the thing

In the first 7 minutes or so you can hear Medial Ages getting used to the lighting which was not completely dark (affecting the light sensors) and playing the Signum in a performance for the first time. I brought my Signum upon request and she had a few minutes to figure out how it worked before she started. I like this first part the most in a way.. Its more abstract form the rest of the piece. There is less thinking and finessing involved, it is instinctual and reactive to the environment which produced it.

7minutes she gets into it bird like calls

Recordings of the Performance and Talk:

http://theunstitute.org/Participation/dis.corporate.bodies/Laura.Plana.Gracia.html

 

the thing

inside – out

I stumbled across this performance and it is all and more than I hoped to accomplish with my idea of the performance. I like the mixture of shamanistic ceremony and the technology and the music. He uses stethoscope microphones which appear to be much more receptive than contact mics for picking up internal body sounds. I was hoping to combat the problem with the contact mics by using the signum to amplify the sound even more. However  the signum does not work in this way as of yet. It would make the wiring a simpler without the mediation of the signum. The mic would go directly into the amp. Thinking about the problem about putting multiple inputs into one output could be solved by having multiple amps. the sounds of different parts of the body could go to different locations with multiple amps. they could manipulate the positioning of the viewer i.e. one amp facing the corner of two walls, amps higher or lower in different rooms, or hooked up to headphones therefore contained to one listener.

The way Borges transfers the body functions into electrical current which powers motors which then plays instruments reminds me of an idea I had to ask Tus to interact with one of the amps – singing and making music with my internal body sounds.

The body sounds, once translated into electric signals, become reference for microcontrollers to drive motors and light bulbs. The motors’ traction is used to play instruments such as gong, berimbau, harp, and percussion effects that, combined with thelive body sounds, generate a mantric soundscape which resemble that of shamanistic rituals.

Inside-Out, a sound art performance

inside – out

Film and Sound

I’ve gotten over the first stage of enthusiasm. I was excited to make a movie and determined to translate that idea into an actuality. Then I realized I had no idea how I wanted to make it. I just took some footage in a hurry (I was short on time once I had re-set up the speakers). Everything happened so quickly around the time of the exhibit.

I re-watched what I have done so far after leaving it for a while. I watched first without the audio and I could see what Andrew meant when he asked me why I am translating something which is made of sound and space into video. I’ve been more aware of the medium of film recently. I find it interesting the idea of challenging the passivity of the spectator by drawing attention to the medium. The medium becomes the expression, not the vehicle of expression. I find this very radicle. I never really thought of the passivity of the viewer or the spectacle of art in that way before. At the same time I don’t know if I would feel it was radicle from the experience of the piece.

I saw Machine Vision as the Raven Row gallery and it has stuck in my mind but while I was there I didn’t feel much. I went through it pretty quickly. But that could also be because of the density… I want to see the whole exhibit but not go to deeply into it. I also went to the Whitechapel gallery. They had a piece on display about video games. The piece was simply a montage of different games and how the quality has improved over the years. It felt like a very shallow work, it only displayed it did not really engage with the subject matter.

I would like to read “Society of the Spectacle” by Guy Debord. When I think about film like this I realize that images of speakers, a man standing between them, and the sound source, does not translate the sound piece into film it only tells the narrative of the installation in a more accessible way on the web. This is important in a practical sense – having web presence.

I listened back to the mastered versions  of A and B and then started delving into the multitrack and reallocating myself with how I made them. I isolated clips and listened to how they interacted and trying to figure out how they relate to the original recordings. I think I’ve done a good job, but there is a lot going on and there needs a greater attention to detail interns of composition. I want to develop it more. I also need to fix the over all volume.. so that there are more perceptual volume changes than actual ones so that the levels can be more consistent through out the piece.

 

Film and Sound

Contact mic

Last week I went into the metal shop to fix the contact mic. one of the solders had broke but most importantly the shielding wire had to be attached. I had trouble soldering and the technician helped me. We simply fead the shielding wire into the jack so it was resting on the metal and it worked. The shielding wire did not have to be attached to the mic. I didn’t have elect tape to secure it so when I got home the solder had broken.

Lalia has very kindly lent me her soldering iron, which I picked up from glass yard yesterday and repaired the solder. It went very smoothly. I don’t know why I was having so much trouble when I tried it before. Perhaps it has to do with setting myself up comfortably and taking my time.

when I tried hooking it up to the signum and then the amp there was no sound. This is concerning. It’s a shame that the workshop to build the signum was so fast and we didn’t get a chance to really understand how it can connect to other devices… we were only told that it can connect to other devices. I can email the guy… we shall see how long he takes to respond.

Gallery