human larynx Tag

Vocales Digitales

Erin Gee
Vocales Digitales
March 26 – May 14

Opening Reception: Saturday, March 26, 2:00-4:00pm

Artist Talk and Catalogue Launch: April 23, 2:00pm
Biosensor/Arduino Workshop: April 24, 10 am (full day) $25 registration required
Original Performance with Daniel Àñez and the Hamilton Children’s Choir (June 25, 2016)

Hamilton Artists Inc. is pleased to present Vocales Digitales, a solo exhibition by new media artist and composer Erin Gee, featuring installations exploring the potentials of human voices in electronic bodies as well as electronic voices in human bodies. Based on a robust research practice, Gee draws from neuroaesthetics, a field that investigates the potentials of neurological and physiological data, as both the basis of, and inspiration for, her technologically complex installations. Turning the inside out, Gee culls data from physiological sources such as the human larynx as well as intangible sources such as human emotions, and transforms them into highly realized aesthetic and musical compositions. Using languages of notation, code, and data, Gee explores the flesh and experience of human bodies, seeking out poetic languages of machine visualization to return the quantitative once more into a space of aesthetics through the experience of music.

The exhibition is accompanied by a bilingual publication featuring essays by Maiko Tanaka and Eric Lewis. The catalogue launch will be accompanied by an artist talk and will take place April 23, at 2:00 pm. The catalogue can be downloaded HERE (4.5mb).

Erin Gee - Larynx Series

Larynx Series

Larynx1, Larynx2, Larynx3, Larynx4 (2014)

Epson UltraChrome K3 ink on acid-free paper.

Edition of 5.

86 x 112 cm.

Communication is a collaborative process between listener and speaker that implicates both their sensory bodies. In consideration of what Roland Barthes called the “grain” of the voice, I think about how contemporary technological tools listen to and reproduce this naturalized, sonorous voice, concretize it, compress it, amplify it, and sometimes distort it. What we consider our voice in a technologically mediated environment is a visual-vocal-technological assemblage that implicates amplification, scale, human and digital bodies and networks. The multiplication and proliferation of voice on someone else’s device happens in asynchronous ways, much the same as a vocal score is a vocal performance that lay crystalized and dormant until activated by human action. 

This series of printed works is a set of vocal quartets created from the original material of the human voice, the larynx, which was amplified/reproduced/echoed through visual perception processes in machine and human cognizers and re-performed by multiple human singers. In endoscopic photography the flesh material of the larynx is extended through the sensory mechanisms of a machine. Light bounces off the flesh of the larynx and is interpreted by a camera as pixel data. This digital image is made of raster pixels faithful to their fleshy origins but limited in detail. If one amplifies the raster image of the voice (zoom) the image reveals its materiality as a technical assemblage. I transformed the raster image into a vector in order to continue playing with bouncing machine processes off one another to “voice” how a machine might perceive this human larynx. While the rasterization process I used eliminated the fleshy details of the original larynx, the image emphasized original architectural structures of the larynx, which now more closely resembled a topographical map, or circuit board. This technologically processed version of the larynx could be infinitely amplified or diminished without loss or distortion. At this point I detected an unexpected feature: my associative, human perception could see markings that resembled Western notation at the edges of this transformed image of the human voice, complete with staves, bar lines and notes. My transcription process included dividing each bar into four equal parts, and then transcribing rhythms in a linear relationship to where the small note-like marks were present horizontally in common 4/4 time.  Pitches were interpreted as they appeared vertically on the abstracted staves. 

Since there exist four sides to each two-dimensional image, there were four staves for each representation of the larynx in the series. I set this music into four separate vocal partitions for choral song: returning this technologically amplified process of voicing back into multiple human throats.

Exhibition/Performance history:
(Performance) Tellings: A Posthuman Vocal Concert. Toronto Biennial. Curated by Myung-Sun Kim and Maiko Tanaka.
Vocales Digitales – Solo exhibition. March 26 – May 14 2016, Hamilton Artists’ Inc.: Hamilton, Canada. Curated by Caitlin Sutherland.
(Premiere Performance) Rhubarb, Rhubarb, peas and carrots. July 17-September 5, 2015. Dunlop Art Gallery: Regina, Canada. Curated by Blair Fornwald.
Erin Gee and Kelly Andres. August 25 – October 24, 2014. Cirque du Soleil Headquarters: Montreal, Canada. Curated by Eliane Elbogen.
Collections
Larynx3 (edition 1/5) was purchased by the Saskatchewan Arts Board for their permanent collection in 2019.

Exhibition/Performance history:

Toronto Biennial (upcoming) November 2019.

Vocales Digitales (Solo Exhibition), 2016. Hamilton Artists’ Inc. Hamilton, Canada. Curated by Caitlin Sutherland.

Rhubarb, rhubarb, peas and carrots, 2015. Dunlop Art Gallery. Regina, Canada. Curated by Blair Fornwald. Larynx Songs premiered with singers Erin Gee, Carrie Smith, Kristen Smith, and Kaitlin Semple.

Erin Gee and Kelly Andres. Cirque du Soleil Headquarters, Montreal Canada. Curated by Eliane Elbogen.

Voice of Echo (Solo Exhibition), 2014. Gallerywest. Toronto, Canada. Curated by Evan Tyler.

Erin Gee - Vocaloid Gig At Nocturne (X + 1)

Gig Vocaloid

A video-text pop band from a dystopic future where the human voice is lost and pop music reigns supreme.

Virtual voices are key for these pop stars. Dancing, costumed performers carry tablets that display the human larynx and song lyrics as they dance in sync.

GIG VOCALOID is a virtual pop band that had its first performance at the Musée d’art Contemporain de Montreal in February 2015 at X + 1: an evening of Internet-inspired art.

The project is inspired by virtual pop stars such as Hatsune Miku, which exist equally as distributed visual media avatar (holograms, merchandise), and as digital software tools for public, fan-based synthesized vocal creation. GIG VOCALOID is also inspired by boy and girl pop bands, whereupon individual voices and musicality are often superseded by a pop “character.” This is especially true in Japanese pop group AKB48, which has 48 female members whom are voted upon by the public for the right to solo singing and “leadership” within the group.

In this pop music context, celebrity character, fashion and visual appeal is more important than the human singing voice itself, which is often replaced by synthesizers and pitch correction. GIG VOCALOID invokes a fantasy posthumanist future where the human voice is lost, subjectivity is dead, and everyone is celebrating.

Externalizing the human voice outside of the preciousness of the human body, the human larynx (typically a hidden, interior aspect of vocal performance) is displayed prominently on tablets. “Lyrics” to their song flash aleatorically through these videos, which enable humans performers to be the support for digital artwork. GIG VOCALOID re-localizates the voice beyond the borders of the flesh body in an infectious avatar-dream.