Creating the soundscape of the installation.
First off, I attempt to generate the background noise to try to give the space a sense of consciousness and tactility.
Using Sampler and messing around with the loop to create a base sound. I choose a very ambient track to work as the base sample.
Adding some flair, the delays and reverbs are a must, perhaps a chorus in the future. Filtered out most of the highs and added some pan for variation. The rumble effect gave it a tad bit of an earthly feel.
This was the result-ish.
The next part I worked on were the resting sounds, that trigger based on no level of activity. I wanted to go with something that stood out and worked as pulses in the soundscape.
I went with this custom instrument called belles & thinpad. Sounded pretty good as it is, all that had to be done was the note adjustment. How it sounds, after the jump.
The final sounds I was working on were the individual sounds that were going to be mapped to their respective water containers. There is going to be a minimum of 6 sounds that has to blend seamlessly with each other. Yet it had to be something that if taken away, was to be noticeable.
This part, is still a work in progress as I am still unsure how to approach this, i tried duplicating the same sounds over different rootkeys, but it still seems a tad bit too subtle. Using filters on the other hand change the sound too much for my liking.
One more time altogether now.
This is an early concept where the light source resides in the water within the container.
Light source below the container. using the strobe function on my phone.
Light test with Colorsplash Light thing without water.
Light Test with colorsplash with water. The lighting changes in the actual piece will be more gradual, this is just a range test.
Research on the type of soundscape I want to create. I am looking at creating multi-layered soundscapes that fit into the amount of interaction of the piece (up to 8 overlaying samples). These are a few influences after doing some research.
Explosions in the sky was the first thing I thought of, I wanted to create something cinematic yet surreal. A sound that could add emotion to a empty space. Not just as an ambient sound but atmospheric in nature.
Kraftwerk’s introduction to Autobahn was another style I had likened to this project. A piece that can easily be build up and taken apart.
This piece interests me due to the overlaying of the voice recordings.
Cant forget Aphex Twin.
A website that cycles through websites that auto play music. (ikr)
This one is haunting, overlaying music with a live feed of the police radio
Numbers stations: A russian radio tower that plays short buzzes. It’s been recording from 1982. On rare occasions the buzzing is stopped and you can hear a russian voice say numbers. Nobody knows what the purpose of this station is.
There is some speculation that the tower isnt a recording and that it’s live
Recording to this day….
Adjusted water levels act as controllers to create a user-generated soundscape. Viewers are encourages to change the water levels in the jars to create changes in the light and soundscape.
Changes are brought about by 3 main conditions/triggers:
1)Velocity- Rate of change in water level
2)Range- Difference in height/weight of water level
3)Level of activity- No activity, new activity, some activity
“Art confronts an individual with a situation in which their boundaries, both physical and mental, are redefined. ” Is art transformed by its context, or does the context defines the art. (Especially in space, whole concepts are redefined, time travel, the idea of 1st, 2nd and 3rd in a zero g environment, the concept of an inside and an outside) The boundaries of art are ever shifting. How more would it in space. Space Art Chosen Out of 200 Applications, because unlike the others the whole concept require it to be in space. It wasnt created in a studio and then to be sent out in orbit. Scheduled to fly in 1986 on the Challenger, after the changing of the rules that all space-bound payloads must have scientific value. In this case, Burgess not try to disguise and bastardize his piece as a scientific piece of work to work about the past regulations, instead presenting it as what it is, a work of art. Eventually the work was put on the Discovery shuttle in 1989. – The first piece of art launched into space. The piece symbolised the release of everything and nothing. It consisted of a Cube inside a 6 pound, 5 inch cube of bronze-tinted transparent glass, Under bright light, holograms of text (Poems on nothing and everything, Darkness and light) appeared on the surface. The cube contain water from 18 rivers around the globe, including the Mississippi, Amazon, Yangtze, The Nile and other water sources like glaciers, geysers, ponds and wells. Also traces of all the elements were infused into the water. So the inner cube which was essentially a vaccum, sits within the larger cube with contain the mixture. This was the concept of nothing in everything. and then in space nothing. and so on. wow. The piece orbited the earth 90 times, before returning to earth. where it was placed in the grounds of the Decova museum. Unmarked. His reasoning being, if people want to find it, they will. The Relevance. The concept of using space, be it the metaphysical or literal aspect, in installation art. How does the context of space itself change the role of the viewer and artist in question, or vice versa for that matter. How would the use of a particular space change the boundaries that which we see is art. Is interactivity a reaction or an action to it? In this case does putting a bunch of lit up jars in a room create a change in the phenomenology? If not, how would i achieve so?