An exhibition of digital sound projects from around the globe.

The Physics Room, Christchurch, New Zealand
18th July - 12 August 2001
curated by r a d i o q u a l i a

 

 

 

pHonic is an exhibition of four computer based sound artworks + a series of slide projections. Each sound project is a tool, a mechanism or an audio environment which requires user interaction in order for it to be actuated.

Introduction

pHonic concentrates on how sound has been mutated and transformed by the manifold uses of soft and hardwares. Sound has been one of the primary areas of innovation and experimentation within art and technology culture, with practitioners quickly embracing new forms of production and exhibition. Advances in scientific areas such as algorithmic and chaos driven approaches to sound composition, have profoundly shifted the field of experimental sound art. Sampling and digital technology detonated the remix bomb, causing a fusion of styles, methods and origins. Audio in digital media contexts has become a field of unlimited transmutations and unheard potentials.

Recent developments in the delivery of audio across the internet have also lead to the mass distribution of music online. Though this has interrupted the stranglehold corporate culture has on the distribution of sound, it has also raised interesting questions about artistic ownership and copyright.

pHonic takes a critical approach to this charged socio-auditory atmosphere. The installation presents artistic tools, interfaces, instruments and audio environments which evolve, devolve or manipulate the authorship of sound work. The installation will focus on how sonic technology acts as an interface between musician and listener, and how this traditional relationship is being deconstructed by artists who reposition the listener as musician.

r a d i o q u a l i a have selected artists who move beyond the mere sound spectrum and probe interfaces developed to make audio environments accessible. These artists are redesigning audio composition mechanisms, concerning themselves not only with sonic content, but the means by which the content is constructed. This is clearly seen in the work of artists such as audiorom (UK) and Andi Freeman & Jason Skeet (UK), who as well as developing artistic content, are also creating audiophonic tools for other practitioners and listeners construct sound pieces. The artist in this sense has become tool-maker, blurring the distinction between form and content.