The Limen Cycle explores the cyclic nature of vibrational energy that travels through the complex structural system of the violoncello. These sound vibrations move through a number of spatial energetic transductions within the instrument, before being radiated into vibrational sound waves within an environment. By physically expanding this radiation and its subsequent patterns through a specifically designed vibrational electro-acoustic system, the spatial movement of sound waves are magnified, creating a number of physical and acoustic phenomena. This generates a cyclic system, exploring the threshold between the physical and aural aspects of vibration and sound.
Anthea Caddy is a cellist and artist living and working in Berlin, Germany and Sydney, Australia. Her practice explores the spatio-temporal aspects of sound and architecture, applying these to audio performances that manipulate and distort perceptions of time, space and experience. She is an active member of the Berlin experimental music scene, both as a soloist and in collaboration with a number of acclaimed musicians and artists. Her solo work focuses on the incorporation of acoustic, electro-acoustic and recorded space within performance, installation and concert presentation, often using amplified cello as her primary sound source. Anthea is currently studying a Ph.D at the UNSW, Sydney under Media Arts historian Douglas Kahn.
Miodrag Gladović is an engineer of electroacoustics, a musician and producer. With a wide range of artistic sensibilities, Gladović is active in a number of different musical projects, from punk and post rock bands to experimental works. His artistic work often incorporates technological development. In collaboration with Bojan Gagić, he is active as a part of the Lightune.G duo whose main focus is luminoacoustic composition.
After the last year’s collaboration as a part of the experimental ensemble led by Hilary Jeffery, Anthea and Mijo began an electroacoustic and spatial-acoustic exploration. The experiment is set in the acoustically specific context of the French Pavilion, and the result is The Limen Cycle where cello is amplified by a highly sensitive accelerometer with the purpose of transferring the vibrations of the instrument’s body to a number of vibrating resonant plates, which act as vibrational amplifiers within the space.
This project is supported by Australia Council for the Arts.