After experimenting with geo recordings and taking much inspiration from Ghost In The Loop – I decided to base my alternative project around the realms of nature and geo-recorded sound.
I was inspired by the idea of creating art that could not necessarily be heard by ear but could by geophonic recordings. Infrasounds and Ultrasounds have always intrigued me and their effects affect the human body. Famous Cases such as ‘Havana Syndrome’ showed physically damaging health effects from infrasound and vibrations. Something so invisible creates such a powerful effect.
After using the geophone to record a multitude of objects and sounds I decided to take this further and attach this to instrumental objects. I began with a guitar and then moved on to a cello. String instruments proved to be the best choice as their sonic variation and vibration were different to more transient instruments such as a drum. After recording these instruments by attaching the geophone to the inside of the cello and guitar, I decided to take the sounds away and explore their potential.
When editing the sounds I created a small drafted compositional piece of sound art. These recordings captured the string family unlike other recordings and created a serious moodiness to the overall aesthetic. I was extremely happy with how this turned out and chose to use this as my catalyst for my alternative project – Project B.
Looking forward:
Once the recordings are edited and mixed I hope to play this through various hidden speakers placed inside a variety of instruments placed around the gallery. My piece is inspired by Ghost In The Loop but stimulated by the predictability of the music scene today. Despite genres growing wider and wider I believe that audiences have preconceptions about guitars, pianos, drums etc and refuse to look beyond what the instruments can achieve. Bound by centuries of classical Western music lore, I hope this piece of work breaks down the infrastructure of instrumental art and pens an audience’s ear towards hearing instruments in different ways. Each instrument will play its own geophonic recording – showing dissimilarity and tonal diversity. Showing the beauty of unnoticed musical undertones – often missed when listening to everyday music.
TIMELINE
Week 1: Begin experimenting with geophonic microphone
Week 2: Begin experimenting with geophonic microphone
Week 3: Begin experimenting with geophonic microphone outside using different elements such as earth water.
Week 4: Find a collective range of objects which create good geophonic sounds
Week 5: Reflect this experimenting and practice onto instruments
Week 6: Narrow down the instruments that have the bets potential sound for the up and coming installation
Week 7: Record the instruments with geophonic microphones – experiment with different techniques
Week 8: Record the instruments with geophonic microphones – experiment with different techniques
Week 9: Record the instruments with geophonic microphones – experiment with different techniques
Week 10: Begin editing and composing the recordings into a compositional piece that can be played at the installation
Week 11: Begin editing and composing the recordings into a compositional piece that can be played at the installation
Week 12: Begin editing and composing the recordings into a compositional piece that can be played at the installation
Week 13: Begin editing and composing the recordings into a compositional piece that can be played at the installation
Week 14: Sort out technical set up by making a draft plan of what sound kit/ instruments I will need
Week 15: Sort out technical set up by making a draft plan of what sound kit/ instruments I will need
Week 16: Begin building the instruments / instalments for where the speakers will fit for the installation
Week 17: Begin building the instruments / instalments for where the speakers will fit for the installation
Week 18: Begin building the instruments / instalments for where the speakers will fit for the installation
Week 19: Begin building the instruments / instalments for where the speakers will fit for the installation
Week 20: Hand out invites and advertise my performance
Week 21: Begin transporting and building this within the gallery space
Week 22: Begin transporting and building this within the gallery space
Week 23: Rehearsal within gallery space
Week 24: Recorded sound rehearsal within the space
Week 25: Reflect upon recorded sound rehearsal and make improvements ready for the installation / gallery showing
Week 26: Gallery showing