Uploaded November 2022 | Updated September 2026, 3 weeks ago
A performance with live vocals by Viv Corringham, manipulated and distributed by Paul Geluso within Corringham's installation “Nostalgia for the Here and Now”. Viv will sing responses written by exhibition visitors to her questions “What sound would you most miss if it disappeared tomorrow” and “What object do you most value?”. Her singing will blend with field recordings in a 3D sound environment.
October 29th, 2022 @3pm.
LOCATION: Harvestworks Art and Technology Building 10a, Nolan Park, Governors Island. INDOOR
Nostalgia for the Here and Now
Nostalgia for the Here and Now is pervasive: a feeling that what we have is unsustainable and disappearing.
The audio/visual installation is an archaeology of sounds and objects from this present time. It combines field-recordings of sounds from here and now with everyday found objects: a collective of relics from our present. As if someone from the future gathered together memories of how our soundscape used to be, along with our quotidian objects, both valued and discarded, as a record of how we lived and what we cared about.
My perspective in this work is to examine the small things that make up our lives, those everyday details that are important to us and through which we can glimpse the huge and overwhelming challenges that face us. I interviewed a diverse selection of the public and asked them two questions.
The first was: “What sound in your environment would you miss most if it disappeared tomorrow?”
Sound is omnipresent and represents the ecological mesh we exist in but don’t always take into account. Asking this simple question of people (including visitors to the installation) allows us to ask ourselves what are the “soundmarks” in our life and to become aware of our own part in the acoustic environment. I then recorded the environmental sounds that people names, as exactly as possible.
The second question I asked was: “What object do you most care about – something you can’t imaging living without?”
We are intimately connected to our possessions and we feel great stress when they are lost to flood, fire, migration and other familiar crises. I would like – in a small way – to provoke a reconsideration of whether we need them or not. I also collected some of the detritus of our lives – objects dropped or forgotten in the street – as traces of our existence and what was once valued but is now waste.
BIOS
VIV CORRINGHAM is a New York based British vocalist, composer and sound artist, active since the late 1970s. Her work includes concerts, soundwalks, workshops and installations, exploring people’s sense of place and the link with personal history and memory. She has received international recognition and her work has been presented in twenty six countries on five continents.
Awards: She is a 2012 and 2006 McKnight Composer Fellow. Other grants and awards have come from the English and Irish Arts and Councils, Jerome Foundation, Harvestworks NY, Jazz Services UK, Millennium Funding UK, London Arts Board, Chisenhale Awards, Creative Partnerships, Awards for All and Meet the Composer.
Articles about her work have appeared in many publications, including In the Field (UK), Leonardo Music Journal (US), Walking with Scores (Belgium), Art of Immersive Soundscapes (Canada), Organised Sound (UK), Musicworks (Canada), Catskill Made (US), Playing With Words (UK) and For Those Who Have Ears (Ireland).
Recordings are available on Innova, Otoroku, Flaming Pines, Zeromoon, Farpoint, Linear Obsessional, FMR, Slowfoot, NoMansLand, ARC Music, MASH, Slam, Rhiannon, Jungle Records, Emanem, Move, Artship and Third Force.
PAUL GELUSO: Paul’s work focuses on the theoretical, practical, and artistic aspects of sound recording and reproduction. He has been credited as producer, recording engineer, mastering engineer, and/or musician on hundreds of commercially released recordings, including Grammy nominated and Latin Grammy nominated titles and award winning films. His research focusses on new ways to capture, mix, and process immersive audio for playback on multi-channel sound systems, recently co-editing “Immersive Sound: The Art And Science of Binaural and Multi-channel Audio” published by Focal Press-Routledge.
He has taught classes in music production and technology at Bard College and the Peabody Institute, in addition to serving as the chief sound engineer at Harvestworks Digital Media Arts for more than 2 decades. Working with artists who use sound as a creative medium, his collaborative sound works have been exhibited at The New Museum, Art in General, Storefront for Art and Architecture, Gale Gates Et Al, Cooper-Hewitt School of Design, London’s SPACE gallery, Harvestworks Digital Media Arts, the DUMBO Arts Festival, White Box Art Gallery, New York Electronic Arts Festival, ISSUE Project Room, and NIME. He has received individual artist grants from the New York State Council on the Arts and Meet the Composer.
A performance with live vocals by Viv Corringham, manipulated and distributed by Paul Geluso within Corringham's installation “Nostalgia for the Here and Now”. Viv will sing responses written by exhibition visitors to her questions “What sound would you most miss if it disappeared tomorrow” and “What object do you most value?”. Her singing will blend with field recordings in a 3D sound environment.
October 29th, 2022 @3pm.
LOCATION: Harvestworks Art and Technology Building 10a, Nolan Park, Governors Island. INDOOR
Nostalgia for the Here and Now
Nostalgia for the Here and Now is pervasive: a feeling that what we have is unsustainable and disappearing.
The audio/visual installation is an archaeology of sounds and objects from this present time. It combines field-recordings of sounds from here and now with everyday found objects: a collective of relics from our present. As if someone from the future gathered together memories of how our soundscape used to be, along with our quotidian objects, both valued and discarded, as a record of how we lived and what we cared about.
My perspective in this work is to examine the small things that make up our lives, those everyday details that are important to us and through which we can glimpse the huge and overwhelming challenges that face us. I interviewed a diverse selection of the public and asked them two questions.
The first was: “What sound in your environment would you miss most if it disappeared tomorrow?”
Sound is omnipresent and represents the ecological mesh we exist in but don’t always take into account. Asking this simple question of people (including visitors to the installation) allows us to ask ourselves what are the “soundmarks” in our life and to become aware of our own part in the acoustic environment. I then recorded the environmental sounds that people names, as exactly as possible.
The second question I asked was: “What object do you most care about – something you can’t imaging living without?”
We are intimately connected to our possessions and we feel great stress when they are lost to flood, fire, migration and other familiar crises. I would like – in a small way – to provoke a reconsideration of whether we need them or not. I also collected some of the detritus of our lives – objects dropped or forgotten in the street – as traces of our existence and what was once valued but is now waste.
BIOS
VIV CORRINGHAM is a New York based British vocalist, composer and sound artist, active since the late 1970s. Her work includes concerts, soundwalks, workshops and installations, exploring people’s sense of place and the link with personal history and memory. She has received international recognition and her work has been presented in twenty six countries on five continents.
Awards: She is a 2012 and 2006 McKnight Composer Fellow. Other grants and awards have come from the English and Irish Arts and Councils, Jerome Foundation, Harvestworks NY, Jazz Services UK, Millennium Funding UK, London Arts Board, Chisenhale Awards, Creative Partnerships, Awards for All and Meet the Composer.
Articles about her work have appeared in many publications, including In the Field (UK), Leonardo Music Journal (US), Walking with Scores (Belgium), Art of Immersive Soundscapes (Canada), Organised Sound (UK), Musicworks (Canada), Catskill Made (US), Playing With Words (UK) and For Those Who Have Ears (Ireland).
Recordings are available on Innova, Otoroku, Flaming Pines, Zeromoon, Farpoint, Linear Obsessional, FMR, Slowfoot, NoMansLand, ARC Music, MASH, Slam, Rhiannon, Jungle Records, Emanem, Move, Artship and Third Force.
PAUL GELUSO: Paul’s work focuses on the theoretical, practical, and artistic aspects of sound recording and reproduction. He has been credited as producer, recording engineer, mastering engineer, and/or musician on hundreds of commercially released recordings, including Grammy nominated and Latin Grammy nominated titles and award winning films. His research focusses on new ways to capture, mix, and process immersive audio for playback on multi-channel sound systems, recently co-editing “Immersive Sound: The Art And Science of Binaural and Multi-channel Audio” published by Focal Press-Routledge.
He has taught classes in music production and technology at Bard College and the Peabody Institute, in addition to serving as the chief sound engineer at Harvestworks Digital Media Arts for more than 2 decades. Working with artists who use sound as a creative medium, his collaborative sound works have been exhibited at The New Museum, Art in General, Storefront for Art and Architecture, Gale Gates Et Al, Cooper-Hewitt School of Design, London’s SPACE gallery, Harvestworks Digital Media Arts, the DUMBO Arts Festival, White Box Art Gallery, New York Electronic Arts Festival, ISSUE Project Room, and NIME. He has received individual artist grants from the New York State Council on the Arts and Meet the Composer.
![Recording of [June 16] INHERENT UNCERTAINTY by Paul Geluso, Clinton Van Arnam, Ivana Dama](https://i.ytimg.com/vi/tjDC2OEBwis/mqdefault.jpg "Recording of [June 16] INHERENT UNCERTAINTY by Paul Geluso, Clinton Van Arnam, Ivana Dama
Live data analysis of Johns Hopkins University COVID-19 worldwide data is used to create this generative sound piece. Data is sent through custom software into analog and digital synthesizers which trigger visuals formed by news clips recorded on June 1st, 2020 during the protests that followed the death of George Floyd.
The title Inherent Uncertainty represents our current state of affairs and the systems we are seeing crumble before our own eyes. As the viewer listens to the sound shift and change, these shifts are simply the analysis of the destruction of the virus. This project explores the unpredictability of our future and the thin veneer that we define as a ‘civil’ society.
Software engineering by John Brumley. Music by Paul Geluso and Clinton Van Arnam. Visuals by Ivana Dama in collaboration with Clinton Van Arnam. Creative collaboration with Harvestworks, New York including Carol Parkinson, and Paul Geluso. Mentorship and creative vision in partnership with Victoria Vesna, UCLA.
SOUNDING CORONA series is co-conceptualized by the UCLA ArtSci Center, and Harvestworks NY with the intent of composing and amplifying the Johns Hopkins COVID-19 worldwide data live data analysis including total recovered, deaths, and cases. Throughout this ongoing summer series, sound artists will be invited to use the texture of this data as an underlying vibration for engagement. With this collective sound and image exploration we seek to illuminate the interconnectivity of events around the world.")
