Sound Design
Jordan Edge
Sponsors
Opal Tapes
Jordan Edge works at an intersection of Experience design, Sound Art and fictional world based narrative that represent non human sonic entities and material forms of expression. They use organic materials such as silicone, latex and synthetic rubber manipulated by air, robotics, soft robotics and sound to create kinetic sculptures that exist as generative forms of communication or institution within imagined architecture’s and worlds; Materialised as experiential installations representing abstract forms of human / non human expression. The architecture systems that shape truth, structure, institution, constitution and sensory communicative experience culminates our ephemeral environment and shapes our identity and persona by-product. Jordan constructs these realms by decrypting human experience, and reforming as non-human experience. This breaks down constructs within systematic thinking reforming ideas into non-human relational products that fabricate perspicacity into abstract possible worlds through the imagination towards sound.
Recieved 'The Auxiliary Sonic Arts Emerging Artist Award 2019' and the 'Seoul Award of Excellence 2017'.
Non Human Sonic Entity
Non Human Sonic Entity Four
nhse3
nhse2
Non Human Sonic Entity Sonic Embryonic Matter Sonic Possibilism Sonic Being Haptic Sonic User Experience Zensonic Xenolalia Metasonic Gateway Aural Sex Functional Auditory Hallucenogenic Tool The Contemporary Ear
NON HUMAN SONIC ENTITIES invites participants to explore the latent potential of semantic sonic user experience in a virtual web ‘space’ with imagined non human sonic entities. Virtual ‘sound architectures’ and their already established networks present a sonic worlding and an institutionalised personal reality based around digital sounding avatars, personas and cognitive identities. A multi-dimensional reality resulting from the overlay of possibilities upon the world, challenging the convergence of experience in a space and the sound contained within it. What does it mean for something which is more commonly regarded as abstract and ethereal to become intrinsically linked to a specific physical sound? Non Human Sonic Entities places you within a fictional experiential narrative to deconstruct, generate and rebuild sonic possible worlds through new ways of experiencing and thinking about sound.
Architectures, archetypes and entitiesrepresent new possible worlds and dimensions. Entities communicate with the experiencer through synthetic, acoustic and material deconstructions of language, giving a voice to the more than human world. Aural evolutions of communication, aspects of language from the animalistic, synthetically modelled screams, expanded calls and repurposed roaring soft materials speak out into space. The entities act as generative new forms of vocalisation, visually and sonically based around the abstraction of speaking systems. This takes place through shape, texture and sonic characteristic, a generative ecosystem in which many possible embryonic sonic experiences can unfold. Non Human Sonic Entities expands our relationship with remote forms of life and our capacity to travel through fictional realities, we must create new experiential worlds to understand the deep connectivity to our environment and other human or non-human beings we all contain.
Each entity contains their own sonic body, persona and identity through a generative existence of sound and 3Dmaterial form of expression, as you move through the digital space, you will come across non human sonic entities and listen to their sonic field.
An eco-sonic platform in which sounds develop due to interaction, synthetic persona’s and exaggerated non-human entities communicate through synthetic and organic glossolalia.
This work is a possible future expressing a contemporary sonic way of being In the world. The importance ofmapping non-human forms of expression through identity stripped beings, narrative breakdowns of what constitutes our sonic humanness and what it means to function as an intellectual being within an institution of sound.
I believe sound is a functional tool for us to imagine any possible past or future within its rights to be defined by now, as it happens and it dissipates, being a now, it is only defined as what it is tied to.
A Morphology of sound, the suggestive, the questionable, the ever expansive
The individual, the collective, sonic thought, applied to reality
The non formation of habitual listening
The un voice
The voice before it enters reality
There is no ideal condition
Within which things and no-things co-specify and define one another
Inaudible, metaphoric and immaterial
Voices are both heard and silenced
Processed through movement and acoustic actions
Of a body
Suggested by experience
A state of the inaudible, fabricates a new kind of sonic reality
A reality only to be experienced within the mind
Do not merely refer to the absence of some ‘thing’
Refer to a supposed ‘place’ or ‘field’ of potential
The existence of the in between of things
Sonic delineation
Morality
Ethical epistemology
Everythingness
A sound, a voice, a sonic material,
an inaudible object
Auditory metaphors, sonic figures of thought
A metaphorical communication to any
One
Refrain from sound existing, as something already existent
Before developed into its reality, or realities
The non experience / experienced
Possible sonic futures
Possible sonic idealisms
Sound stripped from the thought of what it exists as
What can sound become
Without an attachment
Do not apply any one referential possibility to any one sound
Hear it as a framework of possibilities
Sound, ever expansive as itself
A physical movement in air that evokes many possibilities
Sonic birth
Sonic death
Sound is formed
Different personas, identities and experiences
The space between the inaudible and the mind
A body that testifies to the threshold of an aural experience
The contemporary ear expands upon the non existent, the inaudibly real
Contemporary thought into sonic existence
The absence of sound becomes obvious, opening up a space of silence
This creates a sonic experience through the removal of sound
The silence is relative in that it is defined by its opposite
A sound
Yet a space in which this dialogue between sound and silence unfolds,
echoes an absolute silence
The personified experience of an object exists beyond it, in our psychology
Strip this / your imagined object of a prior or present existence
Free to become only in the future
The ability to question sonic absence
The contemporary ear listens to these spaces
Think of a sonic existence that cannot be added to
Or retracted from
Of presentness, of futureness
The inaudible object embodies sonic imagination, in the space of mind
Listen for new realities
The inaudible world in all of its beauty, is yet to unfold
Always.
NON HUMAN SONIC ENTITIES invites participants to explore the latent potential of semantic sonic user experience in a virtual web ‘space’ with imagined non human sonic entities. Virtual ‘sound architectures’ and their already established networks present a sonic worlding and an institutionalised personal reality based around digital sounding avatars, personas and cognitive identities. A multi-dimensional reality resulting from the overlay of possibilities upon the world, challenging the convergence of experience in a space and the sound contained within it. What does it mean for something which is more commonly regarded as abstract and ethereal to become intrinsically linked to a specific physical sound? Non Human Sonic Entities places you within a fictional experiential narrative to deconstruct, generate and rebuild sonic possible worlds through new ways of experiencing and thinking about sound.
Architectures, archetypes and entitiesrepresent new possible worlds and dimensions. Entities communicate with the experiencer through synthetic, acoustic and material deconstructions of language, giving a voice to the more than human world. Aural evolutions of communication, aspects of language from the animalistic, synthetically modelled screams, expanded calls and repurposed roaring soft materials speak out into space. The entities act as generative new forms of vocalisation, visually and sonically based around the abstraction of speaking systems. This takes place through shape, texture and sonic characteristic, a generative ecosystem in which many possible embryonic sonic experiences can unfold. Non Human Sonic Entities expands our relationship with remote forms of life and our capacity to travel through fictional realities, we must create new experiential worlds to understand the deep connectivity to our environment and other human or non-human beings we all contain.
Each entity contains their own sonic body, persona and identity through a generative existence of sound and 3Dmaterial form of expression, as you move through the digital space, you will come across non human sonic entities and listen to their sonic field.
An eco-sonic platform in which sounds develop due to interaction, synthetic persona’s and exaggerated non-human entities communicate through synthetic and organic glossolalia.
This work is a possible future expressing a contemporary sonic way of being In the world. The importance ofmapping non-human forms of expression through identity stripped beings, narrative breakdowns of what constitutes our sonic humanness and what it means to function as an intellectual being within an institution of sound.
I believe sound is a functional tool for us to imagine any possible past or future within its rights to be defined by now, as it happens and it dissipates, being a now, it is only defined as what it is tied to.
A Morphology of sound, the suggestive, the questionable, the ever expansive
The individual, the collective, sonic thought, applied to reality
The non formation of habitual listening
The un voice
The voice before it enters reality
There is no ideal condition
Within which things and no-things co-specify and define one another
Inaudible, metaphoric and immaterial
Voices are both heard and silenced
Processed through movement and acoustic actions
Of a body
Suggested by experience
A state of the inaudible, fabricates a new kind of sonic reality
A reality only to be experienced within the mind
Do not merely refer to the absence of some ‘thing’
Refer to a supposed ‘place’ or ‘field’ of potential
The existence of the in between of things
Sonic delineation
Morality
Ethical epistemology
Everythingness
A sound, a voice, a sonic material,
an inaudible object
Auditory metaphors, sonic figures of thought
A metaphorical communication to any
One
Refrain from sound existing, as something already existent
Before developed into its reality, or realities
The non experience / experienced
Possible sonic futures
Possible sonic idealisms
Sound stripped from the thought of what it exists as
What can sound become
Without an attachment
Do not apply any one referential possibility to any one sound
Hear it as a framework of possibilities
Sound, ever expansive as itself
A physical movement in air that evokes many possibilities
Sonic birth
Sonic death
Sound is formed
Different personas, identities and experiences
The space between the inaudible and the mind
A body that testifies to the threshold of an aural experience
The contemporary ear expands upon the non existent, the inaudibly real
Contemporary thought into sonic existence
The absence of sound becomes obvious, opening up a space of silence
This creates a sonic experience through the removal of sound
The silence is relative in that it is defined by its opposite
A sound
Yet a space in which this dialogue between sound and silence unfolds,
echoes an absolute silence
The personified experience of an object exists beyond it, in our psychology
Strip this / your imagined object of a prior or present existence
Free to become only in the future
The ability to question sonic absence
The contemporary ear listens to these spaces
Think of a sonic existence that cannot be added to
Or retracted from
Of presentness, of futureness
The inaudible object embodies sonic imagination, in the space of mind
Listen for new realities
The inaudible world in all of its beauty, is yet to unfold
Always.
Medium:
SoundIn Collaboration with:
Collaboration w/ Web Designer & Creative Coder.
MatPhon
MatPhon1
A sonic sculpture embodying the fundamental phenomena of the voice. The breathing latex functions as an enlarged (to scale) version of an acoustic model vocal tract. Frequencies taken from phonetics and vowel sounds are played through the material as it expands and retracts. To deform sound through material existence, a physical representation of our main communicative system being shaped through varied perspectives and experiences. Material phonetics represents a human function, breathing and vocalising in an abstract form.
Exhibited at AKCUA Gallery Kyoto, Japan as part of the 2019 Kyoto City University of Arts - Royal College of Art Exchange programme.
Exhibited at AKCUA Gallery Kyoto, Japan as part of the 2019 Kyoto City University of Arts - Royal College of Art Exchange programme.
Medium:
black transparent latex, clear silicone tubing, air valve, centrifugal fan system, speaker driver, custom electronicsSize:
2m x 1mOpal Tapes
Website:
https://opaltapes.com/21 July 2020
13:00 (GMT + 0)
Vimeo
Guest talk with artist Beatrice Dillon.