punte@orbita.lv | arturs.punte@gmail.com
Light Day
autonomous sound installation
An ensemble of 3 instruments, each instrument is powered only by solar energy. The properties of the sound is dependent on the activity of the sun. Clouds, tree shadows and the position of the sun in the sky all affect how these instruments play. Each of 3 instrument is oriented to one of the parts of the day: morning, day, evening. Accordingly, the overall sound of the ensemble also changes during the day.
From the Air
ether powered sound installations
The waves that people transmit through the air for radio transmissions, mobile communications, walkie-talkies and even simply through power supplies to run household appliances – are pure energy, in the literal meaning of the word. The installation thus directly mirrors the surrounding “air transmission voltage” and the changes in it. Just as grass condenses dew, causing water to circulate in nature, this artificial antenna array makes the intensity of anthropogenically emitted waves audible
and visible.
Apology of Despair. Obj#2
self-playing thermoacoustic pipe organ
Using a thermoacoustic effect and randomised feeding, five glass tubes of different lengths sound in a random sequence for a randomly selected amount of time; their cooling time is also chosen at random... Despite the complete ‘automation’ of this conditionally generative piece, our perception makes us search and listen for melody fragments, a human-composed choice of chords, or other compositional elements that are not actually there.
Apology of Despair. Obj#4
environmental infrasound visualising speaker
The specially made microphone receives sound waves from the environment that are below the audible range (0.2–20 Hz). As a result, we can observe the installation’s speaker ‘play back’ what is constantly ‘emitting sound’ around us, but which our hearing cannot detect: air mass collisions, trucks and trains driving in the distance, and other anthropogenic and natural expressions of sound that are especially densely represented in urban environments.
Apology of Despair. Obj#3
sound spectrum separator
On one side of the object a recording of a poem is played using the full frequency range of audible sound and it can be clearly heard, while on the opposite side of the object the recording is broken up and divided into thirty narrow bands of sound frequencies. By placing an ear on each individual tube, you can only hear an isolated section of the recording’s full audio spectrum, and it is no longer possible to perceive and understand the words being spoken, just seemingly abstract noise.
Apology of Despair. Obj#1
ether scanning antenna-speakers
Sound installation of 3 sound emitting steel spirals, which acts as antennas that receive blank radio broadcasts and also plays back the captured sound. The spring-like shape of the metal structure, similar to the radio antennas of the 1960s produce long-lasting vibrating sounds that will be different in tone from each other due to the difference in diameter, spiral length and thus the perceived range of the broadcast.
From pulsation
electromechanical sound sculpture
Electromagnetic acoustic-stringed apparatus for detection of the root musical impulse of poetry, allowing differentiation of a poem’s intonation and rhythm from the meaning of deployed words.
Signaling pairs
exhibition by Artūrs Punte and Aleksey Grishchenko
The exposition is made up of small light diode screens. What is being portrayed can be understood if the viewer steps back, or by looking at the reflected image on the screen, which is reflected onto another specially prepared surface.
Gauja river manuport #1
surface speakers installation
Three-channel stereo speakers of three different materials (glass for high band, plywood for mids and metals for bass) made to exhibit self-playing modular patch containing field-recordings made on rafts and interviews with old Gauja river rafters.
Poetry in interior. Obj#1
multichannel sound installation
The first object in the series of the multimedia sound sculptures made in collaboration with Jēkabs Voļatovskis.
Fragile silence
sound focusing installation at SMATCH biennale (IT)
Two large ear trumpets, placed opposite each other, in the middle of a meadow – and enough space between them for visitors to squeeze in. By doing so, they will be able to dive into amplified sounds of nature which were imperceptible before – all in contrast with the surroundings’ apparent silence.