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Va. exhibit’s beauty is in the ear of the beholder
Question of the Day
ARLINGTON, Va. (AP) - You know the saying “beauty is in the eye of the beholder?”
At “Fermata,” the newest exhibition at Artisphere, beauty isn’t so much in the eye, as in the ear.
“What was interesting about removing the visual context from a lot of these pieces is that you can enjoy them and in some cases get completely get lost in a sound, and you’d have no idea what it is that you’re hearing,” says Artisphere’s new-media curator Ryan Holladay, who curated Fermata with his brother, Hays, as well as visual-arts curator Cynthia Connolly.
Visitors can see Fermata now through Aug. 12, but can you really say that about an exhibit devoted to sound?
“That’s a good question,” says Ryan. “I don’t know. Language fails us at every turn here when it comes to sound, doesn’t it!”
In a way, it does. I mean, even the word “exhibit” has visual connotations. It suggests a “display,” which the Merriam-Webster dictionary defines as “a setting or presentation of something in open view.”
Not that Fermata is devoid of things to view. Inside the spacious gallery you’ll find a handful of leather couches and a sprinkling of red and brown beanbag chairs. And the sounds in the show emanate from a physical, and literal, wall of sound: dozens of different-sized speakers, mounted in a grid-like pattern on one of the bright white walls.
“Everyone in the show has the ability to have 14 channels of audio,” Ryan explains. “So these are distinct channels that are kind of mapped throughout the speaker grid that every contributor had access to.”
The nearly 30 contributors hail from the world over: Australia, Japan, Macedonia, England, Switzerland, Germany, France, Spain. Some are composers, some are field recordists, at least one is a scientist. Some keep things simple, by using just one or two channels on the speaker grid. But others, like Canadian artist, CFCF, go a little bit wild.
“He had this work that was inspired by Phillip Glass and Ryuichi Sakamoto (another Fermata contributor) . this kaleidoscopic work that kind of builds throughout the whole thing,” Ryan says. “But he sort of deconstructed this piece he had already composed, and then reimagined it for this space and for this speaker wall.”
So, as Ryan explains, “you’ll be standing in one place, and then you’ll hear a piano start on, say, the other side of the room, and then trumpets come in next to you, and then all these different sounds start to sort of activate the room in a way that really would only be possible with a setup like this.”
Other contributors looked at the speaker grid as more of a map. Like Lucianne Walkowicz, who works on NASA’s Kepler mission, and uses the telescope’s light readings to study star spots and stellar flares.
“A lot of the time was I created this diagram of what the speaker wall would look like, and just shared it with potential contributors, and said ‘What would you do with this speaker matrix?’” Ryan recounts. “And Lucianne got back to me right away, and she said, ‘Here’s exactly how I would do it.’ And she showed me this map of how Kepler looks at the sky.”
She took that map of Kepler’s view of the sky, and superimposed it on top of Ryan’s speaker grid.
“So she took light readings and turned them in to audio,” Ryan says, “and then actually placed them within the speaker wall, relative to where they were in the sky. So she’s really using this layout that we have as a sonic manifestation of how Kepler sees space!”
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