In November and December, artists Job Worms and Naomi Jansen took up residence at the Schietbaan, located at the farthest edge of the Marineterrein. During these darkest months of the year, they explored the question of what the experience of a sunset in the city is like and how it can be preserved. This resulted in two site-specific (sound-) installations.

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In november en december namen kunstenaars Job Worms en Naomi Jansen hun intrek in de Schietbaan, op het uiterste puntje van het Marineterrein. In deze donkerste maanden van het jaar hebben zij zich beziggehouden met de vraag wat de ervaring van de zonsondergang in de stad is en hoe deze bewaard kan worden. Dit resulteerde in twee locatie specifieke (geluids)installaties. 

unfold (a topography of the temporal)

Objects with a temporary nature in the Reykjavík area scanned in 3D. The objects, in their new digital environment, are then mapped using classical topographical and experimental techniques, solidifying their permanence.

symbiosis

A four channel interactive audio installation and performance in the botanical garde n of GUM Ghent. The work features recordings from the Peruvian rainforest to the mountains of the Caucasus, combined with sythesized birds and manipulated field recordings, questioning the reality of the sonic landscape. An unexpected live ensemble of frogs during the night emphasised this contrast even further. The audience was able to interact with the soundwork by touching alien spheres placed in the botanical garden and plants to activate the installation.

lands beyond

A collaboration between man and machine. This series of works consist of a selection of endless variations of computer-generated landscapes. The images are generated using artificial intelligence, a computer model that was trained on a database that consists of a personal archive, including photos taken in remote mountainous regions and past work. The process is also called machine learning, or deep learning. After travelling to a new location, the computer model is updated with new photos. The model is able to generate new images based on its updates and generates an ever further compressing memory of the mountains. The collaboration raises questions regarding imagination and observation, and provides a glimpse of possibilities in regards to unexplored landscapes we might encounter, wherever the future may take us.

Frequency Shift explores the limits and sensitivities of perception from a beyond-human perspective. Through a series of interlinked frequency shifts in both the audible and visible domains, windows are created to explore a world we would not have access to under normal circumstances – a world tailored to the delicate and perplexing senses of the bat. Two questions arise – what do you see through the eyes of a bat? What do you hear through its ears?

The visual aspect of the work consists of two fine art prints (100 by 70 cm) and are an interpretation of what it would be like to see through the eyes of a bat. Starting from lidar scans, a process of down- and upsampling was used to simulate the low light and colour sensitivity of a bats eyes. Then, a shift in frequency was applied to adjust our human eyes to the two windows into the world of the bat.

Bats can, similar to sonar, locate objects using reflected sound, this is called echolocation. As echolocation is a way of perceiving we as humans cannot dare to imagine, the audio portion of the work aims to change the perspective on listening with an audio installation. By placing a device on the head, the listener listens through their head rather than their ears. The composition itself (30 minutes, loop) contains field recordings, shifted in frequency, transforming the world around us, tuned to the ears of a bat.