Day Three: Saturday 9 November
2-4pm: Talk 4
Lecture Theatre, Stockwell Street Academic Building
Sophie Rose – Externalising Psychological Space through Spatial Music Using Wearable Gestural Technology and Voice
This presentation discusses the sonification of psychological reactions to trauma in gesturally mediated vocal composition. It focuses on the incorporation and implications of the spatial and visual elements through qualitative observation, artistic process documentation, and examinations of movement data. The original works compared are Crumble (about gaslighting and mental overwhelm) and Breathing I (about panic). These pieces use voice (singing, speech, and utterance (Cavarero, 2005; Wishart, 1996)), wearable gestural interfaces (MiMU Gloves LTD, 2010; Genki Instruments, 2019; Rose, 2020; InteraXon Inc., 2020, p. 2), music/sound, and visuals to explore the psychological space as a physical medium.
The movement frameworks used for these works were derived from trauma-informed therapy movement practices such as body-focussed engagement (for example, yoga or dance style movement), bilateral coordination (Elbrecht, 2019; Malchiodi, 2015), and Peter Levine’s Somatic Experiencing®. Data was captured through audio and audiovisual recordings, composition development (scores, artwork, audio, and programming elements), and gestural interaction through rehearsals. Live spatial positioning data was routed through Max (Cycling ’74, 2018) and captured by Ableton Live (Ableton, 2021) as automation data.
Psychological reactions to trauma are mostly invisible; only some of the external symptoms and biomarkers can be seen. These reactions include panic, dissociation, anger, grief, and so on. At the same time, the external signifiers may be tears (which are mostly commonly associated with sadness or pain) and breath-based arousal or hyperventilation (which can be a symptom of anxiety or panic). This talk will discuss the potential of spatial music through live gesturally mediated vocal performance in multi-channel speaker environments to embody these internal states and how spatial patterns conformed or differentiated from Bessel van der Kolk and Peter Levine’s noted patterns in role-play-based therapy practices (Kolk, 2014; Levine, 2015).
The voice is an instrument of both body and mind (Cavarero, 2005); it delivers semantic communication alongside paralanguage, which includes gesture, vocal timbre, non-semantic utterance, inflection, et cetera. This is unique among traditional instruments, and the voice is physically produced from within each individual’s vocal anatomy (body) – unseeable (Dolar, 2006), except through medical means. Wearable gesture technologies, such as datagloves, rings, electroencephalography (EEG) devices, and electronically augmented clothing, can control sonic information through the wearer’s movements. I use these technologies to add sonic and visual context to the human voice as paralanguage.
One’s voice is often linked to the psyche, and this connection can be damaged through trauma (Kolk, 2014; Levine, 2015). Traumatic experiences can also exhibit spatial patterns in reenactments, as described in The Body Keeps the Score (Kolk, 2014). Spatial music places sonic events around a space to exploit sound localisation for an immersive effect (Tanaka & Gemeinboeck, 2006). Therefore, in my practice, I intertwine voice, technology, and gesture into immersive sound environments to contextualise the landscape of the mind.
Sophie Rose is a singer, multi-instrumentalist, extended technique enthusiast, composer, improvisor, researcher, multi-media artist, and maker. She is currently undertaking a PhD Interactive Composition, sonifiying gestural data to represent trauma-induced mental states. Her work explores creative practice, interactive technologies, new instrument design, phenomenology, feminism, embodiment, time, and space. In performance works, Rose mixes technology and technical proficiency to explore the nexus of human potential and the affordances of machines.
Jing Chang – Intervention of Immersive Audio-Visual Experiences in Perception Similarities, Conflicts, and Associations in Petit Violence #1
Petit Violence #1: Breath is a multi-sensory, multi-channel dynamic spatial installation that explores the intersections between sound and visual perception, and the resulting connections, similarities, and conflicts within individual sensory experiences. The project draws inspiration from the acoustic similarity between the sound of a balloon pump and human breathing, using the interplay between sound and installation to evoke associations with the viewer’s own life experiences. This work progressed through two distinct versions: the first stage featured a six-channel audio system in an open space, while the second stage transitioned to a two-channel system within a small, semi-enclosed exhibition space designed for individual experiences. This paper examines how sound and visual elements in the installation stimulate tactile, internal perceptions, and emotions. Additionally, it analyzes how changes in scale and setting (open versus semi-enclosed, multi-channel versus two-channel) influence perceptual associations and emotional responses.
Gin, also named Esme Chang, is a 24-year-old MFA student pursuing New Media Art at Taipei National University of the Arts. Currently, her work focuses on the relationship between the inner senses and the Other. The artist’s works span across image, installation, body art, and sound.
Before entering the art field, she graduated with a Bachelor’s Degree in Design, had over two years of visual design experience and received awards in national technology innovation competitions. Her expertise includes graphic design, project planning, interactive design, creative coding, music post-production, etc.
Brigid Burke – Gloss: A visual music score through three performances for multiple audio instrumentation and visuals
Dr. Brigid Burke is an Australian composer, performance artist, clarinet soloist, visual artist, video artist and educator whose creative practice explores the use of acoustic sound and technology to enable media performances and installations that are rich in aural and visual nuances. Her work is widely presented in concerts, festivals, and radio broadcasts throughout Australia, Asia, Brazil, Europe and the USA.
Brigid’s main focus is integrating musical ideas with a combination of different media. Each component of media is a tool in the exploration of her artistic process: sound (acoustic, laptop, clarinets and electronics), composition, improvisation, installation, collaboration (with dancers, acoustic performers and other new media performers), print making, pen and ink drawings, painting and animation (digital).
She regularly works across a range of contexts including experimental and improvised music, new chamber music, classical music ensembles and cross-disciplinary collaborations. Brigid’s work seeks to extend beyond the boundaries of her art form and to reimagine the possibilities of sound and visual.
Her involvement New Music has led her to integrate sound, visuals, video mixing and theatre in her performances of her own work and in collaboration with other composers/performers. Currently she curates SEENSOUND a monthly Visual Music series https://seensound.com and the Teal House Gallery with Steven Broughton www.thetealhousegallery.com
Recently she has been a recipient of an Australia Council Project Music Fellowship & new work commissions ‘Artist in Resident at Marshall University USA with a Edwards Distinguished Professor Artist Residency, Indiana University USA, also ADM NTU Singapore. Also most recently she has presented her works at Federation Square Melbourne, Splice Festival USA 2020, Tilde Festival 2019, ABC Classic FM and I Echofluxx Festivals Prague International Media Festival Prague 2013-23, ICMC International Computer Music Conference Perth Australia, Generative Arts Festivals in Rome, Milan, Ravenna & Florence Italy, Asian Music Festivals in Tokyo, The Melbourne International Arts Festival, Futura Music Festival Paris France, Mona Foma Festival Hobart, The International Clarinet Festivals in Japan and Canada also Seoul and Australian International Computer Music Festivals. She has a PhD in Composition from UTAS and a Master of Music in Composition from The University of Melbourne.
brigidburke.net