Truly great architecture exists as a product of its environment. The criteria of which a building should be judged against; is not only in its ability to enhance the landscape in which it is situated, but to physically transform and enhance our relationship to, and experience of a place. Continue reading
I have an oil filled radiator. My radiator generally resides in my study / studio but gets moved around between rooms to service the heating needs of my apartment as and when required. Over a period of time I began to observe a peculiar, regular tapping noise encompassing the space of my apartment. Continue reading
A major part of my research revolves around the concept of ‘equivalents’, particulaly between the visual and the audible (eg. white paper and white noise) – imaging the visual of the audible, and the audible of the visual. Continue reading
Magnetic Resonator Piano is a sound art piece by Andrew McPherson. Andrew McPherson is lecturer in Digital Media in the Centre for Digital Music at Queen Mary, University of London. His research aims to quantify aspects of creative musical expression, particularly the interaction between performer and instrument. Continue reading
One of my favourite things about this time of year are footprints in the frost. After snow fall or a heavy frost one of my favourite pleasures is taking a walk over a field or the lawn. The dense sound of the frosted grass crunching under foot, and the texture of the deep crisp carpet compressing under each step is a feast for all the senses. Continue reading
When visiting The Powerhouse of Art museum in Shanghai China, I was fortunate enough to see a very insightful sound-art installation by the composer Peter Ablinger, and Winfired Ritsch. The piece, entitled: The Truth or: How to teach the Piano Chinese, incorporated a computer controlled piano and screened text. Continue reading
There is an old iron drain pipe on a building on the high street in Aberystwyth. Whenever there has been any substantial rain fall, (which is quite often in Aber) and the ferocity of the rain has ceased, or at least eased, the powers of gravity takes over and the remaining water in the guttering proceeds to drip down the drainpipe towards the ground. Continue reading
Along with his many drawings, poems, paintings and collages, the Dadaist Kurt Schwitters is perhaps most famous for his sound poem: ‘Ursonate’. Ursonate, or Sonata in primordial sounds, was a Continue reading
Whilst living in an apartment overlooking Aberystwyth marina I made a number of aural observations surrounding the masts of the yachts and cruisers moored in the marina. As the sea flexes Continue reading
I have recently taken part in a second ‘Dialogues’ workshop, from the series Live Art. Dialogues 2 was a continuation and a development of themes discovered in the initial workshop, responding to several visual and aural observations.
The sound produced by the friction of a pencil across a support is an overlooked (underheard) bi-product of the act of drawing, a sonic trace that is ephemeral and undetermined. An aim of the second workshop was to concentrate on, and bring focus to the sound of drawing, and drawing with sound, and to give it permanence through audio recording and documentation.
The sound of drawings made by one practitioner was captured using microphone pencils (‘pencrophones’) and by drawing upon an ‘electro-acoustic drawing board’ which passed through a number of digital and analogue sound filters, manipulated by an other practitioner, who could mutate, loop and sustain the source, therefore to make audio drawings. Another observation of the workshop was to examine the sound of drawing as possessing a pitch melody that can be mapped onto a musical scale.
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