art works

 

The Boundary Mixer (2019) 

Aluminum Horns, springs, plastic pipes, woods, guitar strings, drum heads 

Length 14m, Height 170cm KONTAKTE '19 | 26-29.Sep.2019 

at Akademie der Künste, Berlin 

 “Rekuhkara” is a form of throat-singing that Sakhalin Ainu conducted until 1976. Two women stand facing each other. The “giver” sends her guttural voice through a tube made of their hands and it is modulated by the “receiver”' changing oral cavity. This is special in that the different voices emerge through another body; namely, the border between players is obscured and appears as another existence. Since not only the sound transmitted by air vibration but also due to the bone conduction, the audience can not hear what kind of sound is actually occurring among players. Moreover, there is a unique feature that each player can perceive different sounds.[1] 

    This instrument “The Boundary Mixer” is that integrating two different areas through a sound transmission path such as a pipe, a spring, and a vibration membrane (percussion head).The transmission path of sounds with a total length of 14 meters mixes not only sounds intentionally generated by people but also synthesizes phenomena in the natural environment such as wind and rain drops as sound through the materials and gives a unique reverberation without using any electricity. When a “giver” sends his or her voice loudly from one side, the converted voice by substances and length, reaches to the other side. At the same time, the “giver” also can listen to their voice reflection by collision with the first membrane.

Reference 

[1] A Study of the Throat Exchange Game rekukkara of the Sakhalin Ainu, Isao Shimomura and Daisuke Ito, Kitami Institute of Technology Repository, 2008

 

 

 

 

 

 

 

 

Nylon Line

Awarded 'Special Mention'
Prix Presque Rien 2017(Luc Ferrari)

video work(6'05)

Prix Presque Rien 2017 < Mention Spécial >
This composition is mixed with sound recorded by Luc Ferrari's personal recordings archive from Association Presque Rien for Prix Presque Rien 2017.

When I was fishing , I could feel numerous sounds that have been conveyed through the fishing line.It contains a lot of information, prediction, observation, and imagination. In this work, I tried to compose the mixed cognition through the Nylon Line.

Included Luc Ferrari's sound archives and field recordings by Haku Sungho.
Using contact microphone with a fishing rod.
Recorded in Oryuk-island, South Korea


 

 

 

 

 

Canvas Instrument II (2017)

This canvas instrument is a device that coexists and complicates perception of different areas (or so defined) respectively. Painter Jazoo Yang and musician Haku Sungho share a different perception from their traditional methodology. All the sounds are transmitted to the musician through this instrument, that is, through the actions of the painter, and musicians can not select their own sounds. On the other hand, the painter expands the sense of friction in her painting , because it is amplified as sounds. Among the conditions that can be called these 'constraints', the most important point is to explore ways in which each perception is reborn in a newly overlapping area, through the Canvas Instrument , using a simple and understandable principle.

Musician : Haku Sungho / Paintier: Jazoo Yang 
 Live Painting at Loophole, Berlin, 22 Jan 2019

Shining Darkness

 

  

Musician : Haku Sungho / Paintier: Jazoo Yang 
 Live Painting at Arena Club, Berlin23 March 2018 

TRIBE V °The Getae, a Thracian tribe° ed.

 

The Box

‘the box’ which used for this noise live performance is made by haku sungho himself using wood, spring and brass plate. Adjusting the tension of springs, this instrument transforms reverberation and sound quality. This logic is very primitive and simple which aims the dynamism of echo and friction through direct action.

Canvas Instrument I (2013)

Using the same principle of a string telephone played by kids, this device delivers frictional vibrations of the canvas made by stroke of an artist — JAZOO Yang through metal springs to a musician –haku sungho. The collected sounds from the device are taken into a computer and simultaneously the musician proceeds sampling andrecording the sounds.

The sounds (of strokes) are amplified and affected by prepared speakers and a guitar amp, and it conveys the trajectory of the painter’s motion to the painter herself again. Every sound source is oscillated from the canvas. The main concept of this device is involving the inevitable sounds made by bodily movements of the painter and making the musical order deviated

from what the painter could expect.