Sound Positions creates immersive and intimate situations for listening to work by an international selection of emerging and established sound artists. The exhibition will feature 4 listening stations, each dedicated to the work of each artist.

Contributing Artists:

Seth Cluett, Luza Quiceno, Mileece, David Schafer

Seth Cluett
"Inward Turning Histories"
Year: 2015/2017
Duration: 22'27

In his text The Practice of Everyday Life, DeCerteau writes "Places are fragmentary and inward-turning histories, pasts that others are not allowed to read, accumulated times that can be unfolded but like stories held in reserve, remaining in an enigmatic state, symbolizations encysted in the pain or pleasure of the body. 'I feel good here': the well-being under-expressed in the language it appears in like a fleeting glimmer is a spatial practice." This piece is an experiment interrogating psychoacoustics initiated by at MoMA/PS1 in 2015. The work now exists as a performance, an installation, and as software with a print edition score distributed by allowing the listener to tune and customize this work to their own listening spaces, creating performances that can then be shared to a growing database of psychoacoustic spatial practices.

Bio: American artist and composer Seth Cluett explores everyday actions at extreme magnification, examines minutae by amplifying impossible tasks, and explores the working of memory in forms that rethink the role of the senses in an increasingly technologized society. Creating work ranging from photography and drawing to installation, concert music, and virtual reality, his “subtle…seductive, immersive” (Artforum) sound work has been characterized as “rigorously focused and full of detail” (e/i) and “dramatic, powerful, and at one with nature” (The Wire). The recipient of grants from Foundation for Contemporary Arts Emergency Fund and Meet the Composer, his work has been presented internationally at venues such as The Whitney Museum, MoMA/PS1, Ars Electronica, GRM, and STEIM and is documented on Line, Sedimental, Notice, and Winds Measure recordings. Cluett is currently Artist-in-Residence at Nokia Bell Labs, teaches in the Sounds Arts Program at Columbia University, and holds a joint-appointment in Visual Arts and Music & Technology at the Stevens Institute of Technology in Hoboken, NJ. More info at

Luza Quiceno Quiroga
“Cordial Effects”
Year: 2016 - 2017
Duration: 8´ 49 ´´

The conceptual profile of my work is focused on the experimentation with and experience of sound in everyday actions with people, things and objects. Pure sound of urban environments and landscapes fascinates me. In particular, I’m passionate about the internal sound of things, along with that sounds’ potential and the possibility of sound as a creative discourse. In my current work exploring stethoscopes as microphones and experimenting with springs of different lengths and calibers, I was able to find a way to collect the reverberations and sound vibrations when they are triggered. In this creative process, sound actions and performance accompany my work making it possible to have an interaction between the body, the installation-object, the space and the public.

Bio: Luza Quiceno Quiroga - 1970 - Armenia Q - Colombia
2017. Master’s Degree in Plastic & Visual Arts. Universidad Nacional Bogotá Colombia
2006. Undergraduate Degree in Graphic Design. Universidad Jorge Tadeo Lozano. Bogotá Colombia
1991. Technical Degree in Adverising, Drawing and Social Communication. Academia de Artes. Cali Valle Colombia
Other Trainings:
2017. Deep Listening Workshop. Universidad Javeriana. Bogotá
2017. Sound Art Workshop. Universidad Antonio Nariño. Bogotá
2017. Art and Sound Sculpture Workshop with Josep Cerdá. Universidad Antonio Nariño. Bogotá
2015. Seminar in Sound Art. Universidad Nacional. Bogotá
2015. Butoh Dance Workshop. Universidad Nacional. Bogotá
2014. Performance Workshop. Armenia Quindío Colombia
2013. Branding Diploma. Universidad Jorge Tadeo Lozano. Bogotá
2012. Performance Workshop. Museo Mambo. Bogotá
2010. Performance Workshop with Dioscórides Pérez. Armenia Quindío
2001. Watercolor Class. Academia de Artes Guerrero. Bogotá
1993. Music Class (musical theory & classical guitar). Academia Valdiri. Cali Valle

David Schafer
“Binary Complex: Tonal Duet”
Year: 2017
Duration: 03:05:00

Binary Complex utilizes a generated permutation from a limited set to create a sound composition. There are two sets of 12 units, with 6 units of one color, and 6 units of another in each set. The four colors, red/green, and blue/yellow, were matched with notes or tones based on the Russian composer, Alexander Scriabins’ scores for his final works Poem of Ecstasy, and Prometheus: The Poem of Fire, 1910, where he was assigning color to notation in order to compose his last epic works. This permutation consists of 924 variations, and the two sets are composed from the notes; A and C, and D and F#. This composition was generated by using various computer-based programs. Binary Complex is the culmination of the A/C notation superimposed onto the D/F# notation.

Bio: David Schafer is an artist working in sculpture, sound, digital media, and works on paper. His work is concerned with the intelligibility and structures of language and of built space. Schafer’s sculpture may resemble scaffolding, shelves, or make shift support structures, that embed and weave multi-layered associations. Often the starting point for his work is a found text, audio, or form that drives the evolution of the work. Schafer was interviewed for Yale Radio, and participated in Skulptur Projekte Münster as part of Mike Smiths’ project. He recently had one-person shows at Diane Rosenstein and Samuel Freeman in Los Angeles and Studio10 in Bushwick, NY. Schafer has executed temporary and permanent public works including a commission for the Huntington Hospital in Pasadena, CA. Schafer’s work has been written about in ArtForum, Art in America, Arts, Cabinet Journal, NY Times, LA Times, Baltimore Sun, Chicago Tribune, The New Yorker, and Metropolis. Schafer has performed sound utilizing analogue and digital source material, at Human Resources, David Kordansky, Samuel Freeman, Control Room, LaCita, L.A.C.E., Printed Matter, Silent Barn, Roulette, Invisible Dog, and Studio10. His work has been included in curated radio programs in Lisbon, Paris, Murcia, and Berlin. Schafer is a Professor of Fine Art at Art Center College of Design in Pasadena, CA.

Year: 2017
Duration: 37 min

This is an excerpt of my two part composition, also used for the interactive installation 'Treehugger', that represents the complex, yet fluid sounds of nature, both those that we can hear, and those that are hidden to us. That is to say it is comprised of a geo-phonic and bio-phonic soundscape, meaning the sounds made by living beings and the biosphere itself, as well as plant induced electronic music, or OEM (organic electronic music) as I call it.

For the nature soundscape, I wove together layers of binaural recordings I’ve made of insects, amphibians, rain, wind from various places in the world, to create to feeling of being in a wild forest.

The electronic soundscape was created using a system I first developed in 2005, that captures and directs plant bio-emissions to a real-time audio synthesis engine. It’s all hand made hardware and synthesis code I wrote that interprets the bio-electrical current of plants and trees, as well as my interaction with them, and directly animates the very fundamentals of sound design, much like a musical mouth.

Bio: Mileece has helped pioneer the modern evolution of plant biofeedback, touring an array of prestigious museums (MoMA, NYC), festivals (BHIF Festival, Bhutan), and venues (Kew Gardens, London) with her custom coded synths and hardware for plant bio-data sonification. Her work in immersive installations, sonic design and composition, interactive sculptures, as well as a variety of original products, materials and instruments, features in a series of highly lauded projects, including her Miracle Gro’s “Grow Something Greater” campaign, and her Sonos Studios “Sonic Garden” installation. As a composer and recording artist, her debut work ‘Formations’ was internationally critically acclaimed, heralded by the BBC as an “outstanding release, real musical science”. Her message of 'promoting ecology through technology and the arts’ guides her roles as Creative and Technical Director to several institutional collaborators and brands. Currently she is developing zero-impact energy, network-based urban wilderness sanctuaries inside technologically augmented biodomes, as Children of Wild productions.