{"id":13924,"date":"2021-05-03T23:18:14","date_gmt":"2021-05-03T21:18:14","guid":{"rendered":"https:\/\/www.l-acoustics.com\/?post_type=hot-news&p=13924"},"modified":"2023-01-31T11:30:59","modified_gmt":"2023-01-31T10:30:59","slug":"l-isa-is-the-perfect-complement-to-artechouse-nycs-immersive-imagining-of-julius-horsthuis-geometric-properties","status":"publish","type":"press-release","link":"https:\/\/www.l-acoustics.com\/fr\/press-releases\/l-isa-is-the-perfect-complement-to-artechouse-nycs-immersive-imagining-of-julius-horsthuis-geometric-properties\/","title":{"rendered":"L-ISA is the Perfect Complement to ARTECHOUSE NYC\u2019s Immersive Imagining of Julius Horsthuis\u2019 Geometric Properties"},"content":{"rendered":"\n

Supplied by See Factor in 2019, the first fixed art-gallery install of L-ISA technology continues to sonically delight artists and audiences alike for new exhibitions<\/em><\/em><\/em><\/em><\/p>\n\n\n\n

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NEW YORK CITY \u2013 May 2021<\/strong> \u2013 ARTECHOUSE NYC<\/a>, located in a never previously occupied boiler room beneath the iconic Chelsea Market<\/a>, is one of the most unique art destinations and experiences in New York City. Despite its century-old confines, ARTECHOUSE rightly presents itself as the art organization for the digital age. It\u2019s an innovative space for immersive and interactive art exhibitions dedicated to providing the most advanced platforms for genre-pushing artists experimenting with emerging technologies and new forms of creative expression.

Geometric Properties<\/a>, which runs through September 2021, is a perfect example. Fractal visuals created by Dutch artist Julius Horsthuis, with original soundtracks by Michael Stearns and David Levy, the gallery\u2019s newest exhibition is a 30-minute, eye-popping environment. It \u201cexplores fundamental mathematical patterns to stimulate existential self-reflection and emphasize the pure wonderment of being,\u201d according to the artist\u2019s website.

But what makes ARTECHOUSE NYC unique, and what enables artists to push their creativity to new levels, is the implementation of L-Acoustics L-ISA Immersive Hyperreal Sound<\/a> technology. Designed and installed in the main gallery for the venue\u2019s grand opening in September of 2019, L-ISA allows artists to expand their canvases from the visual to the aural.

\u201cThis is ARTECHOUSE\u2019s third location, and we wanted it to push the benchmark of the experience,\u201d says ARTECHOUSE Executive Creative Director Riki Kim. \u201cWhen we were looking into the audio element, L-Acoustics and L-ISA stood out from the competition. The appeal was to have an immersive sound system with no \u2018hot spots\u2019 in the room, plus a clear and transparent sound that could express the art\u2019s wide range of tone and emotion. But it wasn\u2019t just the product; it was also the people at L-Acoustics and how they approach us as partners in artistry. With L-Acoustics, the people and the products are a complete package.\u201d

Queens-based See Factor<\/a> supplied the 31-channel sound system at ARTECHOUSE NYC, which comprises 20 L-Acoustics X8<\/a> speakers used as perimeter\/outer speakers, ten 5XT<\/a> speakers deployed as overhead\/inner speakers, and two SB15m<\/a> subwoofers, which function as a single mono channel. The entire sound system is powered by a total of six LA4X<\/a> amplified controllers, with the immersive mix running through the L-ISA Processor<\/a>. The sound technology is complemented by Barco-powered, 16K-resolution, 150-megapixel raster laser projection system.

Art-installation composers and sound designers\u2014such as Berlin-based composer Kerim Karaoglu, who provided the sound design for ARTECHOUSE NYC\u2019s inaugural installation, Machine Hallucination, by Refik Anadol\u2014use the L-ISA Source Control plugin in a Logic Pro session to adapt and localize the installation\u2019s score to the immersive environment. Outputs from the processor are then rendered to multitrack files that are played by the in-house media server for video and audio. MADI from the computer is converted via an RME M32 Pro to analog, feeding the LA4X amplified controllers. In effect, L-ISA became an extension of the artistic process during the mixing of the show, enabling artists to create and deliver new multidimensional sound experiences for live and recorded productions.

\u201cARTECHOUSE was a very fulfilling project to be involved with on many levels,\u201d says sound designer Jesse Stevens, who designed and engineered the installation. He worked in conjunction with Kim and the ARTECHOUSE team to develop a system that would give maximum resolution within the necessary design constraints, such as not putting speakers in the projection area. \u201cWe were tasked with thinking about a system not only with our usual engineering eye but also from a creative point of view. It needed to adapt to any artistic idea, and even become an extension of the artists\u2019 work.\u201d Stevens went on to mix sound for Machine Hallucination, and he says that implementing the Keraoglu\u2019s rich and beautiful score was a \u201cdream come true.\u201d

Stevens says that Geometric Properties was a unique installation, broken into two distinct halves, delineated by the contrasting musical scores of composers Michael Stearns and David Levy. \u201cThey asked me to make the best use of the L-ISA technology and do the live mixes of both scores, as well as to add and augment sound effects to each piece. So there was quite a bit of work to do from both a mixing standpoint, as well as adding some sound design and sound effects, which would all run as a continuous loop,\u201d Stevens explains.

Levy\u2019s score occurs first, which Stevens compares to an action movie trailer. \u201cIt\u2019s very dynamic with a lot of very cinematic elements,\u201d he says. \u201cDavid comes from the video game composing world, so there are very intense hits, sounds, whooshes, crashes, and a lot of dynamics. Literally, the only way to be doing the mix in this sort of space was with L-ISA because we were able to take this very complex score and all of these elements, separate them, and place them in different places around the room. We also had to develop an interaction between elements so the viewer could get a unique mix depending on where they’re standing in the room.\u201d

Furthermore, Stevens adds, the mix had to be considered from all different angles because the audience is constantly walking around inside the space, experiencing the visuals and the sound from wherever their vantage point happens to be. \u201cThere are a lot of very specific placements of objects that create this interaction between elements and work with the dynamics of the pieces,\u201d he says. \u201cBut we also had to be able to step back to make sure that the perspectives of the audio matched the perspectives of the visuals in the space. Only with L-ISA technology could I have accomplished that.\u201d

For Michael Stearns’ score, which Stevens characterizes as \u201cmuch more subdued, more ambient,\u201d he created a combination of sound effects and sound design. \u201cIt was great for the audience to have a bit of a break after the adrenaline rush of the first half, but we still wanted to match the tone and energy,\u201d he says. \u201cI was able to design and preview the sound effects and music mix in my home studio and then send it to Michael, Julius, and Riki, for input and collaboration. Michael’s piece has a lot of sound effects, which required finely detailed editing to synchronize with the visuals. The movement of the effects adds dimensionality and excitement, and it was important for them to work in perfect tandem with the visuals. L-ISA gave me the ability to precisely place all of these elements.\u201d

Stevens credits L-ISA with being a creative partner in the process. \u201cWhat\u2019s really unique is that L-ISA technology itself is incredibly intuitive,\u201d he contends. \u201cFor example, I played all the audio on a Pro Tools system, and we recorded automation for placement and movement in Pro Tools. I then controlled all that using the L-ISA Controller, listened to each single element, and then recorded its position or trajectory in real time. Being able to layer the elements while recording automation allowed total freedom for iteration, which was crucial because it was the only way to tackle this dense, large-scale mix. It\u2019s a one-of-a-kind process.\u201d

Kim adds the impact of L-ISA technology is evident in the satisfaction of both artists and visitors to the venue and the installations. \u201cThey can\u2019t always put it into words, but everyone experiences it viscerally,\u201d she says. \u201cAnd the composers and sound designers are always excited to hear that we have L-ISA available. You can tell it makes a difference for everyone involved.\u201d

For more details on ARTECHOUSE NYC and its latest exhibit, Geometric Properties, visit www.artechouse.com<\/a>. See Factor can be found online at www.seefactor.com<\/a>.<\/p>\n\n\n\n

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  • \"LA_ARTECHOUSE_1.jpg\"
    Image courtesy of ARTECHOUSE NYC \u00a9 Max Rykov<\/figcaption><\/figure><\/li>
  • \"LA_ARTECHOUSE_2.jpg\"
    Image courtesy of ARTECHOUSE NYC \u00a9 Alex Maysonet<\/figcaption><\/figure><\/li>
  • \"LA_ARTECHOUSE_3.jpg\"
    Image courtesy of ARTECHOUSE NYC \u00a9 Max Rykov<\/figcaption><\/figure><\/li>
  • \"LA_ARTECHOUSE_4.jpg\"
    Image courtesy of ARTECHOUSE NYC \u00a9 Max Rykov<\/figcaption><\/figure><\/li>
  • \"LA_ARTECHOUSE_5.jpg\"
    Image courtesy of ARTECHOUSE NYC \u00a9 Max Rykov<\/figcaption><\/figure><\/li><\/ul><\/figure>\n<\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n

    <\/p>\n","protected":false},"excerpt":{"rendered":"

    Supplied by See Factor in 2019, the first fixed art-gallery install of L-ISA technology continues to sonically delight artists and audiences alike for new exhibitions NEW YORK CITY \u2013 May 2021 \u2013 ARTECHOUSE NYC, located in a never previously occupied boiler room beneath the iconic Chelsea Market, is one of the most unique art destinations […]<\/p>\n","protected":false},"author":2,"featured_media":13929,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"news_tags":"","tags_api":"","footnotes":""},"news-tag":[],"class_list":["post-13924","press-release","type-press-release","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nL-ISA is the Perfect Complement to ARTECHOUSE NYC\u2019s Immersive Imagining of Julius Horsthuis\u2019 Geometric Properties - L-Acoustics<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.l-acoustics.com\/fr\/press-releases\/l-isa-is-the-perfect-complement-to-artechouse-nycs-immersive-imagining-of-julius-horsthuis-geometric-properties\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L-ISA is the Perfect Complement to ARTECHOUSE NYC\u2019s Immersive Imagining of Julius Horsthuis\u2019 Geometric Properties - 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