Ke Peng

Dissonant Bodies is an audiovisual installation that explores the complex relationship between matter and human through sound and physical material. It draws inspiration from Cymatics, which reveals the morphogenetic tendencies of materials in a sonic environment. The installation proposes that non-living things can act as agents or forces with their own propensities, thereby expanding our understanding of their capacity.

The installation consists of a contact microphone attached to a spherical balloon that collects sound from the material. Simultaneously, a speaker located below plays back the collected sound, creating a mesmerizing feedback loop when people interact with it. The vibration from the speaker influences the powder to shift into complex and unpredictable forms, which are magnified by a live camera and projection in real-time.

By immersing viewers in this unique microcosm of interfered matter, the installation prompts reflection on the vibrancy of non-living matter and the complex interconnections between entities.

“The hope is that the story will enhance receptivity to the impersonal life that surrounds and infuses us, will generate a more subtle awareness of the complicated web of dissonant connections between bodies, and will enable wiser interventions into that ecology”

—Jane Bennett

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The creation journey of my work 'Dissonant Bodies' delves into the complex relationship between humans and materials, exploring nuanced and impactful experiences. 

Guided by the quest for deeper engagement, I embarked on a process of experimentation and interaction. Through the use of vibration sound devices, speakers, and varied surface materials, I sought to evoke profound responses and foster heightened sensory experiences. This ongoing dialogue between myself and the materials shaped the immersive manifestation of 'Dissonant Bodies,' revealing the interconnectedness between humanity and the vibrant, ever-evolving world of matter.

Evolution is an immersive audio-visual installation and performance that celebrates the vitality of inorganic materials. The project takes its inspiration from the physics phenomenon of Cymatics, which has demonstrated that certain substances can autonomously form complex patterns in response to vibrations. This phenomenon challenges the traditional understanding of life and poses the question: can inorganic materials be considered as life forms if they can respond to external stimuli? 

This project aims to inspire a new perception of non-living substances, and contribute to an ongoing philosophical debate on the nature of life and the relationship between the animate and the inanimate.

Evolution employs a digital-analog generative system that allows luminous powders and the sonic landscape to evolve together, freeing matter from its passive role. The sound is composed around the sonic textures collected from the material utilising a granulator and generative algorithm, directing the powders to move. Meanwhile, a live image recognition program employs particle behaviours to modulate the sound. Each element performs in response to the changes of the other, giving rise to a complex and dynamic system that challenges conventional notions of causality and interactivity.

This piece features a live moving image and a unique quadraphonic system where the four sound channels are splitted into a quad of transducers and monitor speakers. Through the immersive audiovisual experience, viewers are enveloped in a sonic haze that blurs the boundary between their individuality and the surrounding spatio-temporal structure. As the sound energy from the installation permeates their bodies, viewers are able to experience the vibrational environment in a manner akin to the non-living powders. This experience challenges traditional hierarchical perspectives and allows viewers to appreciate the power and agency of the non-human material world.

In collaboration with sound artist Bryan Yueshen Wu, we explore the dynamic behavior of luminous powder in live audiovisual performances. The powder becomes a captivating performer, unveiling its transformative journey from birth to dissolution. Performance, here, is a state of happening that connects the vibrant powder, resonant sound, inaudible vibrations, and human presence in a shared space and time.

Previous Performances:

• 39th White Noise, Battersea, 29 April 2022
• 41st White Noise, Kensington, 17 June 2022
• Passage, IKLECTIK, 08 November 2022
• 42nd White Noise, IKLECTIK, 06 December 2022
• Polyphonic, Crypt Gallery, 13 May 2023

The Spirit in Machines is an audiovisual installation that explores the electromagnetic wave of digital devices through the use of water as a visual material. With inspiration from the inaudible sounds of machines, this experimental work visualises an unseen world that remains hidden from our senses. It is about experiencing the whispers of machines in their electromagnetic world.

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A Free Mouse is a multimedia installation that creates a digital space in which the computer mouse is liberated from its traditional function and moves freely on the desktop, simultaneously controlling it to navigate in a virtual lawn. The piece originates from a question: can the computer mouse become a living being, moving randomly and freely on the screen? Through this disobedient mouse, the artwork invites us to rethink our relationship with technology and control.

Supported by EPIC Games, part of RCA's research project. Featured in the 'Roadside Picnic' exhibition, Cromwell Place, London. Exhibited in 'The Fading Spaciousness' at Bargehouse OXO Tower Wharf.

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Round Sky, Square Earth is an audiovisual work collaborated with Cainy Yiru Yan. Inspired by the ancient Chinese cosmology model of the sky and earth, this work seeks to translate the model through sound and visuals in order to create a new version — a passage, which can link the past and now.

By utilising spatial audio and immersive visuals, this work aims to transport the audience to the center of a giant armillary in space. At the same time, the laser and projection are used as visual elements to ‘re-measure’ the Asian Astronomical map and respond to experimental music. Starting from the Sun, as the giant armillary sphere rotates and experimental accompaniment with ancient instruments, it takes the audience on a slow Astronomical sound wave journey through the nine planets.

Performed in PASSAGE, IKLECTIK London UK.

Newly developed version Celestial Armillary and Ubiquitous Wave has exhibited at The Centre Pompidou IRCAM Forum Presentation FR.

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