I went to talk with one of our technicians, Rory, and it turned out that the technician team actual have an old oscilloscope. I was able to borrow it and managed to get it to work in the exact way I was hoping it would.
I wasn’t actually able to figure out how to get the oscilloscope generating a lissajous figure through my computer audio, however I was able to connect it straight into my synth, which is the source of the generative sound. By plugging two 1/4 inch jack to RCA cables from the two outputs on the synth into the two inputs on the oscilloscope, I managed to get the oscilloscope looking like the image above. By routing a 1/4 inch jack to mini jack cable from the phones output of the synth to the phones input of my laptop, I could simultaneously hear the sound and see the oscilloscope’s reaction. Here’s a video.
It felt so fulfilling to see this idea start coming to life, and through using the synth and oscilloscope the process and outcome felt organic and intuitive. Any parameter that I changed on the synth patch would cause a random response from the oscilloscope, and I spent hours playing around with this analogue gear. It was nice to get away from the laptop. The only problem now is figuring out how to get the same effect through audio from my laptop or a Raspberry Pi, which I’m sure I will be able to do in the coming days.
I have been making a lot of generative sounds over the past few months and I feel I have got pretty good at knowing how to keep a sound endlessly interesting and immersive. I started using VCV rack to create intricate generative patches, as well as my Behringer Deep Mind 6 synth.
VCV PATCHES
The main ingredient to keep these expansive, ambient patches infinitely interesting is LFO’s reacting to each other. So for the first one for example, there is one LFO randomly controlling the note sequencer which generates random notes in the same key, and then two more LFO modules controlling various things about the first LFO, such as its rate, waveform and mix. These interactions keep the sound moving randomly whilst retaining the general atmosphere or mood.
DEEPMIND 6 PATCH
The patch I made on my synth took a lot of time to construct and there are quite a few complexities without it being overly complicated. I wanted to make something that reflected the darker attitude that I present through my sound practice, as well as having an evolving shine that comes and goes. My thought process was that, seeing as I am creating a piece in the space that focuses on art’s infinite nature, I would make a sound that integrates both haunting texture and bright shimmers to capture the essence of exisiting in a world where the line is blurred between dark and light. The sound needs to be a reflection of the world around it, which I believe will hopefully make it feel more organic when it is existing in the gallery space. If mobile visitors can relate in some way to the feeling of the sound or get lost in the experience, then I would say I’ve done a good job.
Using the two LFO’s to control each others rates as well as the envelope rates, the saw and sine waves began to take shape and evolve into a morphing wave of sound. I then used these random LFO sequences to control the distortion, which is at the end of the FX chain meaning it is affecting all of the effects before it, such as the reverb and delay. Another random LFO controlling the VCF resonance meant that the sound became more detailed on certain occasions. Overall I am very happy with how it sounds, and obviously the audio clip above is only a 3-minute excerpt of what is ultimately an endless sound.
I think I will use the Deepmind 6 sound over the VCV patches because it has a more raw feeling to it and sounds a lot warmer and more natural. I feel like the VCV patches sound nice but my intention is for the sound to be as organic as possible.
Next it is time to start fusing the sound and visuals to start forming a singular experience.
At this stage of development, I feel it is important to refine my ideas to a point where things are defined and put in place properly. I’ve spent a lot of time figuring out the most effective way to communicate my idea in the simplest way possible, and through a lot of research I’ve found a great solution.
I was struggling with finding the most simple way to create an audiovisual experience where the visuals are reacting to the sound, so I widened my research and looked to online forums to try and get a sense of any common/uncommon techniques that don’t require code or learning a new software. Sure enough, I found a Reddit forum that was called ‘oscilloscope music’, and saw a comment that referenced Tame Impala using an oscilloscope at a performance to react to the music. Not really knowing what an oscilloscope was, I found out that they are used to generate waveforms over time using a two-axis graph. I then discovered that an oscilloscope can produce something known as a LISSAJOUS PATTERN, which is where two sinusoidal curves intersect, producing a curve that veers away from a linear waveform. This curve can be changed depending on the phase angle of the waveforms and the frequency at which they are being oscillated. So, in essence, inputting sound through two channels (which would correlate to the x and y axis respectively) creates a moving curve or curves that will change in real time as the sound changes, because the ratio of the frequencies is always changing.
The video that the person mentioned is linked above, and after seeing this I had that eureka moment that I was hoping would come. A generative sound that is always changing and running through an oscilloscope will mean that the visuals would also be changing in response to the sound. This would communicate my concept perfectly.
The audio-visual artist called Jerobeam Fenderson created an entire audio-visual album called ‘Oscilloscope Music’, which highlights the limitless possibilities that an oscilloscope can offer in terms of aesthetics. Using mathematical ratios between frequencies and phase relationships, Fenderson is able to construct beautiful moving imagery that has a direct response to the frequencies being sent in to the oscilloscope. I find this absolutely mind-blowing because it seems so simple but there is so much maths and knowledge involved. It’s as if the visuals and the sound are talking to one another – a conversation which again falls perfectly within my concept.
The mission now is to figure out the best way of setting this all up. In my notebook I drew out how it could potentially work, which would be a camera pointing at the oscilloscope and a HDMI running into a projector from the camera, providing a live view of the oscilloscope screen. I also thought of Ableton’s ‘Spectrum Analyser’, which would do a similar thing but in a much less interesting manner. The visuals would probably get quite boring, but it would be a good backup option.
Now I just need to find an oscilloscope to try this out.
I used this artificial intelligence art generating application called ‘Wombo Dream’, which is similar to Google’s Deep Dream software to begin creating an aesthetic for my piece. I felt it was important for me to start seeing visual imagery as it helps me pull my ideas together and establish a direction to go in. I always find that seeing visuals helps hugely with the sonic side of things, and vice versa. I typed words like “futuristic landscape”, “infinite horizon” and “cyberpunk” into the software so it could begin generating a response. Some of the images below are really unique and I began to see patterns than ran through them all, for example shapes, colours and abstractions. What I find so amazing about this way of working is I am able to generate complex images in a matter of seconds and then refine my search based on what I like and what I think could be better. The fact that each generation is completely unique makes producing a lot of content really easy and I spent a lot of hours narrowing down my search so it became more specific and I could establish a level of control, sort of like educated guesses on how the image would turn out.
I loved the name “Infinite Horizon” and decided that it should be my working title for the time being, because it definitely relates to my overarching theme of an endless form of art. I feel ‘Infinite Horizon’ speaks to me in the sense that I imagine someone running towards the horizon, but it never gets closer and the beauty of the sunset and surrounding landscape is endless. Much like this idea of exploring the PROCESS as opposed to a FINISHED PRODUCT.
Using the shapes, colours and forms that I felt ran through all of the AI generations, I thought I’d write the title taking influence from them. The experiments above are purely a way to help me visualise the final outcome of my work in a clearer way.
After thinking about my work more, I really do feel it is a little unnecessary to have an interactive element. I think it would work but I don’t feel it is vital to the theme of the piece to have the audience interacting with a MIDI controller. Just a generative sound and some way of having the audio react to the sound I think will be enough to communicate my ideas effectively.
I have been developing my ideas a little more, and I am thoroughly enjoying the process. Figuring out solutions to problems, how I want to communicate my work and what I will need to do it has been a process I’ve been thriving in as opposed to getting too stressed out.
I made these notes and drawings during our most recent lesson, and I felt I took a lot of valuable content from hearing Milo speak. As my notes explain, this show is an opportunity to have my work exist within an expanded field full of friends, family and potential collaborators. It could even be that people turn up to the exhibition who have an influence within the world of sound arts, so I must treat this as if people that can offer me opportunities are taking notice.
Out of my initial ideas I felt that the most interesting and achievable one was the idea I had titled ‘Painting with Sound’. The interactive aspect has a lot of room to be developed and the use of a generative sound would take away this shiny, well polished ‘finished article’ that galleries so often accommodate. The potential for my piece to be an infinite, co-produced process in real time rather than a final product I feel leans toward a different type of experience than what is typically associated with a gallery. Even people that aren’t entirely engaged with the art world would be able to understand the work and feel included, as if they are having a conversation with the sound and image generated by the system.
I continued to be fluid and uncommitted to a singular possibility when drawing out more ideas, so that I didn’t lead myself down a narrow path. I feel the working abstract for this idea is slowly becoming clear. I will include a brief summary of where I feel this idea is going thematically:
My installation offers a unique, individual experience that encourages a conversation with the audience and the work. Through a simple controller that is open for people to interact with, the sound will react in different ways to whatever direction the person takes it in. This installation strives to break the barrier between artist, art and audience and embraces endless process over definitive result.
I feel as though I’m going for more a feeling here over a deeper concept, which is different from how I usually work. I think this idea is starting to take a lot of influence from my recent change in approach towards my work, as I have been a lot more process led which is different from when I used to run everything through a pre-conceived concept. I hope this idea can communicate this new direction I am going in.
The questions I have now following these developments are:
Does there need to be audio-reactive visuals?
What aesthetic am I going for? (colours, mood, flair)
How many speakers will I need?
I need a visual element. What would work the best? (mirrors, LEDs, DMX lights, audio reactive software)
I think I want to stick with the simple MIDI controller with different knobs controlling different parameters like macros, because anything too intricate or complicated would firstly take up a lot of time figuring out, and secondly confuse the audience as well as myself. Things need to be kept simple. I am still stuck on how a visual element would work. There is audio reactive software like ‘Touch Designer’ or Ableton’s ‘Zwobot’, but again the process of creating an engaging visual that will react to the audio with these systems is very time consuming.
As a class we went to the gallery for the first time and got to view all the spaces at our disposal. Most of the rooms fit my ideas well because they are all rectangular and that is all I really need. However, I think after seeing the space I will cut the idea I had with the circular space, because I would have to build it and there’s simply not enough time. What I was most interested by apart from actually seeing the spaces was the garden, as an outside space is something I didn’t consider when drawing my ideas. There are a few big walls and interesting areas that could accommodate some innovative work should my ideas develop in that direction.
I recorded some rough sketches to help me retain the feeling of the rooms, and wrote down some general pointers and ideas that sprung to mind. There is also a floor plan on Moodle that I’ve included below which is helping me filter out my options.
I also transferred some of the thoughts and questions that the gallery visit raised for me. Milo spoke about the importance of looking at the show as an ‘orchestra’, which made me ponder my concepts and the reasons behind them in a more critical way. My work needs to stand on its own but it also needs to act as an element of the wider show that makes sense. For this reason I have started engaging in conversation with my classmates to get an idea of their approaches and plans. The overall feeling I am getting is that there is an emphasis on interactivity and inclusivity within a lot of the ideas I’ve heard, and I will use this knowledge to influence the outcome of my own final proposal.
My exhibition visits have sparked a wave of ideas in my head. I feel very confident that I can make something that works in a gallery context but also doesn’t compromise my style and personality in order to achieve that.
IDEA 1
After recently re-watching Christopher Nolan’s ‘Tenet’, I took inspiration from the duality of the film, which is most blatantly demonstrated through the two rooms in the film separated by a mirror. One room goes forward and the other in reverse. I thought it could be interesting to expand this into an 8-channel piece with a sound slowly transforming from moving forward to being in reverse as you move through a circular corridor. Mirrors would be an important element.
IDEA 2
This idea largely stems from the Shilpa Gupta quote that I spoke about previously, where she talks about interactivity being a perfect way to move towards stimulating residue in the memory. With a quadraphonic speaker setup and audio reactive light display, the visitor would be able to turn knobs on a simple MIDI device in the centre of the room. This device would change certain parameters and character of an endless generative sound. I feel this idea is strong because it grasps the co-produced artist/visitor method very well. The piece would have no start or end and every person would have a unique experience that they are actively involved with.
IDEA 3
Based partly on Shilpa Gupta’s ‘For in Your Tongue, I Cannot Fit’ and the use of mirrors displayed so beautifully at the ‘LUX’ exhibition, this idea is the most simple. With varioud microphones suspended from the ceiling and a 5.1 speaker setup, the visitor would walk into a room that is recording its own atmosphere, so they would be able to hear themselves and everything around them in a different way. The sound would go through extensive processing which would create imperfections and artefacts so that the speakers produce sounds that occasionally delay, mutate and break up. The only problem with this idea is controlling the feedback caused by the mic’s and speakers.
IDEA 4
I feel like this idea is the most ambitious because it hinges on me or a potential collaborator making an animation from scratch. In all honesty I believe this idea would be better suited to a longer project. Despite this, I do think it would work well as the end result is simple, drawing from the aesthetic style and satirical nature of Nalini Malani’s work.
I visited the exhibition titled ‘Lux: New Wave of Contemporary Art’ at 180 The Strand with my friend who studies interactive design. It was good to go with someone who was looking at the show in a similar way to me, because it meant we had a lot of good conversation revolving around the art. The other exhibitions I went to were contained to a single artist and were driven by a quite clear conceptual direction, whereas this was a collection of 13 works by 12 artists which created a more varied experience. The overriding theme was light, and every installation fell somewhere within the spectrum of light. Some were more thematic and others purely dealt with fresh and innovative techniques within audio-visual art.
The artists included in the exhibition were:
iart Studio
Es Devlin
Julianknxx
a’strict
Carsten Nicolai
Cecilia Bengolea
Hito Steyerl
Cao Yuxi
Universal Everything
Je Baak
Refik Anadol
Random International
I found the show inspiring in so many ways. Some of the experiences I had were completely unlike anything I’ve seen; truly innovative and boundary pushing. Techniques such as 3D projection mapping, neural networks, quantum computing and algorithmic visualisation are becoming more and more integrated in contemporary art, as the art world continues to grow alongside the evolution of technology. In no way do I know how any of this was done, but that is beautiful to me because it opened my eyes to a entirely new way of approaching audio-visual artwork, which is something I want to immerse myself in more and more as I grow as an artist.
I won’t touch on every installation because some of them didn’t really excite me compared to others and while I appreciated the innovation in every piece, I can’t lie and say I enjoyed all of them. In my opinion, there were a couple, such as Hiyo Steyerl’s ‘This is the Future’ that I found cluttered and overly stimulating. This may be because this was one of the last pieces I saw, so possibly my mind was influenced by the works I had just seen.
However, almost all of them I loved. ‘Starry Beach’ by a’strict was one of the most surreal experiences I had during my visit, with high-definition projections of waves crashing up and down the walls and floor. It was such a peaceful space, and mirrors either side of the back wall meant that there was an illusion that you were completely consumed by these fluid visuals. Mirrors seemed to be quite a common theme across many installations, as they usually served as a way to expand the image and make the room feel much bigger. Another piece that utilised this mirror technique was Carsten Nicolai’s ‘unicolor’, which examined the psychology of colour perception. It was a really simple and effective installation, and the mirrors either side of the strip of changing colour created an infinite corridor either side. This is a really simple trick that I definitely want to consider when drawing out some ideas.
Another example that utilised mirrors, and probably my favourite out of all the installations, was ‘Renaissance Generative Dreams’ (2021) by Refik Anadol. This was the piece that inspired me the most, as I was just awe-struck by the ingenuity and concept behind it. The piece emerged from experiments with turning visual and textural datasets of Renaissance painting and sculpture into multidimensional art pieces. The AI machine would reimagine these historical works and as it did the pieces would change shape and colour, offering an insight into the machine’s data universe. I found the idea of reinterpreting traces of art history so refreshing and exciting, because this piece emphasised the power of artificial intelligence and how it can be used to elevate existing work as well as creating new art.
VIDEO – Renaissance Generative Dreams – https://drive.google.com/file/d/10zv82wLjXUjC4cezjRqODA-M2PCvyCCs/view?usp=sharing
There was one piece that I found so intriguing and it was the installation that I experienced for the longest amount of time, which goes to show how captivating it was. Titled ‘Transfiguration’ (2020) by Universal Everything, the video shows a CGI giant walking and changing form. The giant went from wood to air to fire to water to rock and many more materials, with the sound reflecting the footsteps. There would be harsh, hollow sounding timbres when the giant was made of wood, and then this would transition into the fluid, calming sound of water for example. The attention to detail was incredible and I thought it was a really inventive way of approaching an exhibition. A very simple end product but a hugely complex process that went into it.
VIDEO – Transfiguration – https://drive.google.com/file/d/1AhishromlV4ZTr3vu2noP34WI3EwRWDF/view?usp=sharing
The final work I want to mention is a piece by Es Devlin called ‘BLUESKYWHITE’ (2021). Split into two parts, the grandest installation in the whole show is drawn from the issue of global warming. Part one is a 24 metre long red-lit tunnel that is scored by audible text from Byron’s 1816 poem ‘Darkness’. The idea was to recreate the sky after the Mount Tambora eruption in 1815, which released over 100,000,000 tonnes of gas and particles into the air, resulting in a dimming of the sun and intensely red skies at sunset, as well as a reduction of the earth’s temperature by 3 degrees celsius.
Part two references solar geo-engineering models documented by Elizabeth Kolbert which suggest a haze of suspended particles might reduce the earth’s temperature and turn the blue sky white. I found the concept and use of space fascinating, because it is referencing an increasingly worrying problem in global warming, and offering an interesting solution through an intricately crafted art show. I find art can often be a great entry point into certain topics that a lot of people overlook, because it can depict a subject in a way that is so transparent and explicit that it incites an emotional response. This particular work used what Adam Basanta described as a ‘closed space’ – a space that is limited by architectural barriers. The first part is a hallway and the second a small room with screens, mirrors (again) and seating. Upon experiencing both open and closed spaces at this exhibition, they really do offer different experiences. The closed spaces often had more of an intimate feeling and often felt more immersive, like I was in the work itself.
The second exhibition I visited was Mumbai artist Shilpa Gupta’s installation “For In Your Tongue, I Cannot Fit”, which I went to with the class at the Barbican. This was a very different kind of experience compared to Nalini Malani’s installation, as it was a lot more dominated by sound and had a more specific concept, as well as a different overall mood. I found the concept very moving – Gupta did an excellent job in my opinion of addressing a centuries-old social issue but emphasising it’s relevance in the current day. I’ve never seen an exhibition quite like this. The overall theme was “[giving] the microphone back to those who were rendered voiceless” (Contemporary, 2021). Gupta creates an experience in which you are able to hear centuries worth of poetry in just an hour, by playing hour-long audio loops through 100 suspended speakers. All of the poems are by people that had either been incarcerated, tortured or executed for their beliefs or for speaking the truth. As this Dallas Contemporary text reads, “As the artist put it herself, ‘Often, as it is happening right now, the voices of the truth cause discomfort and are cut off, yet the echo remains and continues to be heard.’ ” (Contemporary, 2021)
The exhibition consisted firstly of two suspended bars that would spin and show new letters every few seconds, forming words and phrases. In my interpretation these words were spread out over time to highlight the length of time it can take for people’s voices to truly be heard and their words understood. It also set the tone for the rest of the show, which was laid out in The Barbican’s space ‘The Curve’.
VIDEO – https://drive.google.com/file/d/1tFA3OGZUlKX4Q4vIJ65Z-UkiuKYMQ5G7/view?usp=sharing
Following this there were numerous small drawings framed within wood that resembles a prison cell. This added so much context to the main installation because it simplified and perfectly illustrated how these people were all made voiceless and absent by politics and states. All of the drawings looked to me like singular line drawings, with all of the figures faceless, which further evoked the lengths that people in power went to to erase these people who were speaking from the heart. I found this particularly powerful.
Finally I arrived at the main installation. The ambience in the room caught my attention straight away; there was a stillness that induced a sense of calm and panic simultaneously in my body. I’m not sure why this was, maybe because I entered with these images in my mind already, or maybe because the sounds themselves were so haunting. From a compositional and artistic perspective, I really took a lot from the use of the space. The dangling speakers each towered above single pages of poetry stabbed with a spike, which culminated in a minimal but densely populated room. The loop of audio darted between each speaker so that as you walked through the room you would hear a recital in Arabic, for instance, in the distance and then hear a whisper in Spanish right next to you. There was an an ethereal atmosphere that this created, as if the sound was forming a pool around me. It felt like I was in a shallow lake, or walking through a gentle stream. Although most of the audio I could not understand, I still felt it and that told me a lot about how captivating a sense of space can be.
VIDEO – https://drive.google.com/file/d/1NHSRoj5vbRu3r-JQ7TNhIXsxEHx51-Zt/view?usp=sharing
This is definitely one of the most profound experiences I have had in a Gallery. Not only did I have a real emotional response, but I was paying attention to the artistic decisions and use of space that were apparent. After reading the Adam Basanta article that I documented, this felt like a hybrid installation of both open and closed spaces. Open because there was no singular direction in the room you had to go in, but closed as each speaker drew me in for a more intimate moment.
On Shilpa Gupta’s website I found an interview from 2010 that I feel has a huge amount of relevance to this project, and my ideas of how to approach my installation at this point. When asked by Amar Kanwar about defining moments in her career, Gupta finishes her answer with this amazing quote: “This possibility of a shift in perception via an art process is something that has always made me believe that art can indeed create residue in the memory; that it can question and even slightly challenge preconceived notions. Interactivity, especially at a one-to-one level, is a great means of moving towards this.” (Shilpagupta.com, 2022)
This quote truly resonated with me because it echoes what Vicki Bennett was saying in her lecture about the existence of art as a process as opposed to a final product. Gupta talks about interactivity as a means of questioning and challenging preconceived notions, and this I feel sums up my current mindset towards art. Embracing the process as the art instead of glorifying a flashy end point in my opinion transcends the true essence of art into the real world, and an installation is a way to allow other people to get involved with this process, allowing for an artwork that is co-produced and exists moment to moment through experience rather than a definitive end product.
REFERENCES
Contemporary, D. (2021). Art 19. [online] Art 19. Available at: https://www.art-19.com/news/dallas-contemporary-shilpa-gupta-for-in-your-tongue-i-cannot-fit [Accessed 14 Jan. 2022].
Since 1991 British artist Vicki Bennett has been working across the field of audio-visual collage, repurposing pre-existing footage to craft audio and video collages with an equally dark and witty take on popular culture. She sees sampling and collage as folk art sourced from the palette of contemporary media and technology, with all of the sharing and cross-referencing incumbent to a populist form. Embedded in her work is the premise that all is interconnected and that claiming ownership of an “original” or isolated concept is both preposterous and redundant. In 2006 she was the first artist to be given unrestricted access to the entire BBC Archive. People Like Us have previously shown work at Tate Modern, Whitechapel Gallery, The Barbican, Centro de Cultura Digital, V&A, Sydney Opera House, Royal Albert Hall, Pompidou Centre, Venice Biennale, Maxxi and Sonar, and performed radio sessions for John Peel and Mixing It. The ongoing sound art radio show ‘DO or DIY’ on WFMU has had over a million “listen again” downloads since 2003.
NOTES –
Early work began with radio work
“ownership of an ‘original’ work or isolated concept is both preposterous and redundant” – I like this mindset, it is essentially emphasising the importance to view your ideas and your practice as an important part of a wider web of interconnected references, idea development and exciting art
“when do you pause? when do you decide to let that which is not you in?” – moving away from this perspective that you should be ‘protective’ over your ideas and your identity; as an artist it is important to accept things that you don’t perceive as ‘you’ into your way of thinking
Part of the Plunderphonics movement
In the analogue world you are limited to the materials and ideas generated from those that are in your immediate vicinity, there is no endless void like the internet
Identifies as a ‘collage artist’ – this means within sound and visual work, mashing things up
‘The Sound of the End of Music’ – Short Film – Merging together different songs with different sounds but in the same key and time-stretching to fit into a tempo – I found this created an alternate way of listening to the songs. I love the edit of the video as well where it looks like the woman is walking in front of an Armageddon ( “The Hills are Alive” from the sound of music merged with “The End” by The Doors)
“Originality is not important, uniqueness and energy are important”
“Your experience is the most important, no matter where you started”
“You can never let go of the fact that you’re always sampling”
‘We are not amused’ – Short Film – all about ideas and what happens if you keep them yo yourself
Lot’s of humour and playfulness in her work – different to comedy as it is a more ethereal playfulness as opposed to trying to make people laugh
“If you can’t change things, where the hell are we going with our lives?”
‘The Golum – An inanimate matter’ – Short Film – film about The Golum which is a mythical Jewish monster that was trapped in a book and terrorised a Library
Important that the process becomes a part of the product – This is something I can reference when I am developing my installation; allowing the process of creating sound art by removing the final product
These screenshots offer an insight into Vicki’s process – beginning with a mind map then sourcing loads of text surrounding the concept before constructing larger concepts and building a narrative for the artwork
‘Walking Through the Mirror’ – Short Film – delving into the deeper meanings of mirrors and reflection – I think the collage method works especially well in this instance, as the manipulation of the songs and blending of film visuals with a playful aesthetic create a bizarre atmosphere
Recently (past five years) been working in the realm of spatial audio
‘Gone, Gone, Beyond’ – Audio-visual surround sound film at The Barbican – uses Naut Humon’s structure CineChamber – a ten-screen, eight-speaker space that creates a 360-degree audio-visual experience for an audience located at the centre of the room, dispersing perspectives and possible points of view.
This CineChamber is the type of space I would love to have my work shown in, definitely something to keep in mind.
“Making everything elasticated in terms of time and meaning. Trying to be inspiring and motivating at the same time.”
Being transparent with your process
Once you have enough material (notes/research etc.) you will always be able to get something out of it
As soon as an original is released into the public domain, the owner has to leave the room for interpretation and allow the work to grow its own life
Our self-identification expires so quickly that it doesn’t make sense to hold things so close in terms of art particularly
FINAL THOUGHTS –
Above everything else, I felt that Vicki’s mindset and approach towards her work genuinely inspired me. I loved hearing her perspective on originality and this poisonous culture of copyright within art, especially sampling in music. Artists should be treating their art as a continuation of an idea that has preceded them, as well as the start of new ideas that will build from it. Instead of being so over-protective of your artwork, I feel sharing is the most vital thing. Vicki was talking about sharing her process and looking at the process of art making as a part of the product. If anything, it is arguably more of a product than the final outcome is. I have been trying to teach myself to think like this more as of late and set myself free of the worry and anxiety that comes with perfectionism. I think these points that Vicki made resonated with me so much for this reason.
