Spatial sound perception

Classic psychoacoustic experiments showed that, when excited with simple sine
waves, the hearing system uses two strong cues for estimating the apparent
direction of a sound source. Namely, interaural intensity and time differences
(IID and ITD) are jointly used to that purpose. IID is mainly useful above
1500Hz, where the acoustic shadow produced by the head becomes effective,
thus reducing the intensity of the waves reaching the contralateral ear. For this
high-frequency range and for stationary waves, the ITD is also far less reliable,
since it produces phase differences in sine waves which often exceed 360

linkt to article:

David Claerbout

Beeldmanipulatie neemt in Claerbout’s werk een bepalende rol in. Foto’s worden met films gecombineerd of verschillende films worden over elkaar gelegd en in versneld of vertraagd tempo afgespeeld. Zijn technieken zijn weliswaar gestileerd van aard maar hebben verbluffende beelden tot gevolg. De video installaties verrassen in hun ogenschijnlijke eenvoud. door de zorgvuldig gekozen composities.

link to article:

Bruce Nauman

Mapping the studio

link to article:



Mnemonic Present Un-folding

Dr Elena Cologni1

University of the Arts London, Central Saint Martins College of Art and Design


FRUITION: perceptual time ‘gap’ as location for knowledge –

Mnemonic Present Un-folding


Abstract. In developing my practice/research I analyse the interchange that takes place between audience and performer from within the paradigm. My own art practice is grounded in Merleau-Pontì’s concept of chiasm and intertwining and Amelia Jones’s reading of it, although I take a conceptual distance from Jones’s, constituted by considering time travel in artist-audience interchange taking place during mediatised performative events, here addressed as fruition stage. The time element comes from the production and incorporation of the video documentation in the event itself. The purpose of my review will be to introduced the implications and significance of the perceptual gap between audience and performer’s in the moment of fruition of the piece Mnemonic Present Un-folding.

link to full article:

Serendipity by Ann Veronica Janssens @ Wiels Brussel

Ann Veronica Janssens experimenteert met het ongrijpbare. Toch probeert de kunstenares eerder te experimenteren met de verschillende vormen en verschijningen van het ongrijpbare dan ze werkelijk vast te houden. Haar werk is gebaseerd op de zintuiglijke ervaring en op het samenkomen van het lichaam en de ruimte. Ann Veronica Janssens gebruikt licht, kleur, geluid als tastbare materialen voor haar experimenten rond perceptie van de ruimte en beweging. De bezoeker – die ze desoriënteert/verwart door de wijziging/deconstructie van de gekende ruimte – wordt geïntegreerd in haar installaties. Alle zintuigen worden aangesproken om het immateriële zichtbaar en tastbaar te maken.

Van deze experimenten van fenomenen die zich moeilijk laten vatten worden in Wiels verschillende excessen, verschuivingen en grensgevallen getoond : retinale verblindingen, lichtbombardementen, uithollingen, hoogtevrees, oververzadiging, knipperen, constant geluid, vertragingen… Tussen deze fenomenen die zich op de rand van de visuele en auditieve stabiliteit bevinden, worden een tiental nieuwe sculpturen getoond, waaronder zes grootschalige displays die een ware onderdompeling vormen, bestaande uit licht-, kleur-, geluidsbaden.

De meeste sculpturen zijn niet te fotograferen … maar te ervaren.

Ann Veronica Janssens questions the elusive. She tries less to grasp the impalpable and chooses to experiment with its multiple forms and apparitions instead. Janssens work is based on one’s sensorial experience, the encounter of the body and the space. She uses light, colour and sound to create experiences that heighten a viewer’s perception and awareness of space and movement. The visitor – whom Janssens disorientates by the modification and destruction of the known space – is an integral part of her installations. She engages all senses to render the immaterial visible and tangible.

Phenomenal experiences are nearly impossible to capture but often awaken the senses of the individual.  Janssens’ exhibition at Wiels will include sensory experiences for the viewer through the utilization of: dazzle, flashing lights, persistence of vision, vertigo, saturation, speed and infinite sounds …These phenomena border the edge of visual and auditory instability. For her exhibition at Wiels, ten new sculptures will be presented, among which six large devices will be real immersions, like bathing light, sound or colour.

Most of the time her sculptures cannot be photographically captured… but shall be experienced.

Media Art Net | Graham, Dan: Time Delay Room

This closed-circuit installation was varied by Dan Graham six times following the same structural set-up as described below:«Two rooms of equal size, connected by an opening at one side, under surveillance by two video cameras positioned at the connecting point between the two rooms. The front inside wall of each features two video screens – within the scope of the surveillance cameras. The monitor which the visitor coming out of the other room spies first shows the live behavior of the people in the respective other room. In both rooms, the second screen shows an image of the behavior of the viewers in the respectively other room – but with an eight second delay.

via Media Art Net | Graham, Dan: Time Delay Room.