It begins by stating an example. In China in 2015, a water spray truck was playing not its usual noise but a remix of western Christmas songs. Merry Christmas, Jingle Bells, Santa Claus Is Coming To Town. For the average person, these sounds are just western pop music.
This article begins by speaking about how in china making random noises in large cities doesn’t have a coding system noise is noise. Anyone can be loud in their society as it’s a norm culturally. So how can sound art be appreciated and practised and understood? How likely is it to fit into western-style art spaces, squarely neatly and without any awkwardness?
I argue that it doesn’t have to fit the western idea of its spaces and how they should be displayed. I feel I’ve spoken enough about my thoughts on the white cube art gallery spaces and the uninviting connotations it exhibits in our society but I’m tempted to read more.
The article also speaks about a set of bells that were dug out of a tomb. And the relationship with each other. Perfectly tuned and reacting to each other using the circle of fifths. The article goes on to speak about the relationship between them being presented outside of a gallery space and whether it matters in sound arts that it’s not ‘sound arts’.
“Does it really matter that it is not shown in a contemporary art space, and not signed by a sound/conceptual artist? Perhaps our concept of what sound art calls for further expansion.”
I agree completely with this quote, I think sound arts as a whole although inspiring can at times hold itself back by attempting to put everything into tiny well labelled boxes and genres/sub-genres. I think being as open as possible to new ideas and possibilities can only do better things for an artform. Gatekeeping and trying to maintain what is, rather than letting it become something in of itself can be negative towards a positive conversation that can occur between artists and their art form.
This article was about framing what is known as sound practices in the UK. Toop says he prefers to call them sound work. which I reflected on in my audio paper with a similar opinion. I do find the sound arts term umbrella can at times be difficult to pinpoint exactly what we’re talking about. Toop speaks on his thoughts about the sound art community and the obsession with the object and the outcome rather than the actual creation and process which he says is more important. This is similar to the German article speaking on capitalism and how sound sculptures and hundreds of speakers in a room increased the popularity of sound arts once it was able to be purchased as most other artwork in galleries are.
Christian Marclay is spoken off with his vinyl creating pieces, as well as Radiophone Workshop as important pioneers in the UK sounds arts cannon. He speaks that the BBC did everything to suppress the experimental electronic music that was happening at that time from Germany, America, Italy, France but struggled. In turn, this leads the UK to create its own sound art scene independent of others. Creating and maximising without limits.
Toop speaks an important point that a lot of the early UK sound art work was fragmented through other mediums. Such as the famous Doctor Who theme song created by Delia Derbyshire. Because it came through the television set in the context of popular entertainment it had a powerful effect. It seems that what fits in an art historical narrative is not all sound works.
Another part Toop speaks of is improvisational works and performances, how they changed the idea of what could be sound arts and the liberation of structure.
Some of the free improvisation groups were really about conflict resolution: they were people who were diametrically opposed in what they were doing yet were supposed to be working together in a situation where nobody was directing them. There was no third party to produce an external focal point; everything was down to them working this out through the music.
I find this idea interesting to approach for an installation context outside of performance. What if you made an installation with the ability for the mobile visitor. The fifth dimension to collaborate with the installation and change it alongside having a conversation with the existing piece. And how would you guide the space and audiovisual work to dictate that to the mobile visitor?
I’d already visited this database before, visiting practitioner Cedrik owns and updates this regularly. I found his reasons for creating this database really captivating and liberating. I think a western view on a specific topic can blind us from enhancing and taking artistic practices further. Not specific to western domination on modern cultural society but the fact that any dominant form will overpower and overshadow a non-dominant art form. With equal exposure, it’s an interesting thought as to what can occur. Similar to myself, a working-class person. On average it’s the majority of middle-class people that become artists full time and manage to financially support themselves with their work. An interesting statement I know, although I’m just speaking on averages and data it does present the idea that what would future of arts look like if the less presented were given an equal shot at acquiring spaces such as what gallery 46 has to offer.
This one from China, Beautiful Violence 2012 by Qin Yufen. I couldn’t find a description of the piece so I’m simply speculating my opinions from watching the video but this was found from Syrphe. The piece is barbed wire in a large room with balloons amongst it. As well, there are cone speakers are placed underneath the barbed wire. It’s playing peaceful music amongst what is considered harmful equipment. Barbed wire is used to keep things away and out. To hurt anything trying to overcome the barrier created. The sounds played range from peaceful Chinese flute music to more abstract noise-based work. I assume the loud noises cause the barbed wire to move and pop some of the balloons. It seems in the video towards the end most of the balloons are popped. This does give another layer for the fifth dimension of audience members to engage with. The mobile visitor is led to be curious and wait for the balloon to pop. As well as this to engage the space with how they want. To be curious and seek out where the speakers are hidden.
Street busking in Jakarta is so important to the capitals current political climate with dictatorship running until 1997 meant that the country and the capital were angry and wanted freedom. Currently, Jakarta is busy and full of poverty. The street buskers although predominantly ignored by passers byers and people commuting speak the current troubles of the people. With the most famous busker Iwan Fals whose lyrics were shouted and sung as the students raided the capital during protests.
I watched the trailer for the documentary about the buskers in Jakarta. You can really see the importance of their work. Despite what they do they speak about the city, the politics the culture. All for little money, it’s really inspiring. The way they hop on buses and present themselves in places they aren’t welcome to bring music to the people that don’t even ask. I find it’s almost a moving sound installation. despite the term installation meaning something static in a location. This is time and space-based, as well as having the fifth dimension. Even the presentation is different. I really enjoyed this.
I also watched this teaser of the documentary specifically on this busker, it’s a short one minute clip. There is a scene of him on a bus singing “REFORMATION, REFORMATION, IT’S ALL GONE ROTTEN”. I find the idea of busking really dynamic. The busker is willingly going out to invade someone’s sonic landscape to create music. In a similar way, a sound installation could present similar views, and invade the fifth dimension mobile visitor around the space you are given to install your sonic piece into.
This article was more an interview between two curators and the history of sound arts in Germany. It starts by speaking about the differences between sound arts and what sound arts is considered in Germany. For example, they don’t call it sound arts but Klangkunst. Klgankunst is seen more about space and as visual art whereas sound arts is more typical to experimental music. This really shows the differences between culture and how our idea of sound arts can at times be broad and unspecific. For Klgankunst space is important in this German sound art installation form. Not just experimental music but the idea of space and sound. It seems that space and sound really are important in an installation and the idea of how they can combine to enhance an area. I really want to consider and plan the space I’m given for the gallery.
Ever since 2010, when the Turner Prize went to a sound installation for the first time, the visual-art world’s interest in the so-called “loudspeaker art” has been growing. All at once the market started paying attention; it was suddenly clear – like when the flat screen arrived in video art – that there was something to buy and sell there. It’s happening more and more now, whether you have four, twenty-four, or a hundred speakers in a room. The visual-art scene finds it exciting if every now and then, in the middle of the exhibition gauntlet, you have a kind of movie for your ears, to activate the mind’s eye’
This curator speaks on the importance of sound sculptures amongst sound art and the bridge it gives to the more historical context an art gallery has, coming from a more visual arts background. Combining sound and objects and having them for sale can bring more attention to the art world. It seems in modern-day times there is always news about how much a specific art piece has sold for and this is an aspect that sound arts sometimes cant partake in. Although the sound has a physical experience when consumed it’s something you can sell physically, the sound waves cant be owned. Now, this is more a capitalistic issue in art, where it needs to be valuable in order to be seen as important or useful in our society. I do have ideas for a sound sculpture for the space but I’m unsure if my decision making will be affected by the value in what I’m making but rather to create the idea of taking back space I’m not usually allowed to be in.
When you’re working with sound in space, you really need time and quiet on-site.
I’ll take this into consideration when attending Gallery 46 to look at the space, I will hear the acoustics as well as what I can do in this space. Half the decision is choosing the room for the proposal.
This article spoke about what was going on with PRES. Their development in sound for spaces. The three-dimensional uses of sound and how we can interact and change the reception and digestion of sound. How it enhances or changes the perception.
Sound is found and happens in two-dimensional space. Sound can be described using three values that may be visualized in the form of lines mapped along the axis of time, the axis of frequency, and the axis of dynamics. This is how a geometric image of sound is created.
I found this quote to be insightful for my installation process. similar to the bansanta article this idea of how sound is digested in a gallery space or any other space. The four dimensions. Time, frequency dynamics and space. As well as the fifth dimension which is the mobile visitor. To think about sound in its most basic ways can allow for the opposite of simple decisions. For me it means when planning my installation I think more about how my piece is going to be consumed and the placement. What can I do to change these four dimensions to help enhance my vision.
PRES also spoke about how to present sound in space. Using fake rooms to give a sense of space with things such as reveberation and delays. As well as stereophonic placement of speakers. This will definitely tive me insight to how I want to present my installation as well. I intend of having a sound sculpture part of my work and the placement of sound is something I don’t underestimate.
Unlike in the concert hall, the piece does not unfold in time in front of a passive listener, but rather the listener can shape the piece depending on the path they take and the time they spend in the designed space.
Another really good thought for installations. The space is just as important as the sound installation. I have little experience with presenting work not in a digital space, apart from performance that is. I think all this theory of physical presentation of sound will help me in my planning stage. I have a few ideas I’m trying to narrow down and continue with.
This article speaks on an important exhibition that occurred in Berlin during the 1980s. The exhibition Fur Augen und Ohren took place in Berlin in 1980 and is referred to as one of the main events that gave rise to what became known as sound art in the second half of the twentieth century.
It’s stated clearly that the works for the exhibition were chosen on the premise that they incorporated aural and visual elements simultaneously alongside an emphasis on technological progress. This relates back to the last article that I read and reflected on. Art and technology seem to fuel each other, And art is sometimes what pushes technology to work for an idea that an artist may have.
The article spoke on how work is perceived in a gallery and how this specific curated even changed or attempted to deconstruct what it meant to engage with art in a so-called white cube. “Sealed windows, artificial illumination and walls painted white create a clean and artificial environment in which the artworks are not subject to time and space and are kept disconnected from the world outside of it.” A thought I haven’t thought about before but I do agree with, how does a piece of work in an isolated room give it context to itself. when taken out of its place and is displayed away from what it is meant to be surrounded by does the meaning change? How does the work situate itself within space and time if the space it’s representing isn’t in the gallery? As well as this how does it use the space it’s in to create that sort of dialogue. It seems perhaps I had thought of this before not intentionally but just with my experience with these spaces. I felt like I couldn’t feel represented in these spaces. it’s like, how do you take what is usually not accepted by a higher upper-class population that try to control and dictate the less, and then put us in a room where people that consume our art and are amongst us can’t access or are used to being in there? do you reclaim it? that’s what I think, take it for yourself and bring the time and space into the gallery.
This gallery also brought the subject that ouch is important. Sight and hearing only allow us a certain level of understanding in our environment. Sound means we hear it and sight confirm what we hear. Touch enhances that even more.
I also liked the paragraph on the relationship between curating and exhibiting and I feel it’s just as important as the artists, in curation. there are decisions to be made that affect everything.
I’ll end by stating that this article reminded me of the Basanta article about the ideas and theories of sound installations. This enhances a little differently as it touches on what a white space can do, as well as not just being a visual experience but enhancing that to be audiovisual and touch.
I found the interconnectivity with this article to be the strongest information displayed that interested me. It speaks on japans own relationship with its culture and how that reflects its sound art scene. As well as the relationship with the western world in comparison to for example china avoids the western world and creates an island of itself.
An important part of the article was speaking on.
“Wabi-Sabi which is a Buddhist concept that the philosopher Muneyoshi Yanagi describes as the “beauty of irregularity.” In contrast to Western ideals, characterized by symmetry, equal temperament, purity of timbre, and four-square phrases, in Japan asymmetry imperfections, and incompleteness is considered to be attractive and articulations of beauty.”
I find this is something that has spread across western society, although originating in Japan. The modern age with faster internet and more accessible software and technology has enabled us to interact with other cultures without the need to be physically present in their society. Sampling is something we do not just in a literal sense as in music or visuals but in behaviours as well. DIY scenes across the west have definitely indirectly been doing a similar thing. It’s all about what can we do, not what cant we do. This in term allows things to now be as polished and appreciated for what they are. I do find a lot of sound practices spoken in this article are in relation to other forms and it’s apparent how they connect to the global sound art scene.
My piece currently is the idea of a sound collage of audio I associate with my sonic identity. This article spoke of a similar art practice that occurred in Japan. The composers Toru Takemitsu and Joji Yuasa. Collaborative spirit was perhaps most present in their works such as Another World (Mishiranu Sekai no Hanashi) (1953) made for automatic slide projector or auto-slide produced by the company that would eventually become Sony. The device, which consisted of a slide projector synchronized with a tape recorder, provided the perfect medium for combining abstract photography with musique concrete. The fact that sony before it was even called sony was involved in creating objects for installations shows you the importance of art in developing technology. Usually, technology is used to create obscure things that can in turn be turned into mass-produced products. I’m not speaking on whether I think this is a good or bad thing but rather the idea that art pushes technology forward. And the relationship between technology and art seem a present continuous thing. It seems art pishes technology and technology once it becomes accessible pushes more art to be created. My idea as I said above is similar to this. video and audio combined and to see how they would have done it is interesting. Perhaps I’ll do photos instead of videos. Maybe a video will take away from the piece?
I found how the article reflected on the technological advances of society and how they related to the development of sound arts to be intriguing. I didn’t know a lot of what was written, about the machines built to have very basic versions of what we currently use. Things such as synthesisers and sound for screen back then were impossible and these sound artists created basic versions of what we now have in abundance. The tools and ideas that they had were for me inspiring, to see the vision they had of what they believed could be possible and execute it.
I can see how this article can relate to modern sound installations. As well as how it has a historical importance on the equipment we use currently and decisions made when designing a space. I found the idea of a noise orchestra and using the city and its objects to create an organised sound piece to be something i’d never consider. But since hearing this view I can do agree that a lot things can be used as instruments and what does separate us from thinking it is or isn’t an instrument?
Composer, vocalist, multi-instrumental electronic musician, and multimedia artist Christina Wheeler’s spans an array of styles and forms. She blends a mix of songs and improvised electronic music from vocals, sampler, theremin, QChord, autoharp and Array mbira. A Los Angeles native, Wheeler has performed and recorded with a variety of artists, including Ryuichi Sakamoto, Chaka Khan, John Cale, Laraaji, Roscoe Mitchell, Art Ensemble of Chicago, Matana Roberts, Marc Ribot, Murcof, and A Guy Called Gerald. Wheeler’s work with David Byrne included international tours and appearances on The Late Show with David Letterman and PBS’s Sessions at West 54th Street. MTV’s AMP featured her music. Recordings include work with Fred P, Benjamin Brunn, Shinedoe, Ripperton, Vernon Reid, DJ Logic, Mocky, and Jamie Lidell. Her duo with Nicole Mitchell, Iridescent, opened the Angel City Jazz Festival. Next, she will release two albums, Songs of S + D and Tres Es un Número Mágico: Kaleidoscopic Triptychs.
By the sounds of her work, I’m interested to see her setup when performing with all these instruments. As well as how she makes this balanced. I find sometimes that with an abundance of instruments and objects for a performance things can become overly complicated.
I read through the writing she has written. I have no backstory except being told to read it before the lecture. I found it had similar ideas to the Bonsata article we went through in Milos lecture a week ago. I do find that thinking about performances in this way and being very critical can help us understand what we are doing and why. Even if we do things unconsciously I do believe that once we can understand there is always room for elevation in terms of message or aesthetic decisions being made.
“Are you performing in a traditional theater? If so, where do you want to be and perform? Onstage? In the audience space? In the balcony? A combination of those places?”
Christina Wheeler
I found this specific quote to be interesting. I’ve always thought about the performance position as something really interesting. The typical stance is to be on a stage as a musician. To almost be above the crowd. I prefer always to be in the space of the audience, to be amongst the people I am performing to. I feel a lot more connected and I feel it creates a sense of equal power play in the space.
Christina Wheeler TheLabSF Performance
In this performance, we can see her setup easier. Although far away I can pick up a theremin on the right with the antenna. perhaps a synth and her laptop I presume running Ableton. I listened for a few minutes and felt really captivated, she creates soundscapes using effects and daisy-chaining them until they become massive. The drone-like sounds really bring you into a state of trance while listening. I enjoyed it thoroughly.
Post Lecture Reflection
She beings by speaking about her childhood. She was born and raised in a household surrounded by musicians in LA. Both parents played instruments and so it was always assumed she would do music, it was almost exciting for her to be able to choose what she wanted to play.
After high school and studying and doing music throughout her teenage years she studied at Harvard, following that a masters in New York. She continued to speak about how she ended up in Berlin and doing what she does currently which is performing and producing scores for films.
The very first instrument she got was the theremin, the reason why she enjoys using the theremin is because it has a sine wave. You can do a lot of manipulation with the instrument and its very performative. I havent seen someone use the theramin as she does.
Theramin E is the next instrument, its an eletric version of the original thermain. You can set in a scale, and select a variety of modes as well. So its an updated version of the classic theremin. It also has variety of effects. She uses the effects on the theremin and then sends it to her laptop to create another layer of effects to really push it beyond what its designed to do.
Next is the autoharp. It’s a traditional instrument, you can hold it or play it on the table. There are lots of different gestures. So when its on the table its more delicate. When holding you can dig into the string and get more texture. It has a pickup so she’s able to send the jack stereo outputs and process it through a variety of guitar pedals. This has 36 strings so it can fufill this desire that she wants. For example to do huge walls of sound as well as extended technique playing. If you press the buttons and strum you get chords. They are simple and only triads. It references folk music and pop music.
I found her lecture interesting to see how someone else has their setup for performance. Mine is currently very simple and to the cannon of a hip hop artist. I’ve allways had thoughts of how to expand it but the space of a normal show doesnt allow me to expand my thoughts and ideas like a gallery or private space would. I never want to play on a stage with bright lights on me but more amongst the crowd with a designed space.
