Camden

I went to the stables market with a friend, Manj. Not long ago we went to the market together after I dreamt he needed to help me find a stone for protection.  He showed me the crystal shop, the frankincense shop, and the singing bowl shop, where he knew all the owners. I was reading about vibration and sound healing in different ancient cultures which mentioned the gong. I felt that the singing bowl is related to the gong and so I asked Manj if he would go back to the market with me and help me pick out a singing bowl. We spent two hours in the shop getting to know the different bowls. It took me a long time to get the hang of it. I was forcing it too much at the beginning and too preoccupied with try to be good at it and fear of failure. Eventually I picked out the singing bowl “A” which is supposed to correlate with the Third Eye chakra. I chose a manufactured one instead of a handmade one because of the price. but the handmade ones were more beautiful to me because of the process. I went through a stage at the metal shop were I hammered bowls from bronze sheet. The large singing bowls with deep tones are for me the most amazing because you can feel the vibration in your hand travel up your forearm.

When I got back home/garden centre squat I unwrapped the singing bowl and set up my recorder. I felt a sense of awe and also of purity that I did not question. As I made the second recording the door opened, the wind rushing in, and Manj stood there looking at the recorder apologetically. I was thinking when I heard the footsteps that my recording would be ruined but as the door opened and the wind blew in I became aware of the symbolic image that the sound congers. I am becoming more and more aware when I am making recordings that it is more fruitful to listen very carefully to everything that intervenes than to try and control the situation.

Using the over tones in the final narrative section is what got me into sound healing. This breaks the work up into two parts: the affect of the sound and making the sound for the recordings and the actual sound piece listen to by the viewer. I like the implication of the sound piece being capable of having an effect on someone whether it is healing or aggravation or gravity. It questions what makes art so important. Art gets inside of us and changes us.

I also read about how the didgeridoo was used by indigenous australians for healing. In the evening Manj and I went under a bridge I know is quiet and has good acoustics to record the didg. The best parts were when the city and the train overhead blended with the didg. I regret how I recorded it. In the beginning I was away from the didg moving the mic around the space. I liked the sound of the didg interacting with the acoustics of the space. I was worried that the didg would be too quiet so I rested the mic under the mouth of the didg. However, upon listening back I realized that the mic was too close and didn’t get the affect of the acoustics or balance the didg sound with the train as well.

 

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Camden

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