WEEK 2 Journal and processes
The mindset in shifting from professional producer & musician to sound sculptor.
I see the concept of moving towards sculpture and particular sound sculpture more of an addition from my music career, rather than a new field. I am not overly interested in simply creating sculptures, but more so incorporating music composition, music technology and acoustics into sculpture.
What defines a sculpture?
The definition of what a sculpture can be is open for interpretation, simply calling a physical creation a sculpture or art is enough to place it into that space. From discussion with other sculptures and sculpture festival curators, the only definitive and common response is that it occupies a physical space, digital sculptures and projection work are referred to as installations and not sculptures.
What is sound sculpture?
The term sound sculpture can refer to a wide array of different ideals, from pieces that create a sonic auditory texture, pieces that re-produce a composition either acoustically or via digital playback and also sculptures that represent sound visually.
The environment, meditation, nature and connection to relaxation.
The practice of sculptiung for myself is more based on engineering and mechanics than art forms, though the design space is integral to my creations. I have always taken cues from nature and my surroundings and I am fascinated by the geometric designs in nature from the microscopic through to the planetary evolution and forces that shape them. My interest in the biology of life and its combination with physics has been reinforced through my Astrobiology study and work and I have a drive to recreate this in my work.
Mechanics and fabrication.
I have always been interested in mechanics and fabrication, pulling things apart and wanting to know how things work, some people turn on the light switch and the light comes on, I want to know how and why the light comes on, where does the power come from, how is it created, how does the bulb work and can it work better. I work a lot with my hands and it provides a calming and satisfying mode for me. If I am stressed, occupying my hands with anything from piano to playstation, construction to gardening, gives me a meditative practice that allows me to rest mentally.
The mechanics of sound and instruments.
As a musician and an acoustic technician, I have long been interested in the mechanics of sound and particularly instruments. I have built quite a few of my own instruments from guitars through to pianos and unique pan flutes.
Inspired by the new, find other sculptors that work the same way.
Energy and Vibration
Repeating geometric patterns
Creating a system for cataloguing the thinking, processes and thoughts.
TIE DOWN THE HISTORY FIRST, SURVEY THE HISTORY OF THE IDEA, Sound Sculptures and the global scene
What has others work inspired me and what I liked in others work. PINTEREST BOARD – https://pin.it/iqkm7lzbnzcixd
My dropbox for this sculpture – https://www.dropbox.com/sh/xtfogf48rf6cl3k/AABtctHX4JSmNdqrivVkBtBva?dl=0
Steve Mann’s Hydraulophone
“The hydraulophone that is now the main centerpiece out in front of the Ontario Science Centre serves three main roles:
- it is an architectural display fountain, like other large fountains that visually define a landmark, iconic representation, or the like;
- it provides an aquatic play experience, and it invites people of all ages to “play in the water”;
- it is a visual art sculpture, a sound sculpture, and a musical instrument, thus bringing art, music, culture, and play into the mix.
This lends itself to a nice double-entendre: “The Key to good music is to PLAY in the water”, i.e. “play” as in playing a musical instrument (or having fun playing
around on a sound sculpture even if you are not musical), and “play” as in what you would do in a playground or aquatic play area.”
Man is not important. Humanity is what counts, to which, I feel, I have given my contribution. Humanity shall continue without me, but I am not going away. I am not leaving you. Every time you see some tree tops moving in the wind, you will think of me. Or you will see some beautiful flowers; you will think of me. I have never been a very religious man, not in the formal way, but each time I took a walk in the woods, I felt the presence of a superior force around me.”
Harry Bertoia, Oct 9, 1978.
Cutuchogue sisters Kelly and Ashlet Goeller’s Music Box.
“Everyone these days listens to music digitally. It’s very individual,” Ashley said. “We wanted to make it collaborative, so in order to play the song two people have to turn the handles.”
What is Sound Scultpure?
“While experiencing sound as mass in three dimensions through time in contained spaces like wheat silos and cement water tanks, it became apparent to me that the relationship of the listener to the sound source was the most primeval and essential component for the creative act in music and that all listening really was moving sound sculpture . From the moment of birth we hear sounds resonating in the air space of the earth’s atmosphere, above, below, around, across with constant movement. If a truck approaches you from behind you know immediately you need to get out of the way, how quickly and in which direction. A flock of birds passing overhead is a multisensory delight integrating the eye and the ear, direction, mass, place, and time. Sound is physical matter with properties of speed, direction and mass which define and contain all other characteristics: pitch, duration, dynamics, timbre, articulation. Human beings are equipped with sonic detection equipment subconsciously assimilated at speeds which surpass all current technological systems. To think spatially and to properly consider the listener’s relationship to sounds is the most natural and respectful way to proceed.
Unfortunately, most musical events have lost sight of these basic truths. For the most part,the listener is positioned by demand in the concert halls of inherited Eurocentric proscenium performance with little or no opportunity to participate or explore the sound context. At home, sound playback systems are confined in the main to fixed stereo design, an entirely man made construct with little relevance to the audible universe. Rarely is the listener’s complete sense of auditory perception challenged. The relationship of the human to the sound is all too often stationary and inanimate. Spatial and creative listening are constantly underutilised. Listening as a freely moving voluntary act common in primitive and experimental musics is a behavioural form which art music may well reconsider. Sound Sculpture which allows participation from the listener redresses this balance. By carefully considering the context of the listening event, sound sculpture usually allows the perceiver to determine elements of the duration and position of the activity and/or the extent of involvement. Venues are carefully selected as these determine who listens, how and when. The outdoors, old warehouses, galleries, museums and public buildings, other than those used for musical purposes, have been the less hostile hosts of such occurrences Of nearly 90 Australian Artists in the field, few have enjoyed invitations to show their work. Most Sound Sculptures have been individually initiated and funded by those who have a greater vision for audio arts, one which respects the listener as a creative participant.” (Bandt. Ros, 1991)
“Sound art holds the distinction of being an art movement that is not tied to a specific time period, geographic location or group of artists, and was not named until decades after its earliest works were produced. Indeed, the definition of term remains elusive. Bernd Schulz has written of it as ‘an art form y in which sound has become material within the context of an expanded concept of sculpture y for the most part works that are space-shaping and space-claiming in nature’ (Schulz 2002: 14). David Toop has called it ‘sound combined with visual art practices’ (Toop 2000: 107). The glossary of the anthology Audio Culture describes it as a ‘general term for works of art that focus on sound and are often produced for gallery or museum installation’ (Cox and Warner 2004: 415). Bill Fontana has referred to his sound installations and real-time transmissions as ‘sound sculptures’ but that term has also been applied to sound-producing visual works by Harry Bertoia, the Baschet Brothers, and many others. Unlike music, which has a fixed time duration (usually calculated around a concert programme length, or more recently the storage capacity of LP, tape, or compact disc formats), a sound art piece, like a visual artwork, has no specified timeline; it can be experienced over a long or short period of time, without missing the beginning, middle or end.” (Licht, A, 2009)
Iljadica, M. (2016). Is a Sculpture ‘Land’? Conveyancer & Property Lawyer, (3), 242-250.
Bandt, R. (1991). Public interactive sound sculpture. Australian Journal of Music Education, (1), 5.
Fontana, B. (2008). The relocation of ambient sound: urban sound sculpture. Leonardo, 41(2), 154-158.
Licht, A. (2009). Sound Art: Origins, development and ambiguities. Organised Sound, 14(1), 3-10.
Sculptures with organic elements and inspiration
What is my creative drive?
What is my creative process, what is my creative purpose?
Why do I do this?
How can I help causes that have meaning to me?
Why do I enter sculpture festivals?
Make self renound for sound sculptures.
When looking at the practice How does mine fit into the global scale, what sets me apart, what aspects of physics defines better for the audience.
Refining my inspiration and drive, why I do this, how I can help, how this can help.
The way in which I articulate and reflect every thought and inspiration.
Moving towards an outcome that helps inspire change, environmental and social change.
My current sculpture “Land Coral”