(IN) Edwin Van Der Heiden

Edwin Van Der Heiden es un artista plástico y diseñador especializado en la creación de ambientes arquitectónicos y/o sensoriales en los cuales se explore el rol del sonido en la percepción. Muchas de sus obras e intervenciones están relacionadas a la generación o recapturación de sonidos normalmente no escuchados. Otros de sus temas de interés son: el uso de lasers y juegos de luces, la robótica y la manipulación del agua para crear ambientes dinámicos.

A continuación algunos de sus proyectos:

Extraido de http://www.evdh.net/

"The Speed of Sound

The propagation of sound in the rings of the water reservoir of Prenzlauerberg in Berlin is the starting point for the installation. The acoustic sound in the space is being picked up, transformed and re-entered in the space. The transformations, delays and spatial interconnections are part of a time based process that can be seen as a composition for the environment. The audience experiences the space reacting on itself while being inside and part of the sonic environment. The result is a dynamic environment of oscillations and transformations.
Parallel to the sonic environment there is a setup of light bulbes each equipped with a light sensor. The underlying principle of the light is similar to the principal of picking up and re-entering the sound in the space in the sense that the intensity of a light bulb is the result of the measured intensity of the neighbouring light(s). It's the delay of the filament in the light that's warming up and cooling down that results in the time based visual patterns."

"Whispering Garden

Whispering Garden is an artwork in public space that is going to be realized next to Hotel New York on the "Kop van Zuid" in Rotterdam, The Netherlands. The work is based on the myths of Lorelei and the Sirens, luring the ships onto the rocks. Multiple wind properties (direction, speed and duration) are used to control computer generated female voices. The voices are singing vowels of which the overtones are merging, separating and traveling between the different voices. All the overtones are spatialized individually. The wind is blowing the overtones in different directions and pitches and therefor creating temporary combinations of overtones at certain locations that form the voices. The result is a polyphonic forest of sounds and overtones. The steel structure brings the tendrils from Mucha's hair-arabesques into a system of crossings and mergings supporting green glass panels. The faceted glass shatters the light into many directions, and with every step we take there will be a new flicker, a new variation of emerald shading. Whispering Garden is a synaesthetic node, short-circuiting all elements and forces that are present at the location, making everything sensuous and sensible. "


"Wavescape

underwater wave field recording with acoustic wave field synthesis


Wavescape is translating the the underwater space into an audible acoustic environment. Twentyfour hydrophones (underwater microphones) are placed over a horizontal line in the water. Each hydrophone is connected to its own speaker. There are twentyfour speakers on the water side. This creates a live reproduction of the underwater sound space. The result is very perceivable and almost touchable. From the water side you listen in to the underwater space. You hear an incredible depth and width. The speed of sound underwater is almost five times faster then the speed of sound through the air. This creates a possibility for interesting interferences between both of them. The installation is based on the principle of recording and reproducing wavefronts. This principle is more extensively used in a World Beyond the Loudspeaker and Impuls #6. "


"The concept of the water pavilion is based on the idea of creating a living organism. The organism expresses itself through architecture, light, images, water and sound. The behaviour of the organism is based on literal processes and metaphores about water. The fluid structure of the inside of the building is a shell for a continiously flowing and transforming world of water realised both with real water and virtual environments.

All the sounds are completely electronically produced. The speakers are placed in such a way that it is the building which is sounding. The building is alive and expresses itself via sound. There are 60 speakers distributed over the whole building. Each individual sound has its own character of movement and speed over the speakers. You can distinguish three different musical environments. The freshwater space is based on the metaphore of a river. The sounds are streaming over the spine starting at the entrance of the building. The cellar of the freshwater part is filled with a different material which is more dramatic and appear as water spirits suprising the visitors. The saltwater space presents a virtual sounding sky based on metaphores of weather and sea. Unknown voices from far speed through the inner structure. The sound material inside the building is interactive with the weather circumstances outside the building. The music in the three different spaces is not a fixed composition but is composed on the moment it is sounding. In this way the music will always be unique on any moment. The behaviour of the composition is again related to behaviours found in water."