During these travels, she has often been struck by the similarities between Cleveland, a city of the Rust Belt, and New Orleans, a city of the bayou. Both cities dwell on the shores of bodies of water with global reach: Cleveland on Lake Erie, New Orleans on the Mississippi River. Both cities have seen the boom and bust of industry and population throughout their histories – past and present. Cleveland and New Orleans look remarkably different, but Christensen has often noticed that they have sounds in common: industry, birds, water, tourists. Rust Belt / Bayou offers an interactive document of aural snapshots from recent trips to both New Orleans and Cleveland.

Rust Belt / Bayou is a 2007 commission of New Radio and Performing Arts, Inc., for Networked Music Review. It was made possible with funding from the New York State Music Fund, established by the New York State Attorney General at Rockefeller Philanthropy Advisors.

BIOGRAPHY

Julia Christensen is an artist whose work treads on the thin line between art and research. She also likes to tread on most of the thin lines between various media, between the electronic and the non-electronic, and between audience and performer. Julia is the author of Big Box Reuse (MIT Press, Fall 2008), a book about how communities are renovating abandoned Wal-Mart and K-Mart structures for creative new uses. Her photography, sound work, and electronic installations have shown recently at the Walker Art Center in Minneapolis, the Lincoln Center in New York City, and the DUMBO Art Center in Brooklyn, among other venues. Julia lectures widely about land use, art, music, and interdisciplinary research. She likes hearing stories, playing with her rock band in Troy, traveling in the depths of the United States, and thinking about the future.

From Naone’s article: “This is a room that simulates the absence of a room,’ said Ivan Tashev, a software architect in the speech technology group at Microsoft Research. I walked in through two sets of doors, walking precariously in heels over a mesh suspended above the floor, which is covered by the same alabaster-colored triangular cushions that fill the wall and ceiling. Tashev’s voice seemed to come from far away as he went on explaining that the triangular shapes trap and dampen echoes before they can reflect from one of the surfaces in the room.”

“If you sat here in silence for two minutes, he said, you would start to hear the blood rushing through your ears and the sound of your own heartbeat. After 10 or 15 minutes, the auditory hallucinations would begin.

What’s the use of such a surreal room?”

Ultimately, Naone writes, Tashev envisions sound systems that record and replay accurate directional sounds without requiring users to wear special devices such as headsets. The research will probably not be used in Micrisoft products until the beginning of the next decade, but if you’d like to read more, click here.