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The post Beyond the Borders (Dilly Arts) appeared first on Attaya Projects.
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Hexham Old Gaol, Northumberland, UK
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]]>“Through referencing film and art contemporary to World War One I sought to delineate the transition from nineteenth century perceptions of war to those of the twentieth century.”
– Louise Marchal
The piece – which underlines the absurdity of war romanticism – was exhibited at Ripon Prison and Police Museum from 16th August to 30th November 2014 as part of the the 2014 commemorations for World War One, during which time it was included in the Great North Art Show’s Art Trail.
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]]>Two formerly discarded brass instruments are suspended in separate transparent water tanks and exposed to opposite transformative chemical reactions; one progressively decaying, and the other being progressively restored throughout a period of three months. These processes are translated into an abstract brass soundscape that changes in parallel with the instruments using sensor and sound processing technology, thereby linking the physical transformation of the instruments to the acoustic realm for which they were created: a webcam senses the visual changes on the surface of the brass using Processing, while a Supercollider sound processor modifies bespoke samples of brass sounds based on the changes of sensor values through time.
‘Cycles of Brass’ was commissioned by Brass:Pitch, the digital media art programme at the Brass International Festival, and co-funded by the Arts Council England and the Swedish Arts Grants Committee. It was on view at the DLI Art Gallery in Durham, UK, between 28th June and 21st of September 2014, during which time the piece was gradually changing, both visually and sonically.
Besides the installation, this project also included two hands-on workshops about art and science delivered by the artists to groups of students from the local schools Durham Gilesgate Sixth Form College and East Durham College.
Cycles of Brass from Attaya Projects
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]]>Fabian Danker designed and constructed a chill-out pavilion for this annual festival that celebrates Latin and Lusophone culture. The structure creates an experiential micro-climate, in which responsive lighting and a bespoke soundscape (by sound artist James Armstrong aka Slow Clinic) reflect Latin American culture: experientially transporting visitors to the subcontinent. The piece was presented at each weekend site of the ¡VAMOS! Festival throughout its duration, as well as the Northumbria Architecture final degree show.
Attaya Projects partly sponsored the project by designing interactive lighting to the piece. The role of the lightning was to bring the pavilion to life by making it visually react to the soundscape provided by the sound artist. Therefore, we used sound-activated RGB LED-strips (based on a LadyAda design) that followed the architectural lines of the structure.
Other sponsors include Northumbria University, Decorpanel Limited, RIBA (Royal Institute of British Architects), BAM Construct UK, Willmott Dixon Construction, Norbord, Max Fixings, and s h e d (Studio Horn Engineering Design).
Photo by Dru Dodd
Fabian Danker’s model of the pavilion
Pavilion’s flooring
Electronics for the lighting
Tests and installation
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