“surrounded”

 

Image by unknown artist.

 

 

 

 

 

 

 

 

 

 

 

PULSE FIELD

presented by the Schools of Art & Design and Music

curated by Craig Dongoski, Robert Thompson and Cathy Byrd

 

 

January 18 – February 28, 2003

 

January 18, 6:00 – 8:00 PM

Opening Reception

Pulse Field

Georgia State University Galleries

 

February 6, 6:00 – 8:00 PM

First Thursday Downtown Arts Walk

Ouie Dire performs at 7:00 PM *

 

February 19, 7:00 PM

Douglas Kahn: Drugs and Sound

Speakers Auditorium, Student Center

 

 

* in residence from February 1 – 21

the French sound art collective Ouie Dire

will produce a sound art postcard of Atlanta.

 

Pulse Field website: cara.gsu.edu/pulsefield

 

 

L’Objet Sonore

curator: Adam Overton

January 18 – February 21

Opening Reception

January 18, 8:00 – 10:00 PM

Eyedrum Art & Music Gallery

Suite 8, 290 MLK, Jr. Drive

Atlanta, GA 30312

www.eyedrum.org

 

Pulse Field at the first exhibition is the series

“Situations Françaises: Atlanta Presents

Contemporary Art from France,” a set of exhibitions designed

by Georgia State University, the Atlanta College of Art

and the Atlanta Contemporary Art Center

to showcase new French art.

 

Situations Françaises is presented with the support of

Etant Donnés: The French-American Fund for Contemporary Art

and the Cultural Services of the French Embassy.

 

Other sponsors include Sweetwater Sound, retromodern.com,

Robert Thompson and Jude LeBlanc.

 

 

Pulse Field: SoundScape  IV

 

The Digital Domain

 

 

Disc I – 77:01

Monday – Friday 10:00 AM

Saturday 12:00 PM

 

Pete Stollery (Scotland)

 

1) Onset / Offset                                                           7:23     1996

2) ABZ/A                                                                     12:15   1998

 

Brigid Burke (Australia)

 

3) The Retreating Flower                                              7:17     1999

 

Aimee Norwich and John Peters (United States)

 

4) Music as Science                                                      3:32     1992

 

Michele Biasutti (Italy)

 

5) Deep Sea                                                                 9:40     2000

6) Transparenze                                                            10:01   1989

 

Bruce Christian Bennett (United States)

 

7) Stretch                                                                     18:24   2000

 

Tae Hong Park (Korea)

 

8) Omoni                                                                      6:03     1999

 

 

Disc II –  60:21

Monday – Friday 11:17 AM

Saturday 1:17 PM

 

Sara Hornbacher and Neil Fried (United States)

 

1) Transfigured Time                                                     20:00   1998

 

Orlando Jacinto Garcia (Cuba / United States)

 

2) Como un coro de clarinetes celestiales                      12:49   1998

Peter Grenader (United States)

 

3) Fluxus 1 – A Cathedral in Chartres                           8:10     2002

4) Electrolux                                                                 9:59     2002

 

Joji Yuasa (Japan)

 

5) Projection Esemplastic for White Noise                    7:55     1964

 

 

Disc III –  58:46

Monday – Friday 12:17 AM

Saturday 2:17 PM

 

Michael McNabb (United States)

 

1) Dreamsong                                                               9:21     1978   

 

Jean-Claude Risset (France)

 

2) Sud                                                                          23:56   1985   

 

John Chowning (United States)

 

3) Stria                                                                         17:03   1977               

 

Eric Lyon (United States)

 

4) FrM                                                                         7:25     2002                           

 

 

Disc IV –  55:55

Monday – Friday 1:15 AM

Saturday 3:15 PM

 

Kyoko Kobayashi (United States)

 

1) Evocation of Times Gone By                                    3:09     2002

2) Egg                                                                          2:45     2002

3) Recombination Study                                                3:17     2002

4) Westland Ave.                                                         5:00     2002

 

David R. Mooney (United States)

 

5) The Ancient Chinese Enclosing Game                       30:00   2002

 

Joseph Waters (United States)

 

6) Heart of Mephisto                                                    10:34   2002

 

Lucio Edilberto Cuellar (Columbia / United States)

 

7) Android                                                                   5:58     1999

 

 

Disc V –  59:42

Monday – Friday 2:10 AM

Saturday 4:10 PM

 

Mike McFerron (United States)

 

1) Tape Music to Accompany “Plaid is 2% Truth          5:58     1999

 

Christopher Arrell (United States)

 

2) Reel                                                                         4:41     2001

3) “A” is for Andiamo                                                   2:01     2001

 

Brian Hansen  (United States)

 

4) Excerpts from BRAIN                                              14:49   1999

 

Robin Julian Heifetz  (United States)

 

5) Falling off the Edge                                                   8:54     2002

 

Elzbieta Sikora  (Poland / France)

 

6) Géométries Variables                                               21:46   2000

 

Monday - Friday 3:09 PM (Program Repeats)

Saturday 5:09 PM (Note: gallery closes at 4:00 PM)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The digital domain is a crucible for the alchemical transformation of sound materials.  It is also a foundry, from which new and wholly originally timbral materials are forged, shaped and refined.

 

Originally interested in using computers to synthesize sounds and speech, composers and sound artists have eventually come to realize that the computer is both an expressive musical instrument and also a wonderful tool for the transformation of acoustic sounds.

 

In this set, a variety of perspectives on the use of the digital computer to sound creation are offered.  Among them are classic works of Risset and Chowning which still set a high standard of excellence today.   Other works indicate the manner in which the digital domain has become an agent of the sonic vernacular.  While all the works are diverse and unique expressions of their creators, they share a common lineage back to the binary representation of sounds as simply ones and zeros.

 

1011 0101 1110 0100