SuperFunland
Sound Design for a web trailer for an exhibition “SuperFunland” at the Museum of Sex in NYC, May 2019
Musical sound design for a carnival-inspired 3D animation commissioned by an agency Lovers
Musical sound design for a carnival-inspired 3D animation commissioned by an agency Lovers
Wishing Hour
Score is commissioned for a performance during The Wishing Hour at the NoMad House, NYC, March 2018
An hour long score in 11 chapters.
Electroacoustic composition for autoharp and synthesizers, field recordings & traditional sound bath elements. The piece accompanies a guided performance led by the artist Shauna Cummins
An hour long score in 11 chapters.
Electroacoustic composition for autoharp and synthesizers, field recordings & traditional sound bath elements. The piece accompanies a guided performance led by the artist Shauna Cummins
Obojnan Island SoundScape
Score is commissioned for a performance during Obonjan Island Festival, July 2017
The soundscape examines local sonic oddities established in a dramatic landscape of a miniature island in Croatia. Broadcasting ordinary sounds and gestures from unfamiliar places conceals nothing. However, employing Obonjan’s rich phonic profile involuntarily manages to redefine our immediate perception and aural acuity. The piece accompanies a guided hypnotic performance led by the artist Shauna Cummins
Score was broadcasted on Berlin Datscha Radio on August 25th, 2017
The soundscape examines local sonic oddities established in a dramatic landscape of a miniature island in Croatia. Broadcasting ordinary sounds and gestures from unfamiliar places conceals nothing. However, employing Obonjan’s rich phonic profile involuntarily manages to redefine our immediate perception and aural acuity. The piece accompanies a guided hypnotic performance led by the artist Shauna Cummins
Score was broadcasted on Berlin Datscha Radio on August 25th, 2017
Grounded
“Grounded” (10’36”) is an acousmatic piece created by Kira Belin in collaboration with Los Angeles based photographer Lisa Talbot for a final presentation at a gallery space alongside the artist’s photo series of the same title. Examining the relationships between sound and image, our dialogue aims to crystalize into an immersive installation in a gallery setting. The photographer’s work is focused on exploring dimensions beyond the physical, delving into subconscious and revealing abstract themes. Lisa builds small scale aquarium environments and photographs and films them as they change and evolve over long periods of time. The collaboration’s final goal is to change the process of looking and appreciating photography from a 2D perspective into a multidimensional practice.
Installation “Grounded” aims to be as physical of an experience for an attendee as possible. This is achieved by being represented in space by both visual and sound dimensions as a singular unit. Expanding and dematerializing photography from two-dimensional art object into an experiential practice is achieved by adding sound & contemporary music elements. It is intentional for the viewer not only to be able to see the documented environment through the walls of aquarium, but also to be able to hear through these glass walls. John Cage in his essay Architecture of Silence noted that “contemporary music acts in such a way that one can 'hear through' a piece of music just as one can see through some modern buildings or see though a wire sculpture by Richard Lippold or the glass of Marcel Duchamp” (Joseph, 85). So too the project Grounded offers a transparency, ephemerality and active transformation from spectatorship into participation.
Installation “Grounded” aims to be as physical of an experience for an attendee as possible. This is achieved by being represented in space by both visual and sound dimensions as a singular unit. Expanding and dematerializing photography from two-dimensional art object into an experiential practice is achieved by adding sound & contemporary music elements. It is intentional for the viewer not only to be able to see the documented environment through the walls of aquarium, but also to be able to hear through these glass walls. John Cage in his essay Architecture of Silence noted that “contemporary music acts in such a way that one can 'hear through' a piece of music just as one can see through some modern buildings or see though a wire sculpture by Richard Lippold or the glass of Marcel Duchamp” (Joseph, 85). So too the project Grounded offers a transparency, ephemerality and active transformation from spectatorship into participation.
Kenai
Commissioned by University of Ohio for BioPresence art exhibit
With bird, animal, insect and amphibian vocalizations selected from OSU’s Borror Laboratory of Bioacoustics, Belin juxtaposed organic and processed, comparing intrinsic morphology of sounds vs. imposed. Distilling environmental sounds through electronic signal processes, she explored the range of hidden frequencies and noises revealed through these methods.Trajectory of sound gestures within a piece moves the listener through different geo locations, but also challenges you to identify the original sources.
With bird, animal, insect and amphibian vocalizations selected from OSU’s Borror Laboratory of Bioacoustics, Belin juxtaposed organic and processed, comparing intrinsic morphology of sounds vs. imposed. Distilling environmental sounds through electronic signal processes, she explored the range of hidden frequencies and noises revealed through these methods.Trajectory of sound gestures within a piece moves the listener through different geo locations, but also challenges you to identify the original sources.
