Despite the leakage and buzzy tones created by the vibrations of the slinky against the wall of the PVC tube I feel as though the project was a success. The compontents I used to construct the device included a variety of PVC tubing components, a small 4ohm speaker, a little 3w amp, a slinky Jr, a rubber cork, a contact microphone and some silicone caulk. One of the most dificult aspects of creating the device was properly sealing the speaker without muffling to much. If i were to rework the piece i would mount it on a small motor or fulcrum so that it could be physcaly moved to modify the sound. The amount of water in the tubing played a direct roll in the sound created, by moving it around the sound could be modified while prefroming not to mention the sweet sloshing sounds created by the motion of the water.
Recently in Embodied Sound Category
A scale is an object that people often ignore, avoid, or don't enjoy engaging with in our culture. People usually use it alone. Sometimes it just collects dust in the bathroom. For this project, I wanted to turn this everyday object into something that people could interact with or maybe have fun with in a social environment. I chose to present this project in the women's bathroom to make a stronger connection between the scale and its social connotations. This project also gave me the chance to learn the basics of an arduino. To produce sound, an arduino was connected to a chip that was secured underneath paper attached to the center rotation piece of an old scale. Whenever weight or movement affected the rotation, it changed the pitch of sound produced.
Video of Pianee in action
Code for the machine
My initial sketch for this device was to use an EEG wearable devices similar in principle to the MIND BALL device at the Bakken Museum. A headset would be worn, and through some abstract interpretation of the readings acquired from our brain waves a melody could be produced. Spending many hours attempting to use a arduino connected headset acquired from a Mind Flex toy, I discovered that some cheap childrens toy's are just simply to cheap to provide any kind of functionality. Upon discarding the EEG sensor's I went back to basics, duct tape and servos. Working on the fly I began attaching various percussive elements to my baby piano. Then I needed a behavior that encompassed the mysterious behavior I had envisioned. I therefore coded the jamming piano to play looped sequences whereby the tempo of the sequence, the length of the sequence, the instrumentation, are completely randomized(although Arduino random number generation is not actually random).
Click here for documentation / the performance
The more I think about this project, the more it seems to become cohesive to me. This project was an exploration of human expression with the "human" facet removed as much as possible; this wasn't so much embodied sound, or disembodied sound, as it was a re-embodied sound. I was interested in the concept of remnants, that whatever produced the sound would still be around in reality, and no longer stored in our memory; I didn't want a recording to be played. I wanted music to occur and to have the generator of that sound still existing with us in the present.
And the more I think about that goal, to have an "objective human expression", the more I like to see how much I failed. It's the most striking visual aspect of what happens here; my body is the framework for the art, and it's obvious that a human is there under the "negation layer" of the costume. No matter what we say, our reality is filtered through our consciousness; nothing can ever be perfectly objective. So my attempt to make an "objective performance" is and always will be doomed on the theoretical level. And I like that. I'm okay with us being stuck with human infallibility.
It's also really funny how my boxers are visible the whole time. There's something to say about that near-nudity; I'm almost being radically honest with the audience, but I am still hidden. The implication of something taboo is there, and nothing more; it's all in the imagination of the audience, it's all in the interpretation.
That's why I wrote "Being Interpreted" on the mask. No one saw it, but it's a detail to keep in mind, all things considered. I think it's a good punny sort of way to explain it; I am a being, some kind of consciousness, and you are interpreting me; that's all there is to it.
Music is a good medium for this kind of wild interpretive experiment, because music has no inherent meaning; we interpret it on an individual level as we please, and have differing tastes in it. And yet, it has the power to shape our mood. This is the basis for my change to this project from the last one I had in mind; the communicative event can only be interpreted, it is not truth transmitted with no loss in understanding between people.
It's all up to your attitude.
I was going to try editing the audio to make it "better", "cleaner", but i decided i really liked the lo-fi approach. It's just so creepy and creative. This isn't how people in the room experienced it, but I like this video representation of how strange people can be. Honestly, how can you not watch and listen to this video, know it is a graded performance at an academic institution, (If you were wondering, the University of Minnesota.) and not wonder about a few things?
The title is Being Interpreted, because that's all I will ever be to anyone.
Embodied Sound explores Sound Art that emphasizes and explores the physicality of sound.
You may approach this through the physical presence of tangible or tactile modse of sound making, through some form of wearable sound art, an extension of your work with site sound that furthers
this exploration of the physical, tactile or corporeal presence.
Your embodied sound work may be inspired by the piezo and DIY mini-amplifier that you made, our circuit bending explorations , the sensor activated possibilities introduced via the arduino or a divergent interest that you bring to this project.
Inspirations for Embodied Sound may come from:
Iannis Xenakis's Concrete Ph
... or Ed Osborn's Night Music
Playful new instruments such as Gili Weinberg's Beat Bugs and the musical shapers
href="http://www.cc.gatech.edu/%7Egilwein/Shapers.htm" Squeezable that Gil Weinberg and Maggie Orth developed for the Toy Symphony.
Maggie Orth's wearable musical jacket
Post a sketch of your Embodied Sound idea and then add the documentation of your Embodied Sound work in this category.
Include image and sound files and, if relevant, a video of the the object, space or phenomna.