Sound Sculpture

CRIT IDEA  January 22nd, 2019

I had recently been informed by my tutor that there will be a group crit within a week or so. This comes at a very early stage in the next semester. It seems a bit too early I suppose, but still, must crack on!

After a very useful talk with Cheryl and then Rory I seemed to generate ideas from a feeling of contentment. These two have really put me in a good place today. So if you ever read this - Rory or Cheryl - I thank you for helping me breathe again.

In the last crit, with the help of Georgia Addy I'd created a interactive sound installation which drew the public/crit group into becoming involved in the piece. I called this work Cumbersome Cubism because of the square shapes, sharp edges and the overlapping shadow lines projected onto the floor. Parts of it was also precariously balanced on a cushioned, cube, shaped stool which enabled the unusual sound generated by the scraping of steel wire.

I want to create something similar but in a different arrangement or form but still reproduce the calming sound created by the harsh, heavy material. This need for the use of different medium seems to give me a freedom and helps stimulate my creative thinking.
sketch of possible install

After the feedback and discussion from within the group I realised my need to harness the juxtaposition between the harsh material used and this soothing, almost meditational sound.

I will build a frame to hang the scaffolding poles from a rope to enable the sound to reverberate out of the tube. This I've found cant happen if the scaffolding tube is held too firmly or solidly - it needs freedom of movement and the least amount of contact as it hangs.

Image result for rebecca horn machines automatonI would like the sculpture to be able to generate the sound in a perpetual motion as though it is speaking to us and becoming its very own entity. This work has been inspired by Rebecca Horn's Automatons which used engineering and technology to create repetitive movements and moments in time. Even though they're only an assemblage of moving, manufactured parts it would seem that Horn has handed these machines a soul.Image result for rebecca horn Floating Souls (1990)

I will also try to change the aspect of public engagement by creating a more autonomous installation whereby the public will be forced to consider elements of self and boundaries.

23rd, 2019

end of day evaluation

Today I had planned to finalise the structure and get a rough idea of what the instrument would sound like. This was before I had been reminded of the visiting lecture which was scheduled for today. I had been worrying about the crit so much that I'd completely forgotten about it and then had to decide on either trying to get the exhibition installed or go and listen to Chris Evans talk about his artistic practice.

My thoughts turned me towards a decision to carry on with my original plan and get ahead start on the installation as Chris is my workshop tutor for the coming semester and should be made easy for me to pick his brains.

I was making my decision as I was sitting in the lecture theatre listening to the Sound City representative talking about this years event. I recognised the speaker and thought that I may have been in with a chance of exhibiting there again. So after they had finished I headed out to go for a coffee and maybe get a hold of the representative before I start on the installation.

This strategy worked and I found myself speaking to Rosanne Benbowe, who told me that they may be interested in the Wings. She also said that there may be some other opportunities available on the technical side of things after I'd informed her of my intern application for their office. This seemed like great news and has cheered me up quite a bit, enough so as to give a bit more of a push with my work.

After the talk with Rosanne I had started to gather some equipment from my studio and began to assemble the parts for the structure. As I was doing so a fellow student came to visit me and told me about the lecture and told me it was really interesting. This prompted me to go to the 'Q and A' session to talk to Chris Evans or at least listen to him and his ways of finding funding or commissions.

This turned out to be quite an informative talk but it had taken two hours from my installation time and I didn't get to ask much advice about my work for the crit. I did however feel a little more confident in the idea of making a proposal.

After the talk I started to gather the equipment for the sculpture from the studio to start the installation.

I included the square, wooden frame used in the last installation because I needed to frame the structure and utilise the four retractable quad power boxes used to power the 3D printing machines to bring the aesthetic of the space into consideration. This is an element I have found useful to understanding the space in which I install. This helps the relationship between the space and the sculpture combine to create an aesthetically pleasing installation.

I had built the tall, square, scaffolding frame and was deciding how to hang the instrumental pieces in a way that was strong enough to hold the tube yet wouldn't restrict the reverberations coming out of it. I had acquired some hanging wire which the workshop technicians had kindly supplied me with, giving me the strength and the minimum contact to allow for the sound to travel down the tube.

Video of sound and movement
 In the clip you will notice the use of fans as I try to simulate wind. This is to generate the perpetual movement that will push the tube into the frame causing a gong sound.

These fans had to be moved into several different positions to find the optimum force to keep the tube moving and swinging.

The optimised position has been
 located and ive set up the scaffolding
 to start the experimentation
After talking to Peter Appleton in a project update we have tried to find a way to stabilise the instrument without taking away from the reverberations travelling down the steel tube.

Peter demonstrated the importance of positioning to maximise the reverberations and lengthen the sound whilst also stabilising the tube.

I then thought about building a whole structure that resembled an, industrial scaffolding tower with a harsh, brutalist aesthetic juxtaposed with a calming, soothing sound generated by its own movement similair to Rebecca Horns 'Automotons' The machine will become autonomous and call out almost to who need to hear it and be drawn in.

using ball bearings to minimise contact

Image showing the space needed to
 minimise contact once bearing is in place

This contact between the clamp and tube inhibits the resonance

This space will not enable the resonance if the above positioning occurs

If this space is generated plus the space on the image
above then the flow of resonance is possible


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