worked on a bit of documentation today – we’d used a zoom mic to make a few recordings yesterday which worked okay. But today opted to use a binaural microphone. These record sound much like our ears hear. listening back to the recordings it feels like as close as we are going to get to documenting what it really felt like before. This has always been a challenge for us, a challenge I think most artists face when thinking about how to document there work. From past experience, you can be fighting a loosing battle in trying to recreate experience, especially in terms of a live sound event. I think we’ve realised recently that its best to approach them as being two separate outcomes, even two separate works. When you begin to think this way, it opens up a world of new ways too consider the performance, and what comes from that.
Visually, I can begin to think about how this can develop. Call it typical Sound art aesthetic but I really enjoy the image of wires and speakers everywhere, I find the speakers in particular really curious objects; they mark locational bodies in the network we are creating. Part of me always considers what it be like wireless, or even speaker less…a few people mentioned it too. I feel a sense of attachment toward the little material objects we actually have; such feelings don’t go unquestioned. I wonder why I feel this way. Its comforting to me to be able to visualise the work, which in a way was always the idea, conceptually to understand that work as a visual representation of a network interaction. Of course this is a very reductive view of what it might look like, We within multiple interlinking formations that don’t concern themselves as a recognisable shape. Neither the less I find it interesting to consider the work this way, as if you were a bodiless entity listening within the non space of a network of communication
Its fun to speculate what that position might be? To be in-between a millisecond click to click conversation, an email for instant. To travel along those wires that draw along the floor. Its interesting to me, to be a stationary object as a sound passes through you. A glimpse into a passing ghost
I remember reading Sinister resonance by David Toop, where he spoke about the ghostly nature of sound passing by. How it must have come from somewhere but often we don’t see the physicality of the event, often we hear the crash before seeing it. I think thats part of a sounds depth, that it doesn’t operate at a visual level, but working in harmony with a visual connection can be an incredibly powerful method of fabricating/ engineering experience. To consider that in relation to what we are doing… Which almost links back to my feelings toward the speaker as being a vessels, points of reference. Locational points were the body comes into contact with sound, surrounding them – While underneath, abstraction is in motion, sound fabricated from code, the manipulation of symbols. Replacing the crash that once caused a sound as conflicting data, numbers. Which is almost exactly the chase when we think about working with samples, allowing supercollider to govern the frequency and pitch of a recorded hit of a percussive bell.
Something that has become clear already is the requirements of stands, so that the speakers can be elevated off the ground, at the moment we are loosing a lot of the effect to our feet – If the speakers were at average head/shoulder level, we could create a more physical subspace within the room / potentially have an audience walk into the circle rather than laying down.