Since 2008 they have created a series of immersive performances for horn, field recordings and live electronics in abandoned and public spaces including Wellington Tunnel, St Urbain Underpass, Bain St-Michel (Montreal), Mãe D’Água (Lisbon), Tunnel Bénedit-Jobin (Marseille,), Rotonda Besana (Milan), Vapaan Taiteen Tila (Helsinki) and Sottopassaggio di Porta Vescovo (Verona). Their work explores the resonances and serendipities of urban and rural sonic environments through in situ performances, installations and spatial recordings. JEN REIMER (Canada) and MAX STEIN (U.S.A.) are sound artists based in Montreal. The amplitude and flickering lights grew in intensity as the performance progressed. The light and sound guided the audience through the dark and resonant space. The light bulbs spanned the length of the tunnel, lining the ceiling from the entrance to the back of the tunnel, where two PA speakers were situated. The piece combined horn, field recordings, live electronics and 12 sound-responsive incandescent light bulbs. From inside the tunnel, you could hear the quiet resonance of cars driving overhead and dripping water from the canal leaking through the ceiling. When we first entered the tunnels, we walked 30 meters before plunging into complete darkness. Since moving to Montreal in 2008, we became increasingly intrigued by this location, and after visiting the space several times we decided to create a performance there.
The concrete tunnels are approximately 200 meters in length. The tunnels were closed for security reasons and abandoned in 1994. The Wellington Tunnels were built in the 1930s as a passage underneath the Lachine Canal in Montreal.
The LMJ26 audio compilation is the audio companion to Leonardo Music Journal, Volume 26 (2016). Recorded live in a subterranean tunnel, 15 November 2012, by Julian Stein. Performed by Jen Reimer and Max Stein in collaboration with Adam Basanta (light design). French horn, field recordings and live electronics. Composed by Jen Reimer and Max Stein, Montreal, Canada. Jen Reimer and Max Stein, Wellington Tunnel, from the LMJ26 audio compilation entitled Sonic Commentary: All Ears, curated by Bill Bahng Boyer, 2016. The location of Jen Reimer and Max Stein’s Wellington Tunnel recording, which features instruments and live electronics reverberating through a shuttered tunnel beneath Montreal. Hence, before having acquired many words of their language, they have grasped enough of their native phonological grammar to constrain their perception of speech sound sequences. These results show that the phonologically induced /u/ illusion is already experienced by Japanese infants at the age of 14 months. In Experiment 3, we found that, like adults, Japanese infants can discriminate abna from abuna when phonetic variability is reduced (single item). In Experiment 2, 8-month-old French and Japanese did not differ significantly from each other. In Experiment 1, we observed that 14-month-old Japanese infants, in contrast to French infants, failed to discriminate phonetically varied sets of abna-type and abuna-type stimuli. To study the development of phonological grammar, we compared Japanese and French infants in a discrimination task. Previous work has shown that Japanese speakers, unlike French speakers, break up illegal sequences of consonants with illusory vowels: they report hearing abna as abuna. In adults, native language phonology has strong perceptual effects.
0 kommentar(er)
