In conjunction with Experimental Sound Studio and the CLEAT Series we continue our series of artist-led introduction workshops exploring spatial audio.
The workshops are approximately 2 hours and will begin with a demonstration and discussion of each individual artist’s approach to multichannel sound. In the second half of the workshops, participants will have an opportunity to experiment with multichannel sound techniques on the 16-channel CLEAT system installed at Elastic.
No prior experience with multichannel sound necessary! You will need to bring your own laptop to actively participate in the second half of each workshop, however you are also welcome to simply listen and observe without a laptop.
Tonight we’ll hear from Haruhi Kobayashi with her Sonic Playground project.
Sonic Playground IV is an evolving multi-channel sonic sculptural performance and/or installation. This durational piece features a single voice per speaker. These voices gradually pitch shift to different arrangements that can be tonal or atonal, wide spread or clustered. By removing the body from the voice, Sonic Playground allows the listener to move through space to connect with each voice individually and as part of an ensemble. Haruhi will share the techniques used to build the pitch shifting mechanism and the conceptual decisions behind the work.
The workshops are FREE but space is limited. Come to one, or come to all!
Artist Guests
May 13: Ishmael Ali
May 20: Haruhi Kobayashi
May 27: Veronica Anne Salinas
June 3: Matt Test
This program is supported by the Richard H. Dreihaus Foundation
Artist Bios
Haruhi Kobayashi is a Chicago-based musician and sound artist. Originally from Tokyo, Haruhi began her career as a Japanese-pop singer-songwriter, releasing solo albums and composing for TV and film. Throughout her formative years in the Japanese pop industry, she became interested in the underlying social and emotional connotations and conditions of her own voice and the inextricable ties between one’s voice and their identity. She started to manipulate her voice into unidentifiable sounds, liberating it from its “human” constraints. Her recent body of work navigates the liminal space between the voice and its identity, and the simplicity and joys of songwriting with themes of tradition, love, fear, and humanity. Her work intersects experimental pop, classical composition and avant-garde songwriting through voice, bass, and electronics. She invites audiences to engage with both familiar and unexpected sonic textures.