Aragonite The Poly, Falmouth. |
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Aragonite The Poly, Falmouth.
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Exerpt from Robin Mackay's review in Art Cornwall on Arogonite.
"Presented as a kind of abstract crystalline structure of irregular columns exploding from the centre of the floor,
it feasts greedily on nearby sounds, taking them back to its inner core to digest them and then spew them back,
dissected and processed according to some unknown logic.
It is hard to say whether the piece would have been rendered more or less interesting were more documentation provided on its inner mechanisms; but as it was, throughout the evening its waves of commotion confronted the ambient hum and babble of a gallery opening with an intensified memory of itself. Since the piece will continue to build up its hoard of found sound throughout the show, it will be interesting to return later to hear how its scrambled recollections evolve. Crowley's use of generative algorithms make this a rare example of a work sure to surprise even the artist himself.
It certainly entertained those present (including small children, always a good indication with interactive works); its periodic spasms are a reminder of the strangeness of sound and of memory, as it serves both up in ominous shards, refracted through its crystalline digital surfaces."
| Aragonite composition example 1 | Aragonite composition example 2 |
Pyrite The Poly, Falmouth. |
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Pyrite The Poly, Falmouth.
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Pyrite reflects and amplifies the ambience of its surroundings, cubic crystal forms functioning as speaker enclosures project sounds across the floor area creating a field of sound. The artist has created a playful art installation, aurally, visually and spatially whether one is interacting or simply observing.
It is an interactive and generative sound installation, noises made by a person within the room are recorded and played back to them together with previously recorded sounds. A hidden computer, running a program in supercollider, pseudo-intelligently interacts with the viewer, by composing and playing sound scapes, which alter along with the level of interaction going on. The viewer becomes part of the performance, the audio scapes, generatively composed by the computer, are half communicating with and half emulating the viewers sounds, it's audio language growing in diversity, as it builds up a collection of recorded sounds.
| Pyrite composition example 1 | Pyrite composition example 2 |