Month: September 2022

extension of pre-dissertation essay ‘keeping sound natural‘

-recording as a research method

-inevitable translation=change/inauthenticity

-case study? recordings/experiences

-Marleu-Ponty- sensation

-conscious perception/unconscious perception/process of perception

-experience without mediation

-phenomenology

-building formations as a map of the human self

building formations/structures
object placements (people too) within environments and how these change/affect one’s sonic receptions (bounce off)- said objects exist everywhere, and can be anything, depending on the source of sonic information and what is surrounding said source. context is important.

truest ‘ecological consciousness’ found when one is alone (at one?) with their surroundings? sound work as a body – heartbeat/consciousness (organic, ecological/industrial/humanistic [speech etc.] foundation) and then every other element/sound is complimentary/additional, making up a body (work)

‘organic’ sound (born from the spontaneity of your natural surroundings, undisturbed by human interference, untouched when translated into DAW) /sonic heartbeat/foundation (soundscapes/field recordings) – recording equipment as an obstruction/interference within the practice. how problematic is this? does the practice (context/aims are key) then become inherently contradictory? (this does not mean/connote negativity). sustainability – (what the contradictory nature of certain practice means for its future use).

what does ‘true sound’ sound like in 4/5 different, but natural & spontaneous environments with as minimal (or as much depending on aims, but still spontaneous) human interference as possible. – does the spontaneity of obstructions (human or natural) make it (the obstruction) true/authentic? if an obstruction is true/random, (way of the world), then is it a problem, within this context, at all? – (can you have) positive/complimentary sonic interference ? how would one define natural sonic interference? authentic obstruction? sonic inauthenticity – natural interference (ancient trees blocking sound-waves) is no longer interference (if unplanned), therefore becomes part of that heartbeat. planned interference (earmuffs, methodical production/prompting, pre-meditated practice techniques). sound cannot exist within a vacuum, therefore at what point do objects and humans (possible obstructions) become a necessity. at what point do objects/surroundings become obstructions? is interaction (outside/surrounding sources) different from interference/obstruction? negative/positive?

people as noise pollution/objects formation obstructions/blockages (literally, physically in the way of sonic information)- is authentic sonic information only possible when completely undisturbed (not experienced by anyone/left alone)? – unexperienced/absent (from humans) sound as the most true (existent/nonexistent if heard/unheard paradox) – hustle & bustle of the city = (we) as walking obstructions

Rabbit hole- receiver acting as an obstruction/object = where do/can you find the most authentic sonic consciousness/experience without being an obstruction? if not, how do we obstruct in the smallest possible way?

‘at one’ with sound? Consciousness/immersion?

automatic writing realisation

the text for context:

I awaken, in a room I don’t recognise.

It is just me. Its walls are grey, I think.

The room is soaked in magenta, illuminating from singular beam on the ceiling. A thinly stretched mist seeps throughout the room, not clouding my vision, but making this even more disorientating.

In the corner of the room, there lies a fish tank. Solitary, with only a single, orange fish swimming round and round in its own void. The tank is clear, standing out like a sore thumb in the corner of the purple hue.

To my right of where I’m sitting, there is a door imprinted in the wall, almost part of the room itself, not as a means of going somewhere.

I reach for the door and swing it open, stepping into the next room without really thinking.

I am met by an identical room, complete with a fish tank, a door, and mist. Only this time, the room is swallowed in a dark blue.

I pace across the room, knowing what to expect when I eventually step through the door.

I am mistaken. This room is completely bare, bathed in a dark crimson by a singular beam with no tank or mist. Instead, there lies a table and two chairs, placed perfectly in the middle of the room.

I sit, and I wait, completely unaware of where or who I am.

after a while, no one visits.

So, I step outside.

The sky Is somehow neon, like I have never seen. Purple and blue, like the rooms.

Instead of rain, it is chunks of silver, like nothing I have ever seen.

It is night, for there is no sun.

reconstruction of year 1 text materialisation
imperceptible/minute angle changes
prolonged shot (1-4 hours)
space for a week
Light/colour/props
different sound for each colour/room

project/televise onto 3 walls each room/colour
one projector/tv each room
hanging headphones (2-4 pairs) for each wall/section

Equipment List:

technical:
3 projectors/Tv’s
3-6 headphones, splitters (3-6 way)
3 USB sticks
3 old iPods (method could change)

Prop:
(depending on room size) x number of neon lights/strobe (could be one extremely powerful, interchangeable) (red, blue, yellow, purple)
fish tank + fish
table 2 chairs
smoke machine (method could change)

followed through:

second idea, with conceptual tendencies as well as links to previous idea:

Works available below: