PHONOTUBE + TURNTABLISM FOR THE HARD OF HEARING + MONOCHROME LAYERING

Phonotube
Arcángelo Constantini’s project Phonotube is the artist’s contribution to this year’s Sight and Sound Festival. The installation work uses uncommon light instruments and sound sequencers, made up of fluorescent tubes and strips of leds, as light sources. The tubes have offset negatives with printed sound patterns, which spin at various speeds. The sound sources for the project are derived from numerous types of circuits such as photodiode and photocel pre-amplifiers, phototransistor relays and Voltage Control Oscilators. The principle and subsequent title for Constantini’s installation is based on Alexander Graham Bell photophone patent. The artist also draws inspiration from artists and filmmakers such as Norman McLaren, who explore visual sound experimentation.

Turntablism for the Hard of Hearing
Toy robots, ink cartridges, turntables, papers, microphones, arcade game controllers, field recordings, nuts, bolts, screws, and code: disparate objects brought together in a new kind of symphony. Divorced from their typical functions, these “instruments” will be constructed, connected and manipulated to produce an entirely unique set of images and sounds. This performance is based on Mobbs’ other installation at the festival, entitled Turntablism for the hard of hearing: harmonic motion. The visual and audio output of that installation will be incorporated alongside the other objects and data, effectively creating a performance of a performance.

Monochrome Layering
During this performance, Christian Faubel, Tina Tonagel, and Ralf Schreiber will combine overhead projectors with kinetic objects, autonomous robots, solar-powered machines, analog synthesizers and other constructed objects to create a live-stream of images and sound. The sounds and visuals are created in real time by the devices on the projectors’ glass “stage” be they vibrating strings, rotating motors, moving sticks or spinning shapes. As they move, these objects deflect the light, casting moving shadows and projecting an abstract two-dimensional movie onto the screen. The soundtrack similarly emerges in real time through the amplification of the sounds made by movements on the projectors, evolving from crackling noises to rhythmic structures and techno beats. The performance will ultimately be improvised, in a constant dialogue with its autonomous or semi-autonomous machinery.