Early Micro Beginings

It’s Practice 2 – the final journey through the MA Creative Practice. It’s the only project for which there has been no external exhibition to work towards (outside the University degree show). It started not as an outward facing project but of an interior one. One which would culminate over time. I intended to let the project unfold organically and see what it would be like to not over research. There were elements from previous projects to envelope in. The minimalist manifesto I’d written last year would form the backbone of the way in which I worked, pairing elements down, using less.

In the earlier stages of the project I found myself not only listening more, but watching too. Watching people move in public places, along the coast, seeing what I could see when I slowed down enough to watch. This led to a series of short very mini clips of film which I found sound for. There seemed to be a good serendipitous relationship between finding sounds in my piano whilst watching these moments. short film series.

On the back of the research for the dissertation and an intense period of writing and reflection on the use of sound within an arts practice I moved my practice forward by entering into the darkroom for a period of time. It felt like the most succinct environment for an incubation of a new project. Time in there stood still. Lingering in the wet rooms of Vernon Street made play possible again after the long writing and research. I chose to work with both cyanotype and photogram methods. I find both of these methods of contact printing experimental, tactile, fluid, unknown. The material I’d chosen to work with primarily was salt, metaphorically for it’s cleansing and preserving properties and sonically I thought I’d find some interesting sounds from working with it in a sound recording capacity. It also is a constituent of the body and therefore felt resonant with exploring an embodied sensory phenomenological essence of this project.

 

Salt scan copy
Detail of Salt Photogram

It lets the light through well and gives structure and form. I let myself play around with these crystal forms for some time, exploring how much light to let through and which light sources I would be using. It wasn’t immediately obvious what the material was and therefore the references were ambiguous and they had an visual element of how it may appear when looking through a microscopic lens.

 

Having worked with a very small radius of space and time since the early days of the MA through parenting and work constraints and hence learning to work with the micro elements of life, small things, small moments, captured time in minutes, it felt resonant to produce more work at this level. There were no grand gestures, but smaller incremental changes, acute visions in the mundanity of life. This really has been a constant in the realms of MA work I’ve produced.  In previous sound installations completed this last two years I have used found environmental sound, breath, microphones in small places in the natural world, a sort of a quieter walk through the world yet with an active ear.

salt lines photogram
salt lines photogram
salt line photogram
salt line photogram

I began to record some qualities of the salt falling on salt, salt falling on different surfaces, salt being moved around on wood and then the idea came to explore the possibilities of working with dancers. I began to wonder what this material would sound like under moving limbs and what shapes maybe left by the human interaction. This was the next chapter to explore and I got in touch with Beth, leader of the MA Choreography at Leeds Beckett University.  She was very supportive of my initial ideas and said she’d speak with her dance group to see if there was initial interest. This is explored in the next post…

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Microphone Placement

This week has been an exercise in finding the optimum area for placing the contact mic I bought a few weeks ago. So what I wanted to record was an old Tibetan singing bowl I’ve had for years which sounds incredible and multi tonal. I wondered what levels of sound vibration a contact mic would pick up?

I initially attached the mic to the side of the bowl just under the rim and immediately discovered it deadened the sound and there was no vibration at all. I moved it in different places all around the bowl and thought I’d been defeated in that quest until I tried attaching the mic to the underneath part. This seemed to work if I used the wooden baton to make the sound on the rim of the bowl. I almost had to hold the bowl at a slight angle to prevent the mic from stopping the sound waves again, but it worked and I recorded a couple of minutes of sound to build upon.

What I wanted to know was the difference in sound quality between recording a singing bowl with a contact mic and then using a surround sound mic function on my Zoom recorder. So both tests have now been recorded and I’m aiming to transfer them into Cubase and listen/edit…