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AUDIOCANVAS

I Radars foyer, entré og publikumstoiletter er installeret et avanceret højttalersystem. AUDIO CANVAS, som systemet er døbt, har 16 individuelle kanaler og er koblet op på CAVI’s specialudviklede computerprogram Sound-o-Matic, der gør det muligt at komponere en unik tredimensionel lydkulisse, der udvider og intensiverer koncertoplevelsen.

Anvendelsen af Audio Canvas foregår i tre spor. Først og fremmest anvendes det i det daglige, hvor stereo-output fra front-of-house sendes ud i alle højttalerne, så publikum sikres ikke at "misse" noget af koncerten, hvad enten de skal på toilettet eller befinder sig i entreen og skal hente noget i deres jakke. Derudover tilbydes alle musikere/bands/artister at levere en lyddesign, hvad enten det er skræddersyet i Sound-o-matic eller som stereo-spor, som fungerer som lydtæppe før, under og efter koncerten. Det er med til at skabe udvidende auditive koncertoplevelser, og aktiverer publikum til at bevæge sig rundt på vores venue og i al almindelighed undres. Sidst men ikke mindst, bestiller Radar specialkomponerede værker hos lydkunstnere og artister.

Indtil videre har 5 komponister skabt specialkomponerede værker til Audio Canvas:

Komponist / Titel / Premiere

Henrik Munch / (Ingen Titel) / Media Architecture Biennale 2014

Filip Ja  / MTI / December 2015

John Drever / Dan Dryer Project / Juni 2016

98 voices emulating/mimicking/impersonating/singing/sounding Denmark’s Dan Dryer, Turbo Design model.

A participative and creative approach that contributes to an ongoing study into the noise effects of ultra-fast hand dryers on users with sensitive hearing and special auditory needs, such as children, older people, tinnitus and hyperacusis sufferers. Hearing models used in design and legislation are predicated on the notion of a healthy person aged between 18 to 25 years. What about the hearing of an 8 year old child on the autistic spectrum or a partially sighted hearing aid user in their 70s? In ayre #2[Dan Dryer] you can hear a wide range of voices from a 2 year old child to older people in their 80s. In such projects Drever seeks for a greater consciousness of aural diversity, a departure from our default understanding of an idealised, perfect hearing, a model of hearing that he calls the auraltypical.

Thanks to Radar, Godsbanen and Aarhus University. And special thanks to all those who contributed their voices including Class 1.B at Rosenvangsskolen, Aarhus and St Barnabas Choir, Dulwich, London.

Knud Romer / "Hvad laver jeg her?" / Oktober 2017

I oktober 2017 tog Knud Romer (f. 1960) til garagerockkoncert med Baby Woodrose. Den kom der teksten "Hvad fanden laver jeg her?" ud af som efterfølgende er indspillet af Robert Skovmose og afspilles under udvalgte koncerter. 

MERLYN SILVA / OUTSIDES INSIDE / 2019

Inside’s Outside is a fixed-media, multichannel sound installation investigating the codification of privacy and intimacy in contemporary Danish society. Through a process of sound archaeology, anonymous interview and field recording, the work seeks to investigate and question the evolving meaning of ‘personal space’ in our increasingly self-mediated and commodified daily lives.

While the architecture and social function of a music venue like Radar provides a clear foundation of meaning to the piece (the intimately subjective experience of music, enjoyed within a public and socialised location), the placement of the AudioCanvass in Radar’s open-plan and unisex toilets offers the chance to appreciate and even celebrate society’s current enthusiasm in breaking down the hitherto insurmountable barriers of meaning and physicality between genders and sexes in public.

As our culture rushes to rid itself of the gender segregation, body-shaming and prudeness of eras past, Inside’s Outside asks whether there is any longer a need or place for private physical space in our society, and if so, what form it should take. Has progress and technology freed us, or just presented us with a new set of taboos? In mediating ourselves into airbrushed übermenschen through social media, do we value our offline privacy in the same way we used to? And when my desire for freedom oversteps your need for privacy, how does the architecture and acoustic profile of a public space serve to negotiate a compromise?

Premieres d. 22 maj 2020.

Vi oplever stor interesse for installationen blandt musikere og lydkunstnere, og inviterer løbende kunstnere til at skabe yderligere værker. Kontakt os endelig hvis du har en ide til anvendelse af Audio Canvas.a

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