GEE SINGS THE BODY ELECTRONIC”

Fresh on the heels of my return from the premiere of Echo Grey in Vancouver (my newest composition for vocal quartet, feedback soloist and tape), I find I’ve received my physical copy of Musicworks, which is a triannually released publication featuring experimental sounds from across Canada.

Amidst a really massive transition phase right now, I find that teaching full time has really changed what I can do as an artist. Pushing myself to learn entirely new skillsets in organization and pedagogical performance (sidenote: yes, everything is a performance) has left me with little time or energy to invest in building new technologies.

Music composition has been something that I can invest time into, as all I need is a few moments, a microphone, my laptop, a notepad with pencil scribbles, my imagination.

This interview with Musicworks magazine was very interesting for me, as recently my opportunities have been coming from music composition. The whole issue is actually very interesting, with a full feature on music and sound revolution in VR spaces, as well as some features on other very energetic and productive electroacoustic artists.

Musicworks #126 is available now with a special curated cd of sounds included in the physical magazine. On this CD you can find a track from my Voice of Echo (2011) series.

Echo Grey

21.11.2016 , Music Composition, News, Performances, Portfolio

Echo Grey (2016)

2016

Echo Grey is a composition for four voices, feedback musical instruments, and tape part (which features the sounds of a broken image file).

Movement between words or utterance, the echo’s voice exceeds the signal itself and speaks to a deeper engagement with materiality. In Echo Grey, I composed a series of vocal patterns that emerge directly with breath as raw material, the movement of intake and exhalation made audible. The choir’s engagement with the mechanistic, impossible repetition eventually negates the signal: all that is left is the lungs and vocal vibrations of the individual who gasps, cries in defeat, and whoops in ecstasy. These human voices are simultaneously punctuated by the feedback of microphone and amplified instruments, and a tape track composed through process – a bouncing of data back and forth between visual and aural softwares that eventually results in nothing but glitched statements. This tape track is analogous to the squealing proximity of the sender to the receiver in the scored feedback parts. The colour grey in the work’s title is inspired by the back and forth motion of a 2HB pencil stroking endlessly across an empty pad of paper.

Performance history

World premiere at Vancouver New Music with Andrea Young, Marina Hasselberg, Sharon Chohi Kim, Micaela Tobin, Michael Day, Braden Diotte, and Erin Gee in November 2016.

It has also been performed at Open Space Gallery (Victoria), and Neworks (Calgary).

Scores

Echo Grey 2016

Echo Grey (2016)

Sounds

Echo Grey (2016)

NO HAY BANDA Montréal

23.10.2016 , News, Performances

Erin Gee – solo vocal performance November 28th 2016 – Sala Rossa, Montreal with Vinko Globocar

As part of NO HAY BANDA programming series with the support of Suoni Per Il Popolo.

More information:

NO HAY BANDA is a series of live musical events that aims to provide new outlets for artistic innovation and expression. Presented with the support of Suoni Per Il Popolo, programmes are designed to broaden and challenge the musical experience of the audience, showcasing the work of the young avant-garde that takes its roots in pop/rock, DIY culture and post-war experimentation.

NO HAY BANDA est une série de concerts qui incite à remettre en question les conceptions conventionnelles de la musique et de la performance, dans le but de créer de nouvelles voies pour l’expression artistique. Présentés avec l’appui de Suoni Per Il Popolo, nos programmes mettent en vedette des propositions de la jeune avant-garde, qui prend ses racines dans le pop/rock, la culture DIY et la musique expérimentale d’après-guerre.

La programmation de NO HAY BANDA cherche à promouvoir l’esthétique d’une nouvelle avant-garde internationale afin de produire des spectacles de ce genre pour la première fois à Montréal. Cette proposition est tirée des réseaux avec lesquels les membres ont été impliqués lors d’activités récentes en Europe et en Amérique.

NO HAY BANDA est un collectif d’artistes formé par trois interprètes de musique nouvelle basés à Montréal : Geneviève Liboiron, Noam Bierstone et Daniel Áñez. À travers notre expérience en création musicale et artistique, nous cherchons à créer un espace de concerts ouvert à un public diversifié où les expériences sonores priment.

NO HAY BANDA promeut la musique née d’une génération qui ne voit plus de barrières entre les différents genres musicaux, le théâtre, l’art performatif et la culture contemporaine. Chaque concert présentera un acte principal de 45-60 minutes avec un contenu international important, précédé par un acte d’ouverture de 20-30 minutes mettant en vedette des jeunes artistes sonores canadiens.

NO HAY BANDA veut devenir une institution dans la programmation musicale montréalaise et canadienne et l’option la plus avant-gardiste en ville. Le collectif est à la musique ce que la galerie d’art indépendante est aux arts visuels; la différence entre le musée et la galerie est toujours claire : le musée expose les œuvres historiques tandis que la galerie propose la créativité et l’innovation. Ainsi, nous oserons être la galerie en musique de l’innovation internationale et de l’avant-garde radicale à Montréal.

Song of Seven

03.08.2016 , Music Composition, Performance, Portfolio

Song of Seven (2016)

2016

A composition for children’s choir featuring seven voices and seven sets of biodata with piano accompaniment.

In this song, young performers contemplate an emotional time in their lives, and recount this memory as an improvised vocal solo.The choir is instructed to enter into a meditative state during these emotional solos, deeply listening to the tale and empathizing with the soloist, using imagination to recreate the scene. Choir members are attached to a musical instrument I call the BioSynth a small synthesizer that sonifies heartbeats and sweat release for each individual member to pre-programmed tones. Sweat release, often acknowledged as a robust measure of emotional engagement, is signaled by overtones that appear and reappear over a drone; meanwhile the heartbeats of each chorister are sounded according to blood flow, providing a light percussion.

The musical score combines traditional music notation with vocal games and rhythms determined not necessarily by the conductor or score but by beatings of the heart and bursts of sweat. Discreet flashing lights on the synthesizer boxes in front of the choristers allowed the singers to discern the rhythms and patterns of their heart and sweat glands, which therefore permits compositions to incorporate the rhythms of the body into the final score as markers that trigger sonic events.