This paper discusses Leslie Sharpe’s sound and sculpture installation project “Beak Disorder,” exhibited at Manizales, Columbia for Balance-Unbalance 2016. The work addresses how anthropogenic climate change may be affecting birds in the Pacific Northwest regions of Canada and the United States. “Beak Disorder” is a project that references an unexplained condition documented in birds in the Northwest of Canada and Alaska called “avian keratin disorder” where the bird’s beak becomes distorted and elongated.
Emotion-sensitive artworks provide a challenging yet rewarding locus of activity. After a comparative review of the situation in art and music with respect to emotion research, three innovative, interactive and emotion-sensitive artworks are described. The Emotion Light (2009) is an interactive biofeedback sculpture in the shape of a light-emitting uterus that responds by changing color depending on the arousal level of the person holding it.
Interpretations of human, plant and animal forms define the sculptures and drawings of Margot McMahon. Humans, plants and animals symbolizing lifeforms may be fused into organic interpretations in bronze, ciment Fondu, aluminum, stone or wood. These sculptural symbols, in natural materials, emphasize the importance of interdependent and unique evolved forms of nature.
In this paper the authors describe the pioneering robot designed by Arcangel Constantini, called the Nanodrizas (2006). Nanodrizas is a cluster of small robots resembling extraterrestrial flying objects. They are introduced into an ecosystem for water recycling, among other effects. The result of a seriocomic robotic device like the Nanodrizas is to make the viewer aware of the specific technology that would one day allow humans to invite machines and artificial life-systems to save an environment that is precariously balanced on the edge.
Alvin Curran (1938–) has always spent time near bodies of water and this fact has arguably left a mark on his compositions from his important work Songs and Views of the Magnetic Garden (1975) for live performance and sounds of gentle water waves, which Curran recorded on tape, to his ongoing series Maritime Rites (ca. 1975–) for musicians in boats on bodies of water. This essay examines Curran’s use of water as a compositional resource while also considering ideas such as music outside of the concert hall and building environmentally attuned communities.
This article discusses the conceptual implications of the introduction of video mapping to building facades, the role of the facade as an architectural mediator between interior and exterior spaces and the ways in which video mapping transforms this role. At one time transparent (in modern architecture) and then opaque (in postmodern architecture), the architectural facade has traditionally maintained its integrity as a mediator between public and private spheres.
At Balance-Unbalance 2016 in Manizales, the authors presented a cycle of four musical pieces for solo violin, Comu arvulu scippatu. This commentary illustrates the theoretical premises and the technical circumstances of their work, highlighting the noncoercive, horizontal quality of their collaboration and the historico-critical background of the composition.