I choose “Voice Tunnel” as one of my example because I think this work is control the aesthetics extremely dramatic.However,I can’t go to experience this work by myself.Thus I search lots of reports and blog which wrote by audience.I want to know about what they think about this work and what they feel.There also have some interview of Rafael Lozano-Hemmer,he will talk about his concept,theory,and what he think about aesthetics.
1.“Voice Tunnel” is a large-scale interactive installation designed to transform the Park Avenue Tunnel during the “Summer Streets” Annual Celebration in New York City in 2013. The piece consists of 300 powerful theatrical spotlights that produce columns of light along the walls and cladding of the tunnel. The intensity of each light is automatically controlled by the voice recording of a participant who speaks into a special intercom that is in the middle of the tunnel. Silence is interpreted as zero intensity and speech modulates the brightness proportionally, creating a morse-like code of flashes. Once a recording is finished, the computer plays it back as a loop, both in the light fixtures that are closest to the intercom as well as on an inline loudspeaker. “This is a concern that is raised whenever I make an artwork. The notion that there is free speech always concerns people. But 99.9 percent of the time people create content that is interesting or funny or touching. Is there moronic input? Very little.”Despite the scale of the project, the overall effect will be subtle. “It’s not intended to be some kind of cathartic spectacle, but a reflective, moderately quiet piece. You will walk through and hear the whispers of voices of people who have walked before you.”（’Voice Tunnel: audiovisual installation relays New Yorkers’ messages’）
2.“What makes the experience valuable is the fact that it’s ephemeral,” said the installation’s creator, Rafael Lozano-Hemmer, 45. The project “allows us to remember that we are on earth for a very brief period of time, and then we’re going to die. And it helps us live perhaps more intensely. We’re more alert to the fact that it ends, that we’re getting recycled, that there is a flow.”Mr. Lozano-Hemmer has been creating large-scale interactive art for more than 20 years, and most of his installations mix architecture and performance in an effort to highlight the simultaneously seductive and predatory qualities of technology. He often explores the way individuals are willingly, and unwillingly, complicit in creating expanding cultures of surveillance.
“I’m passionate about defending the eccentricity of these projects that all of a sudden are alien,” Mr. Lozano-Hemmer said. “They’re strange. They’re weird. And they make people have an opportunity to spend time in public space.”（A Rare Chance to Stroll a Park Avenue Tunnel, in the Name of Art ——A version of this article appeared in print on July 29, 2013, on page A14 of the New York edition with the headline: Rare Chance to Stroll a Park Avenue Tunnel, in the Name of Interactive Art.-the new york times）
3.The beauty of Voice Tunnel is its ability to give even more control to anyone who chooses to speak. At any civilian’s command is unprecedented access to a part of Manhattan’s infrastructure, an audience of strangers, and individualized waves of light and sound. For one moment, everyone gets to tag the city.Installed in a tunnel normally inaccessible to pedestrians, it has a gritty yet wondrous quality — you’re in a part of “hidden new york” with a ton of other people… it’s very communal.The interactivity is quite simple, you record something, and it gets added to the mix. As a viewer you can choose to absorb it whole, or listen to an individual speaker — hearing an individual’s contribution… an eclectic mix of pointless, humorous, personal, and profound. It reminded me of Movable Type — except here it’s people, not software, that are choosing what to share.（David Young。 an audience write in his blog: http://www.inventinginteractive.com/2013/08/12/voice-tunnel/)
4.“And the merit of this particular interaction is to make it architectural, to make it into a narrative. The tunnel itself, its linearity, helps you sort of go from story to story, almost as if you were able to tune into people’s different realities.”Not only will the speakers echo each clip, flashes of light also correspond with the sound as it booms. Frequency is key in the Voice Tunnel – the more intense a person’s voice is, the brighter the lights illuminated. Concurrently, the faster the person spoke, the quicker the lights cascaded down the tunnel. The experience is a sensory stunner, and you could feel the words traveling through you as you make your way across the chamber. Despite the messages scrambling and overlapping each other, you could always hear one more clearly than the other depending on the speakers to which you stand closest.“The truth is out there,” one recording murmured. “Know that you are one mysterious creature,” another boomed. “Can you hear this?” a child-like voice pondered. “Wake up, New York!” shouted the last.It’s easy to feel like a face in the herd in a city as large as New York, but for these past Saturdays, visitors were the star of the show. The power to confess any secret and know that it will never leave the confines of this underground tunnel felt liberating. Lozano-Hemmer doesn’t believe in censorship, and he trusts that participants will be mindful of the messages they wish to share. As the noises became jumbled in their repetitions, I decided I’d had enough. Just as I prepared to exit, the voices danced around in a strobe light-like celebration for a one-worded recording.(Natt Garun.’NEW YORK’S SECRET UNDERGROUND TUNNEL IS AN AUDIOVISUAL REMINDER THAT STORIES LIVE FOREVER’August 20, 2013)
5.Speakers are spread throughout the 1,400 foot tunnel. “So it’s not a cacophony,” he says. “The voices are quiet. They’re more like little memories of the tunnel.” (An interview with Rafael Lozano-Hemmer,By ALEX GOLDMARK,LISTEN: Artist Explains the Voice Tunnel of NYC Summer Streets, http://www.wnyc.org/story/310357-artist-interview-rafael-lozano-hemmer-his-summer-streets-voice-tunnel/)
6.“The experience of being in a place you’re not allowed is already so special that you could throw some rubber bands in the corner and the installation would look great,”“The problem with this tunnel is what not to do—there are just so many possibilities.”Lozano-Hemmer’s intentions for the project are, he said, “utopian” and “idealistic.” “One of the things I most want is for this piece to profile the way that New York is made up of an incredibly vibrant mosaic of different cultures,” he told me, ticking off his inspirations: free speech, using your voice—“one of the beautiful things about voice is we all have one.” He swoons at “ideas of representation, plurality, diversity.”A line of New Yorkers and tourists, some with canes, others with strollers, still others with tripods for the photo op, snaked down the center of the tunnel, waiting to record a message. One woman, visiting from D.C., said the project’s message of personal expression fit perfectly with a “personal journey I’ve been on for the past six weeks.” What message from that journey would she share? “I’m just going to say, ‘Freedom!’ ” She beamed. Her companion was less thrilled. They had been in the tunnel about twenty minutes, and his eyes hurt from the flashing lights. For his turn at the intercom, “I think I’m just going to make some noises,” he mumbled.But was the tunnel a New York moment, or merely a chaotic scene of flashing, beeping public art? Individual messages were inchoate, enthusiastic, kitschy, joyful, sarcastic.(‘The new yorker’AUGUST 8, 2013,”Voice tunnel” posted by Anna Altman)
7.Upon scouting the location Lozano-Hemmer realized that viewer participation would offer a personal understanding and ownership of the space. He aimed to deliver that access. “A big part of this project is about how you take spaces that are a part of the infrastructure of this city and personalize them. Instead of a culture of fear and control, you can create a space more about connection, about expression, about relationships,” he explained. “In the case of this tunnel, we thought, listen, you can pretty much do anything and it will look great because the tunnel is special, already.” With that limitless potential, the artist set out to manipulate the space’s cavernous interior.“Using light, using voice—something that’s pretty ephemeral—was a way to respect the historical side of it, highlight it, but allow people personalize it,” he said, regarding the synchronized sensory experience. Within the tunnel, loudspeakers match up with arches of light. Triggered by an intercom at the tunnel’s center, where a participant records a moment of sound, vocal reverberation and light rapidly wash across the tunnel in either direction. The voice of the participant dictates the intensity of the emanation, but also imprints a light band for future use. With every new participant, older light and sound recordings are pushed further out, banded along the ceiling in parallel lines. Sound reinforces sound, and light expands until darkness settles again. Up to 75 participants voices and their matching light band can exist at once. The piece is forever in motion and no two participants will experience the cascading illumination and echoing voices the same way.(Voice Tunnel, In the Gloaming Rafael Lozano-Hemmer’s interactive art foray in New York City’s Park Avenue Tunnel,by David Graver in Culture on 13 August 2013,’cool hunting, http://www.coolhunting.com/culture/voice-tunnel-in-the-gloaming.php)
8.His work not only creates a community of people but it denounces the alluring aspect of technology and the inevitable pull it has on us – it is one of the only things that brings us together. Not sure whether that’s a good or bad thing.(The Park Avenue Voice Tunnel: A Light & Sound Installation)
9.Josh Weisberg likened the experience to “visiting an old cathedral in Europe where the light is streaming in and you hear the low murmur of tourists’ voices out of which you can pick a lot of individual voices. It was a swirl of light and sound activity, sometimes chaotic, sometimes calming and sometimes totally absent. (WorldStage Teams with Artist Rafael Lozano-Hemmer on “Voice Tunnel”, A Large-scale Interactive Art Installation)
10.I stopped by the installation this past Saturday, not just because I was curious about the light/sound installation, but because any chance to legally access a usually off-limits part of New York City infrastructure is incredibly appealing. The installation itself is visually compelling and lured all visitors’ cameras and phones out almost immediately at the first step inside. But maybe the distortion is the point in reflecting the usual audible chaos in the city where you get the key notes from the loudest voices, and the rest becomes layered noise.
All the messages were recorded in the center of the tunnel in a spotlight. From there each voice progressed out from one speaker to the next, gradually indistinguishable after its center star turn. The constantly changing, crowd-sourced sound is one of the ephemeral touches to the installation. And it is just light and sound after all, and the moments when the tunnel plunged into still darkness with just the vented light angling down made the sudden roar of noise and light as they flew down the tunnel again more effective. Maybe in the end it verges more on a stunning light show than anything that will touch the consciousness deeply about communication and temporality, but as for the rare use of a subterranean space, Lozano-Hemmer has imagined a striking spectacle.(Giving a Voice to a Usually Off-Limits Tunnel, http://hyperallergic.com/78810/giving-a-voice-to-a-usually-off-limits-tunnel/)
11.”We have a little delete button. Hopefully we don’t have to use that.” said Rafael Lozano-Hemmer, the installation’s creator, discussing the Police Department’s concerns that someone could transmit messages designed to cause panic.Lozano-Hemmer’s work requires us to reassess our notions of the analog and the digital, of language and code, meaning and force, human and nonhuman communication. But it does so not by commenting, critiquing, or sending a message itself. It does it aesthetically, by which I do not mean “beautifully” (although his installations always are that, too). Rather, I mean “aesthetic” in something closer to the etymological meaning: as in aesthesis, “making sensible.” –Brian Massumi, critic and writer, Artforum Magazine.（Under Scan，by Rafael Lozano-Hemmer (Author) , Rafael Lozano-Hemmer and David Hill (Editor)Perfect Paperback: 120 pages,Publisher: emda & Antimodular (April 1, 2007)Editorial Reviews）
12.An interview of Rafael Lozano-Hemmer.
Thus,from the angle of visual,this Voice Tunnel is visually compelling.It utilizes the element of light in this gloomy tunnel,according to the voice transfer into multiple and metrical light ray.Lozano-Hemmer,the author of this installation,had enthusiastic about use the light in his work.In an interview ,he said he is interested in the space of light.Majority of digital artist enjoys using light element in their work,which as enlightening and spiritual.From the photography,film to digital media,the aesthetics of light in the artwork,are demonstrated on the visual impact.They will consider shapes, lines, framing, angles, negative space, where to place the point of focus in the frame for maximum impact. These aesthetics are present by artists,through their expertise to apply to the work immaculately. To Lozano-Hemmer,light is artificiality;moreover,controllable,malleable and ephemeral.When spectators step into this inky tunnel,their exist are sensed by the light and voice.Their aesthetically experience will depend on these perceptions.“The moment the incandescent light bulb no longer exists that piece should die.”Lozano-Hemmer had mentioned in another interview ,“What makes the experience valuable is the fact that it’s ephemeral.”Perhaps this is also he continued to use light element in this work.Using objective issue within appropriate controllability as a condition,combined with the subjective ideology of audiences’ engagement to assume aesthetics of this work.It is this fleeting art form,because of its transience,make the experience of the audience become valuable.While,it is different from electronic art,the aesthetics of interactive art not only presents on the visual aspect, but also demonstrate the quality of experience,it need audiences’ participation to complete the work.As Hegel believes,the aesthetics of process is not required for external modeling, color,pattern to mimic the object,represent the reality,but in its external form that pass on and exerts certain emotion,atmosphere,style,prevailing custom,interest,make the substance through the symbol to the environment that similar as spiritual life.The aesthetics had emphasis on the subjective ideology of spiritual.
In Voice Tunnel,for instance,pedestrian is part of the artwork,which is filled with uncertainty and uncontrollability.Converting the voice of pedestrian,which mean the power of control aesthetics of this work is in the hands of the audience.The aesthetics of this work is that it gives more control to those who choose to talk;thus,each generate of the light wave is individualized and untrammeled.Because I can not being there to experience this artwork,hence,I found some information of those audiences which had been there through a search,observed their feedback of experience.Because,the texture of immersive experience is the emphasis of aesthetics in interactive art. “It is not intended to be some cathartic spectacle, but a reflective, moderately quiet piece. You will walk through and hear the whispers of voices of people who have walked before you.” a reporter who had go there and describe his feelings.David Young,an audience wrote in his blog “an eclectic mix of pointless, humorous, personal, and profound. It reminded me of Movable Type — except here it’s people, not software, that are choosing what to share.” “Because any chance to legally access a usually off-limits part of New York City infrastructure is incredibly appealing.”This artwork not only evoke the association and exceeded feeling of the other person,but also for each individual,the memory and experience is characteristic.As Gilbert Simondon consider,aesthetics is never determined.To judge the beauty of this work,it is deferent from person to person,by the participants themselves to change and definition.Whereas,artist cannot be entirely predicted and control the interaction behavior of the viewer,in some extent,the results produced by uncontrollability will create a contradiction with the purpose of the work.Once the viewer come out with some behavior that the author did not predict,it will be stand a good chance that destroy the form of artwork.Especially those behavior without art training and ability of art appreciation.These interactive artwork are represented perception of the primitive unity as their own aesthetic feeling.In interactive art,the interaction of the audience become indispensable,even more significance than the author.While the artist,as one side of delivering the message,they will carry out laissez-faire for the message,hand over the creation and transfer position to the audience.I speculate that this over emphasis on technology and interaction itself will make the artwork lost its art form and essential.
“Lozano-Hemmer’s work requires us to reassess our notions of the analog and the digital language and code, meaning and force, human and nonhuman communication. But it does so not by commenting, critiquing, or sending a message itself. It does it aesthetically, by which I do not mean “beautifully” (although his installations always are that, too). Rather, I mean “aesthetic” in something closer to the etymological meaning: as in aesthetics, “making sensible.” –Brian Massumi, critic and writer, Artforum Magazine.I completely agree that Lozano-Hemmer did extremely well. Seemingly,it indulges the manipulation of the interaction between the viewer and artwork,but sill maintains certain control of aesthetics,also focus on making sensible.In terms of visual effect,he has done a good job,programming that expected result in pre-positioned light.The dynamics and rhythm of light,just delivered to the hands of random interaction,which will make the art form become variety and no-repeat.Moreover,audience still can produce the aesthetic result even they haven not trained about aesthetics,instead use their innate aesthetics.In his work,he also prepared a delete button,although because Police Department’s concerns that some on could transmit the message designed to cause panic.However it is also his cleverness,he knows take back control in case it becomes uncontrollable.Because it is extremely easy that influence the aesthetics of all the other audiences’ experience if an audience makes a wrong behavior.The pivotal factors are depended on how much control for audience;transmit the message to the receiver in a maximum untrammeled and aesthetic way,maintain the control of aesthetics;which is the most sensible way.because the art is art,aesthetics is the difference between art and entertainment.