LullabybyLala

• 2011-09-25

  Within the installation

  Just a few photos so that one can get a general idea of the atmospheric content of my installations

   

  

  

  I can’t wait for the exhibition!

• 2011-09-04

  …there is no place where I am not simultaneous with the heard.

  — Salome Voegelin, in Listening to Noise and Silence: Toward a Philosophy of Sound Art.

• 2011-07-17

  Sound art is not ‘‘sound art’’, it is art that utilises sound to, as Ranciere notes, play the ‘‘game of exchanges and displacements between the world
  of art and the world on non-art’’.

  —  The aesthetic ear: sound art, Jacques Ranciere and the politics of listening, Matthew Mullane

• 2011-04-20

  I composed/edited/remixed some music today, can’t wait to hear it in surround sound in my art installation for Thursday. Will upload the audio soon

• 2011-04-05

  Audio Visual Queen (is the TITLE my lecturer gave me)

  

  (just a photo I took of myself and edited a bit)

  I was sent a note on facebook that was headed with the quote ‘I think there are things which you can’t see, unless I photograph them’ - Diane Arbus

  The following is my reply on this note: There are things that can be seen sans the use of our eyes, or without our eyes being the primary recipient of the visual. Also there are many things that one observes but without better scrutiny, without visual ‘dissection’ one will merely ‘observe’, perhaps even ‘see’ but not ‘perceive’. Even now in our overly visually-driven society ‎’seeing’ is more and more, or rather once again reverting back to the more collective act of ‘sensing’. The way we sense or experience combines seeing, hearing and feeling- which is all captured in that which can be said to be ‘embodied’ within the ‘sensor’.

  Obviously the above-mentioned idea corresponds with what I like to think is our constant state of synesthesia. While focusing on the visual-through-auditory conversion it is still pleasant to think that there are many different ways in which energies are transferred into other forms or create new forms.

  • The following are photos showing the various bits of electronic equipment that my boyfriend and I busy ourselves with. I hit the technological salvage jackpot recently and started taking sound systems  etc apart to reassemble parts for my art project.

  

  This images above and below indicate the components of a 4 channel sound-to-light unit that Niël and I are working on, which reacts to sound volume and translates it into corresponding flashing light bulbs (the representation of sound through light). I want to take this experiment a lot further- more on that later.

  

  Here’s a collection of speakers that will be placed in tubes in which they will be submerged in oil. Light projecting through these tubes will illuminate the reaction of the liquid to the sound playing through it:

  

  And this is just to give you an idea of what my work space at home looks like:

  

  I would LOVE to take apart musical instruments and reassemble them in an interesting sort of way. The process of  placing sound-emitting or sound-creating instruments out of their original contexts (by deconstructing and reassembling them) is what truly interests me, for this lends a new conceptual development to their use.

• 2011-03-03

  Introduction to upcoming projects for 2011

  In Tune: Concept and background:

  In Tune consists of a series of installations that aim to experiment with and translate the different visual effects of music, sound or sound waves on different materials and our embodied experiences. These instillations illustrate my personal obsessions with the translation of the auditory into the visual (and vice versa) and comments on the synaesthetic quality sound and visuals can bring forth. In the Leonardo Music Journal Volume 19 2009, Cat Hope states that “we may also sense sounds in other ways- such as through anticipation or physical response, such as feeling the movement of air (like standing in front of an amplification system at a rock concert)” (Hope 2009).

   In further observation In Tune also questions man’s incompatibility of translation or lack of fluent communication through representation. It touches on issues of coding and decoding, synchronicity and asynchrony. The title ‘in tune’ firstly refers to the idea of something being perfectly on pitch or adjusted for (better) functioning. Secondly the title refers to the notion of synchronicity, for when one is perfectly ‘in tune’ with another one has reached a better level of understanding of oneself and the other. These installations will explore the coexisting relationship between music and fine art -or, more specifically, sound and imagery- via experimenting with different mediums.

   The incompatibility of translation and the inconvenience of representation breed a sense of distance or a barrier between artist and viewer/listener, artist and artwork, the auditory and the visual. However, this invisible barrier may also serve as an interface to creative understanding between the abovementioned relationships and new perspectives on how we see/ hear/ feel/ embody (the investigation of the invisible barrier is a theme that I have already applied to my work in my second year Fine Arts at the University of Pretoria).

  Both the auditory and the visual arts occupy a space that is defined by Liz Phillips as an ‘elastic space’ (Leonardo Music Journal, volume 19, 2009). Phillips defines the elastic space as “the experience of audience members when they gesture, traverse across or stand still in space to shape sound events”. Sound events, sound sculptures and soundscapes play important roles in the conception of In Tune.  The many phases of sound for example reflection, waves and interference are all part of sound’s process to create form. 

  

  (photo of an experiment with a speaker in cooking oil)