Selected Exhibitions/Installations

Illusion, 2-channel sound installation. (2016)

In one sense, magic can refer to the supernatural or paranormal. Magic can also refer to an illusion or trick produced by a sleight of hand. "Illusion" makes reference to the former. The Shepard tone creates the impression of a tone continually ascending in pitch, yet which ultimately seems to get no higher. Using the Shepard tone as starting material, "Illusion" sees the subject abstracted and disfigured through a variety of digital processes. Originally exhibited at Franconia in the City at the Casket Arts Complex, Minneapolis, Minnesota from September 8, 2016 - October 9, 2016. https://www.facebook.com/events/224742404593294/

出現, 4-channel sound installation with fog machine. (2015)

Emergent behavior appears when a number of smaller or simpler entities operate in an environment, forming more complex behavior as a collective. 出現 is a generative sound piece that explores such phenomenon. Originally exhibited as a multi-channel sound piece at Tuck Under Projects, Minneapolis, Minnesota from July 30, 2015 - August 30, 2015. http://www.tuckunder.org/Art.html

***Note: The following excerpt is a stereo mix and therefore does not capture the diverse sonic phenomena which appear due to the space and positioning of the listener within the installation.

Chord Study, light and sound installation for 4 loudspeakers. (2015)

At Stanford University's Center for Computer Research in Music and Acoustics (CCRMA), I developed and exhibited a four channel installation that deconstructed a minor and major seventh chord. As a nod to the research history of CCRMA, I used the famous Yamaha DX7 synthesizer to voice my installation. The facility’s stairwell became the exhibition space. Each floor was equipped with it's own speaker that would emit an individual sustained note, so that in the case of the C minor seventh, the bottom floor corresponded with a C, second floor with a Eb, third floor with a G, and the fourth floor with a Bb. Due to the relatively open nature of the stairwell and wonderful acoustics of the space, a lush ambiance was created. The chord could be heard regardless of positioning in the space, however as one moved about the stairwell (up/down, side to side) certain frequencies would become more pronounced and different sonic phenomena would be perceived. The attached drawing details my floorplan for the C minor 7th chord. Originally exhibited June 2015 at CCRMA, Stanford University, Stanford, CA. https://ccrma.stanford.edu/

Aves, 4-channel sound installation. (2015)

Aves is a quadraphonic sound piece which simulates the flocking behavior of birds. The behaviors are generated by a flocking algorithm in the software environment Pure Data, which controls the "bird's" frequency (pitch), amplitude (volume), and position in the four loudspeakers. The behavior of the flock arises from the interaction of four individual "birds" adhering to a set of simple rules: 

1. The number of neighbors each "bird" consults while flocking

2. Maximum speed

3. Minimum speed

4. Strenth of "centering" instinct

5. Strength of attraction to an "attract­point"

6. Strength of neighbor avoidance instinct

7. Overall speed

8. Willingness to change speed and direction

9. Speed of acceleration

10. Preferred distance from neighbors.

The sonic character of the individual "birds" was intentionally left as simple as possible, so as not to take away from the spatial characteristics of the work as they fly about the environment. In it's installation context new parameters were assigned to the rules every five minutes, thus resulting in new behaviors from the flock. For the sake of presentation, the work sample exhibits four such resulting behaviors lasting a minute apiece. Exhibited May 2015 in the Grain Belt Keg House, Minneapolis, MN. http://www.nadarecs.com/michael-flora-aves/

***Note: The following excerpt is a stereo mix and therefore does not capture the diverse sonic phenomena which appear due to the space and positioning of the listener within the installation.

SOCS, sound installation comprised of field recordings made at handmade tile studio Clay Squared to Infinity. (2015)

Everyday sounds found within the Clay Squared studio are recorded and used as raw material for composition. These sounds are processed through custom built software and then reassembled to create an original sound piece. Exhibited May 16, 17, 18, 2014 in the Clay Squared to Infinity Studios, Grain Belt Keg House, Minneapolis, MN. http://www.nadarecs.com/sounds-of-clay-squared/