Projects
Immersive Listening, Responsive Frequencies
Immersive Listening, Responsive Frequencies
Exploring spatial audio / ambisonics and binaural sound – learning new methods and workflows in spatial audio production and incorporating this in my practice towards an immersive audiovisual installation.
This new way of working has made me approach my practice in a very different way.
Thinking about spatiality and sonic frequencies, I am using a process of recording, collecting, and arranging various parts which I will then use within a piece which incorporates ambisonic mixes and multi-channel / 360° video projections.
Explore
£5,000
Aims of the project
As research and development for an immersive multi-channel audio and video installation, I will be exploring processes of working with spatial audio and binaural sound and discovering how spatial audio configurations can operate in conjunction with ‘responsive environments’ – with the potential to incorporate interactive elements between audio, video, and audience. This will involve technical training, developing new skills and material, and establishing new networks for artistic collaboration, technical support, and mentoring.
Continuing an ongoing interest in frequencies, the long-term aims of the project are to investigate the reparative potentialities of sonic frequencies within a shared listening praxis, and to explore the possibilities of immersive audio and video installation as a way of ‘slowing time’.
A resistance to the contemporary demands of time-poverty and an accelerating attention-economy, the project aims to create spaces for audiences to retune, mentally and physically – with a focus on slowing attention and ‘deep listening’; frequency as vibration, as signal, as healing and transformation.
Guiding this project and my initial research is the speculative idea of frequency as a fifth dimension: L x W x H x T x Hz. This idea connects with quantum multi-dimensionality, and with ideas of ‘higher consciousness’. Exploring dimensionality through spatial audio is central to these aims.
Sonically, the work will incorporate elements of instrumental recordings including tuned percussion, synthesised sound, drone, sound healers, as well as field recordings. Led by the composition of this material, I plan to work with video content in dialogue with the audio – responding to, translating and transcribing sonic frequencies in various ways, with additional location filming which engages with the temporal and a slowness of looking.
Meet the artist
Frances Young
Lead artist
she/they
An artist whose practice in moving image and sound takes experimental, formal, and research-led approaches to questions of temporal experience, cultural and ideological conditions, and the materialities and structures of audio-visual media.
Subjectivity and perception as shaped by and enmeshed within the technological is a recurrent theme in my practice and research, with interests in the medium as temporal representation or embodiment, and in shifting relations between stillness and movement, sound and image.
My work is widely exhibited and broadcast, including recently at: Towner Lates, Towner Eastbourne; FluxusMuseum Prize for Experimental Video, FluxusMuseum, Greece; FIELDNOTES: Slow Compression, Café OTO, London; FN Sessions, Resonance FM; Sp0re: Psychedelic Laughter, Platform Arts, Belfast; Fort Process, Newhaven Fort; What’s Your Location?, Focal Point Gallery, Southend-on-Sea; David Roberts Art Foundation X Art Night, London; Stone Bodies, Red Sea: Judith Noble, Charlotte Prodger & Frances Young, MK Gallery, Milton Keynes.
I have a PhD in Fine Art (Royal College of Art, 2024), and am a Visiting Lecturer at the University of Brighton.
