Category: Specialising and Exhibiting

When experimenting with the video projection I came across a few errors, firstly the projection didn’t works well on furniture such as the fridge compared to plain white items like the window shutters. I think I will have to adapt the piece, I think that hanging white bed sheets warped in different ways could look good for the projection (this also adds to the themes of the piece, isolation, sleep deprivation, dream-like states). I also think that having two projectors will work betters (one short throw and one long throw) as then I would be able to cover more space with the image. I could also cut video in half vertically and spread it across 2 projectors to add more space for the image.

Two sessions of creative practise – Over this week I have experimented with projection and seeing how the projector within the installation exhibit would work. I have also resampled and rearranged the original mix of the score into key layers which I am going to arrange into the 4 final tracks for the CD.

Proposal – For my exhibit I am going to recreate a scene from the short film ‘Ghost’ by Takashi Ito in a small room with furniture, lighting and sound. I will be re-purposing my score from last term into a 4 track CD release that will accompany the exhibit. The exhibit is going to feature found furniture such as a fridge, stove, microwave, table, chair, etc and will be walk-in and interactive. I am going to edit the score to fit the 4 tracks and then project it on-top of the furniture in the room to recreate effects seen in the film. I am going to use strobe coloured lighting that will be programmed to match the tempo and pace of the sound that will accompany it. I will use a surround 5.1 system for my piece that will have the speakers wall mounted in the corners of the room with the sub-woofer on the floor by the door.

Research around technics –

Shortwave collective is an international feminist group using the radio spectrum as artistic material. They have done 4 projects, Constellations of Listening, Receive-Transmit-Receive, Open Wave-Receiver and Foxholes & Fencetennas. The group is very DIY and most of their projects use minimal, low-budget and accessible materials, such as “wire, razorblades, scrap cardboard and safety pins”. I think that this DIY ethos can be incorporated into my final piece and I should experiment with available household items for my piece.

John Wynne is a multidisciplinary artist who does work for museum, galleries, public spaces and radio. His piece 300 speakers was shown in the Saatchi Gallery and is a very inspiring piece for my gallery work, listening to the piece you can hear how The piece has made me thought about how I could incorporate multiple speakers within my piece to create a surround sonic experience

space within the gallery needs to be considered / chosen.

could do physical release for gallery exhibit, cd, tape, vinyl, zine, etc.

remix/remake score I did for sound for screen, take elements and make tracks with them

experimentation with available resources – concrete, wood, furniture, vinyl, record player,

set achievable goals

micro- start to separate the tracks for the score into individual parts and set them up in a new project

meso- arrange the film and start getting the idea for what the room is going to look like – lighting, furniture arrangements, projector location.do a test with a projector and the video within my own home to see if the idea works properly. edit the video to go with the 4 tracks.

macro- burn the tracks to the CD and get the furniture into the assigned place within the exhibition. make sure that everything works together, set up sound controlled lighting.

ask for help from relevant communities/individuals. ask questions with detail.

be willing to confront failures.

Ideas – recontextualize my score for Ghost by Takashi Ito into a walk-in exhibition which will replicate a scene from the film (kitchen furniture) with a CD that can be sold. I want to make the viewer seem engaged and completely immersed within the video. Most of the furniture can be found out on the street or with the use of apps such as TrashNothing, Gumtree and OLIO.

could use red lighting like the scene above. kitchen stove, fridge, microwave with CD spinning.

For my 2 works of sound art I chose to look at Samson Young’s latest piece named Altar Music and Ryoji Ikeda’s latest piece micro | macro [pavilion]. I was inspired a lot by both of these pieces and I think that they are both very good inspiration for my installation.

Altar Music –

https://www.thismusicisfalse.com/#/altar-music/

micro | macro [pavilion] –

https://www.ryojiikeda.com/project/micro_macro/

from vancouver,
i liked the clickyness and tape like feedback of the first track, i also enjoyed how lofi the vocals sounded, I thought it sounded like sounds you would hear in a submarine, especially the males vocals.

sound thinning out and turning thick again, listened to signal changed her approach to field recording, embodiment is important to her, experience of distance, constant desire to bridge distance more interesting to have an experience of distance, interplay between being in a space with implacement, geography and imaginary space,

fog line recordings, electro magnetic recordings, 22 hour piece, very ambient, lots of small minute details, recordings of people working overnight,

jerusalem crickets, rats, beetles, late summer early fall, beautiful bass frequencies, sounded like walking through an apocalyptic underground tunnel, reminded me of video games such as Half Life and Silient Hill, using electronics, included segments of roaming around and investigating drains and gutter systems,

ryoko akama- stones, ambient texture and sonic radiowave like sounds, power plant, recorded on a boat,
sound line on the rice field 2018 – wooden sounds mixed with shouts and a constant metal hitting sound that repeats within the piece, has a rhythm but not based on grid,
zanduspension – hanging, humming let her down, heavy sounds that fit the mood of the video,
auDefenze – political, cut up news reports, various clicky digital programmed sounds, sounds of trains passing, lastesis

the flesh & the phantom – construction of reservoir in Taiwan, people were protesting against the construction, effects the natural and human landscape of the locality, studying sonic materials collected from the archive and Meilung in dialogue with the specific site of Lyren. seismic, aquatic sounds. the space for the project was beautiful and brutalist, with high support beams that fill the room with shadows, not to be further than 1m from each other. earthquake fault lines in Taiwan

jeju island – yeongdeung halmang (goddess of wind) jeju island has the geomunoreum lava tube system.

sound needs to be touched.

rainbow waterfall, alishan

home is not a place but an invocable condition

the soundtrack for moonlight was composed by Nicholas Britell who has also composed for many films and tv shows such as don’t look up, succession and vice. I had already seen moonlight before rewatching it for the course, I remember enjoying it the first time I watched it and the themes of homosexuality and race were still the first thing that I thought of when looking at the film again for the first time in many years. the film has a powerful message

starts with ambient droning pads,
based upon roadside picnic
sound by V Sharun, conductor E.Khachaturyan.
middle eastern style sitar and flute
first scene doesn’t include music which creates lots of silence compared to the previous introduction scene, doesn’t really have a musical score, mainly jsut on screen sounds, the film has created very genuinely a artificial place and appears very authentic, repetitive meditative beat of the noise of the train going down the tracks, has off screen sounds that i couldn’t make out what they represented
off screen wolf scream, mostly dialogue in beginning, off screen squelching foley in mud, already having watched a quarter of the film I am not blown away by the sound it’s very minimal and silent at times , it makes the film feel very natural, first signs of music, psychedelic jangly song.

part two – birds chirping, natural water sound even though neither can be seen on screen, piano keys, metallic footsteps, water droplets,

many silent parts within the film

it took me multiple watchings and sit downs to complete the film, I found it to be a chore to watch, I think this was mainly because of the loose plot and the whole existential aspect of the film.

“you were talking of the meaning, of our life, of the unselfishness of art, take music for instance, less than anything else, it is connected to reality, or if connected at all, it’s done mechanically, not by the way of ideas, just by a sheer sound, devoid of any associations. and yet music, as is by some miracle, gets through to our heart.
long drawn out scenes that could be half the time,”

the film made me think about how i could use silence within my work and how not every second of the score has to be filled with sound or dialogue.

because in my opinion there’s not much visual stimulation

sand dunes – metallic psychedelic music starts and stops

the zone – let’s good pass and bad die