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Minsoo Chang - Existence and Temporality

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Minsoo Chang - Existence and Temporality

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Existence and Temporality is a work that questions "What is existence?" by exploring human perception of existence through the lens of temporality. Drawing on Martin Heidegger’s philosophy, the piece distinguishes between ordinary time and authentic time. Ordinary time is the physical, homogeneous time constructed by humans based on the motion of photons, used to establish rules and systems. In contrast, authentic time refers to the temporal framework through which humans perceive their existence, divided into past, present, and future. It is not an objective measure but a construct enabling self-awareness.

According to Heidegger, the past reflects the choices and experiences one has accumulated, the present signifies the possibilities one is currently realizing, and the future embodies the possibilities one seeks to achieve, ultimately leading to the recognition of one’s mortality. This work metaphorically represents sound as human existence: past sounds reflect traces of past actions, present sounds represent the act of creation, and future sounds symbolize potential yet unrealized.

By engaging with these temporal layers, the audience, positioned as creators, actively explore their understanding of existence and temporality. The piece invites introspection on the fleeting nature of time and how self-awareness emerges through temporal experiences.

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Pale Reflections is a tactile sound sculpture inviting visitors to engage with the work through touch — please be gentle.

Drawing inspiration from the intergenerational bonds between women and the primordial stage of life, Pale Reflections explores connection, heritage, consciousness and oblivion.

Life begins in a pool of water. Five months before our mothers are born, the first sign of us is formed, an egg is formed. We exist in this pool with an unknown fate, this is when we first experience the reflections of our circumstances. Though we do not experience continuousness in this state, we still experience this state.

Reflections refer to ancestral bonds that transcend time, life, and sentience, manifesting as the reflections of each other we see within ourselves. As we connect with these reflections, we communicate with those who came before us.

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My work will be a tribute to the works of “wall noise” artist Arboreal, whose work recontextualizes field recordings within a “wall” framework by manipulating them to fit within the genre’s static nature and associated textures. The themes of the project connect it to the grander lineage of the Nature Noise Wall Bandcamp Wall scene prevalent around 2018, which ran contrary to the standard nihilistic associations of the genre and instead used the static wall framework as a means of capturing/conveying natural environments. Arboreal’s work is distinct in that the work is often treated with more of an ASMR cadence, as well as the aforementioned focus on field recording-based sound sources and tasteful artworks giving the work a more delicate and thoughtful approach to an otherwise brutist medium. My work will be focused on the line between the mixture of natural and artificial space that Arboreal works within, aiming to create a passive, quiet “wall” to occupy a small space in the garden area of the gallery to create a dialogue with the naturally occurring sound and the pseudo-natural sounds I have placed there.

The idea for the setup will be 2 speaker cones playing bass frequencies to vibrate leaves and twigs, and a cassette tape loop of field recordings, with the signal from the vibrating materials and loop being processed through a small pedal chain using contact microphones and a small mixer as to maintain the traditional “wall noise” roots. The setup will be placed underneath a plastic tarp in case of/in the hope of rain, and would ideally be placed underneath the window ledge in the garden so that the sounds dispersed are subtle enough to become a part of the atmosphere outside. I want to make it a goal to make the sound subtle enough to be ignored but present enough to be listened to, as I don’t want to make the garden less inhabitable while people are leaving to smoke, take phone calls, or anything like that, and rather to contribute to the surrounding environment.

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a collation of works needing doing

solitary field chores

trudging about

the tree in the chimney

Steward is a black and white digital short film with accompanying minimalist sound collage, concerning the gathering of firewood; The base act of felling, cutting up and splitting a storm-downed birch to heat the home. Where my preceding ethnographic artwork examined workplace politics and manual labour, this tangential project exists on an altogether more solitary plane. I draw out an interrelatedness between rurality, necessary physical labour, agrarian land stewardship, fallible masculinity, privilege, pride and error.

In the unflattering, ordinary winter light work continues. Insistently, I use blunt hand tools; doggedly focused on the performance of hard work, however erroneous.

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The piece “PERCEPTION” is an interactive sound installation that is inspired by a live show that provides a vest for deaf communities to dance with the music. By feeling the vibration from the vest, they were able to "feel" the beats. The Deaf and Hard of Hearing community has 430 million members. My perspective on the usage of music and sound was completely altered by this invention, which inspired me to make an immersive sound installation for this community.

Two ends of the room are joined by several threads controlled by machines. The beats, melody, tempo, and other elements will lead the threads to begin moving like waves once the sound work begins. Since there is no music playing until the audience puts on headphones, this seems to be a live picture from a distance. But when audiences interact with the threads, they are able to observe and perceive the sound work like how 430 million members did. We can analyze and interpret the music and sound around us using a variety of senses, and still feel and appreciate the sound in different ways even if we are unable to hear it. Additionally, audiences could engage with the installation the second time with headphones to observe the differences in perceptions.

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This project draws inspiration from traditional Chinese acupuncture, a therapeutic practice that targets specific acupoints on the body to stimulate various organs and achieve different effects. The idea of connecting distinct acupoints with specific outcomes mirrors the concept of audio effects in sound design, where subtle adjustments can completely transform a soundscape.

The installation aims to blend this ancient practice with contemporary sound art. It takes the form of an understated sculpture—a human head modeled after acupuncture diagrams. At first glance, it appears to be a simple sculpture, prompting only passing curiosity. However, this piece harbors a deeper complexity, embodying its own thoughts, emotions, and reflections.

The sculpture is designed to be interactive, equipped with a built-in microphone and speaker. When an audience produces a sound—whether speaking, clapping, or otherwise—the microphone captures it, processes it, and replays it with modulations. The interaction becomes more engaging as participants discover buttons placed on the acupuncture points of the head. These buttons allow users to apply different sound effects, representing the interconnectedness of physical, emotional, and auditory stimuli.

The design’s subtlety invites exploration without demanding attention. It blends seamlessly into its environment, giving the impression of a simple sculptural object while quietly containing layers of meaning and interaction.

The installation is informed by Buddhist teachings and my personal spiritual practice, which emphasize that the world is a reflection of our inner selves. Buddhism posits that our perceptions of the external world are shaped by our inner thoughts, emotions, and experiences. This idea resonates with the philosophy of author Herta Müller, who suggests that facts are not objective; they are shaped and reframed by the narrator, then constrained within the limitations of language.

By creating a sculpture that “listens” and “responds,” I aim to encourage viewers to recognize that their perception of the piece—and by extension, the world—is a reflection of their inner state. The interplay of sound, interaction, and audience engagement illustrates how our inputs shape what we experience, reminding us of the subjective nature of reality.

This piece is intended to be subtle in its presence. It should not overwhelm or demand attention, but instead serve as a quiet, contemplative object. It could comfortably exist in a quiet corner of a gallery, encouraging viewers to interact on their terms.

Through this project, I hope to bridge ancient philosophies with contemporary art and technology, inviting audiences to explore the interplay between sound, self-reflection, and perception.

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Her Story is the work that explores the lives of local Tanzanian women, their invisible struggles, and the generational cycles of hardship that shape their existence.

I will make a sculpture, which will primarily use clay to form many shapes on the outside, such as local African masks, and then place a water spray device inside, as well as a basin-shaped base at the bottom, so that when water is sprayed from the top, it is automatically sucked up from the bottom to form a circulation system. Then, in front of this artwork, I'll set up a projector to show the black and white silhouettes of local women that I filmed with their daily talking as the background. So this film will be projected onto the sculpture like a light.

Through a combination of sculptural form, water circulation, and video projection, the piece speaks to the intersection of tradition, suffering, resilience, and the silenced narratives of women in a context of societal and cultural challenges.

The sculpture, which features African-inspired clay masks, serves as both an aesthetic and symbolic representation of these women. The addition of a water circulation system within the sculpture’s structure, alongside the black-and-white projections of local women’s silhouettes, creates a poignant dialogue about cycles - of both life and suffering - hat transcend generations. Her Story seeks to shed light on these experiences, elevate the voices of these women, and challenge viewers to reflect on both the past and the present.

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Yutang Gong - The Veiled Ensemble of Ours

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Yutang Gong - The Veiled Ensemble of Ours

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‘The Veiled Ensemble of Ours’ is an interactive piece that uses a program to convert sounds picked up by microphones—whether human voices or various other sounds—into the timbres of orchestral instruments in real-time. Each microphone is fixed to correspond to a specific instrument. The audience will act as both composition and performer, collaborating to form a ‘miniature orchestra’.

While creating ‘The Veiled Ensemble of Ours’, I always reflected on how, in an era where humanity and technology are deeply intertwined, art can illuminate the symbiotic relationships between humans, machines, and the natural world. This is not just an experiment in collaboration but also an exploration of beauty and harmony. The term ‘Veiled’ serves as a metaphor, representing things unseen or not yet understood—whether untapped human potential or the creativity that emerges as algorithms unfold. ‘Ensemble’ is not only about music but also about how creators with audience can resonate in real time, discovering new harmony in the diversity of sounds. The orchestra is the pinnacle of human collaboration that every musician and every instrument is an indispensable part of the whole. This piece seeks to integrate machines into this ‘orchestra’—not as tools but as partners and co-creators. The precision and efficiency of machines, combined with the complexity, subtlety, and spontaneity of human emotions, create a dialogue that feels entirely new.

As the creator of this piece, I also want to invite the audience to reflect: What kind of beauty might we discover when we experience the most natural and intuitive resonance with machines and with other people? I hope that ‘The Veiled Ensemble of Ours’ could not only be an engaging musical journey, but also sparks fresh inspiration and thoughts about creation itself.

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Prism is a work that refracts sound into distinct spectral hues, examining the synergistic relationship between sound and material. It creates an illusion with acoustic perspective and outlines the physicality of sound, its ability to give life to material and visa versa. with sounding, resonant frequencies ring and a mirage of harmonics dance above. sound performed, not just recited, by the playback system

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CR∅ is a work that examines the externalization of pleasure into machine entities and the residual vibrations of passion, trauma, and lust that these objects may carry beyond their working lifespan. Combining shibari rope (human), used car parts (machine), and oil (temporal), it is a sound sculpture acting as a post-death machine, bringing life and noise to its components through the synthesis of their ever-developing narratives within the human story. With "oil" acting as the temporal narrative lubrication of man and machine, "oil" dictates the rhythm of noise being played in feedback and manifests the sculpture as a terrestrial metronome free of linear time units. Noise brings life to this entity, which projects back at us our buried fantasies that have been unknowingly injected into the infinite matrix of machine life.

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Plan-A - Resonant Bodies will be a materialist study into the nature of communication and interpretation. Using three elements: microphones, resonators and transducers, a responsive acoustic automaton will communicate with the gallery space and the exhibition’s visitors. The resonant bodies will be chosen for their particular colouring of the feedback signal generated, representing unique agents within the ecology of interpersonal relationships.

Plan-B - Car Performance will be a musique concrete piece based on a performance done with a car. It is something of a diary entry from a time of instability and decay, when I was struggling to find somewhere to live and my car was falling apart, challenging my livelihood. The recording will be sounded through a uniquely designed speaker made from an old car suspension spring, giving voice to the inert materials present in the memory of that time. Using the brutal aesthetics of rough metal objects and curious recordings of an engine’s revolutions electrically amplified, the composition will intone the mood and atmosphere of displacement, unrest and oblivion.

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A self produced electronic dance beat with visualiser (music video) to be displayed on a TV Screen with the sound coming through headphones at the Gallery 46, Metonymy exhibition.

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Light, mirrors and sound combine to depict the feedback between self, surroundings and the ever-present cycles of nature.

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Kit Beaufoy - Forms of Various Perspective

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Kit Beaufoy - Forms of Various Perspective

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Forms of Various Perspective refracts sound into five distinct spectral hues and examines their relationality with one another and the space around them. An illusion of acoustic perspective is created within the work; sound appears to move on a three-dimensional plane and emerge from beneath its surface, seemingly enlivening the inanimate.

With its sounding, resonant frequencies ring, and harmonics dance above a mirage of space and materiality.

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A recording of a piece composed for car.

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Victoria S Porter – "It Plays Itself For £40 – or – Sacrificial Vessel Which Flows Only When Money Is Introduced"

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Victoria S Porter – "It Plays Itself For £40 – or – Sacrificial Vessel Which Flows Only When Money Is Introduced"

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“It Plays Itself For £40 – or – Sacrificial Vessel Which Flows Only When Money Is Introduced” is a reconstructed snare drum installed with a handmade speaker using a 72mm x 39mm Y30BH ferrite ring magnet and conducive copper foil, connected to a piezo microphone. The microphone’s high sensitivity responds to its surroundings, creating a constantly shifting feedback loop.

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It Plays Itself For £40 – or – Sacrificial Vessel Which Flows Only When Money Is Introduced

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It Plays Itself For £40 – or – Sacrificial Vessel Which Flows Only When Money Is Introduced

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“It Plays Itself For £40 – or – Sacrificial Vessel Which Flows Only When Money Is Introduced” is a reconstructed snare drum installed with a handmade speaker using a 72mm x 39mm Y30BH ferrite ring magnet and conducive copper foil, connected to a piezo microphone. The microphone’s high sensitivity responds to its surroundings, creating a constantly shifting feedback loop.

An inversion of previous 8-channel spatial sound piece “The Arrhythmic Conception of Music (for Milford Graves)”, the work presents themes of improvisation, musical un-skill and what Stuart Schrader would coin as “shit-fi”. An itemised list of the cost of the installation’s individual elements is displayed in line with the £40 technical budget assigned to each individual artist. Reported in UAL’s Report and Financial Statements 31 July 2024, UAL generated £466.0m of income (2023: £425.4m) of which, >80% comes from tuition fees.

Attendees are invited to touch (and therefore play) the instrument in whatever way they wish.

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Yutang Gong - The Veiled Ensemble of Ours

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Yutang Gong - The Veiled Ensemble of Ours

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What kind of beauty might we discover when we experience the most natural and intuitive resonance with machines and with other people? Through ‘The Veiled Ensemble of Ours’, we may find a answer. It is an interactive piece that convert sounds picked up by microphones—whether human voices or various other sounds—into the timbres of orchestral instruments in real-time. Each microphone is fixed to correspond to a specific instrument. The audience will act as both composer and performer, collaborating to form a ‘miniature orchestra’.

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In an action to understand my next life I must begin to understand what it means to be a tree and all that comes with the enormity of that privilege. In the quest for comprehending the life of a tree, I start with the exterior, its leaves. I believe them to be one of the many mouths of a tree. In a constant conversation with the wind and all that reside close enough to hear its chatter, only to go dormant once the equinox wheel turns to autumn once again.

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Pale Reflections is a tactile sound sculpture inviting visitors to engage with the work through touch — please be gentle.

Drawing inspiration from the intergenerational bonds between women and the primordial stage of life, Pale Reflections explores connection, heritage, consciousness and oblivion.  Life begins in a pool of water and is where we first experience the reflections of our circumstances. Reflections become a way to maintain relationships beyond life and consciousness, the parts of each other we see within ourselves become our primary relationship with one another.

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a collation of works needing doing

solitary field chores

trudging about

the tree in the chimney

Steward is a black and white digital short film with accompanying minimalist sound collage, concerning the gathering of firewood; The base act of felling, cutting up and splitting a storm-downed birch to heat the home. Where my preceding ethnographic artwork examined workplace politics and manual labour, this tangential project exists on an altogether more solitary plane. I draw out an interrelatedness between rurality, necessary physical labour, agrarian land stewardship, fallible masculinity, privilege, pride and error.

In the unflattering, ordinary winter light work continues. Insistently, I use blunt hand tools; doggedly focused on the performance of hard work, however erroneous.

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(EDITED VERSION) Cameron Tanaka - MACHINEGUTSINTERFACE

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(EDITED VERSION) Cameron Tanaka - MACHINEGUTSINTERFACE

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2005 MITSUBISHI COLT CZT MK6 1.5 TURBO LEATHER STEERING WHEEL. TWISTED HEMP ROPE. CONTACT MICROPHONE. PAVOTUBE 30C II. ABLETON.

DESIGNED TO EXPOSE THE LIMINALITY OF PROJECTED PLEASURE INTO NON-HUMAN ENTITIES. MACHINE RELICS HOLD ECHOES OF ACCUMULATED DESIRE, FANTASY, PLEASURE, AND PAIN. THE FIRST MOMENT OF CONTACT WITH MACHINE CONTROL IS PURE POTENTIALITY. IT IS A STREAM OF ENERGY THAT IS OMNIPRESENT AND FOREVER OUT OF OUR REACH.

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This project is an interactive sound installation inspired by Chinese acupuncture, where different acupoints stimulate specific effects on the body. The sculpture, modeled as a human head, appears understated—a simple object at first glance. However, it houses a built-in microphone and speaker that capture and replay audience sounds, allowing interaction through buttons placed on acupuncture points to apply various audio effects.

Rooted in Buddhist philosophy and personal spiritual practice, the installation explores the idea that our perception of the world is a reflection of our inner state. Drawing from Herta Müller’s notion that facts are shaped by the narrator, the piece invites audiences to reflect on how their actions and emotions shape their experience of reality. Subtle yet thought-provoking, the work encourages quiet introspection while blending ancient wisdom with contemporary sound art.

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Sound environment for wall noise artist Arboreal, celebrating the use of static textures to simulate natural environments & use of natural environment recordings to simulate the static textures. This work is a celebration of the wall noise scene and the direction in which its development has taken over the past 20 years or so, and the use of the medium as a kind of impressionistic, near pastoral practice of detox, voluntary isolation, and mediation. The pseud-natural environment created fixes a static sound within an ever-changing space, filling the space where silence would be to create interactions between the "wall" and the sounds happening outside of it, and allowing for the wall to create a space of its own when listened to, the visible simplicity of the sound's creation leaning into the genre's/Arboreal's aesthetic of cheap escapism.