Nigel Slight – in the bakery

response from Nigel Slight | image by Eva Fahle-Clouts

nigelThe Gravitational Noise Potential of a Vanquished Bakery.
It is my perception (only) that sound art is often predetermined by the lateral and predominant horizontality of most sound recording equipment ( a longitudinal pressure wave of audible or inaudible sound caused by the movement of energy travelling through any medium)This is understandably the result of the positioning of the human audio receptors. The little dog reminded me to check out the relative hearing capacity of humans to dogs – we range from 20 to 20,000 Hz – dogs from 40 to 60,000 Hz. So the dog probably heard the rats farting in the building next door!

It was good to see that the ‘Bakery’ experiment addressed this horizontal ‘norm’, with the fuzzy mike adjacent to a high level vent outlet of a neighboring property, and the use of time lapse de-synchronising.  I think the floor space, ceiling and other ‘unusual’ spaces specific to the interior and exterior of the building could offer sound/noise opportunities. Extractor fans could be deployed as sound transmitters and ‘movers’ as well. Some kind of sound ‘plotting’ mechanism as well- perhaps.

Sound and its affiliates – space, light and gravity.

Feedback and pick up from random sources within a given space.
Infiltration pick up from random, unknown sources from outside the given space. Digitalized sound as a navigational aid. Analogue sound as a navigational aid. Interactive sound potentials and oscillations between combinations of the above conditions, both random and structured sound installations.

Space and its affiliates – sound, light and gravity

Given dimensional, volumetric architectural space, articulated by sound and light modulations. Materiality, space and gravity articulated by controlled and natural light conditions. Sound as ‘object’. Light as ‘object’. Space as ‘object’.
Memory and identity in negotiated sound spaces (Phonography and untreated field recording). Sound intervention modulated by prevailing material and physical constituents.

Light and its affiliates –  space, sound and gravity

Audio perceptions as a result of digitalisation and electronic space transmission. Feedback and continuous repetition of recorded sound, modulated by relative prevailing conditions at given intervals…..tbc…

the-ear

“An image is a stop between uncertainties”. Djuna Barnes – ‘Nightwood’ 1936.

Counting the text

Haven’t yet had time to digest your detailed post event review, so what follows is the result of ‘scanning’.

I have been thinking about art in an age of digital manipulation (with apologies to Walter Benjamin) and the images you present gave me even more pause for thought regarding what now constitutes an image.

I’m suggesting this must be dependent on context and constituency. The images of the bakery on screen are not the bakery (stating the obvious sometimes helps me articulate further) any more than any third dimensional event would be, as such images are residues, suffused with ambiguities which often confer a separate and very different charisma to different observers. In the case of bakery images this is certainly the case. They capture the tactility and dynamic of the venue, it’s lachrymose ambience and are evocative of the event as I experienced it. I think it would be very interesting to include surveillance cameras, perhaps even connected to light, movement sensors which would activate each other.

As ever problems arise when we (artists) resort words to express the phenomenological truths of real space, time and memory. I think the problem deepens when the impulse is directed towards the analytical and away from the intuitive, the natural sensuous and subjective. These impulses might then dictate the purpose and nature of technical requirements.

‘What’s in the box’

NS [10/04/13]

vg, i can understand this one better, & agree with what Nigel is saying . . .

& goes to the heart of what I’m still struggling with – how to represent this space. Do we just use it for inspiration to re-create an imaginary, fictitious environment, where we cut up, amplify hidden sounds, or even go further & electronically manipulate & make ‘music’, repetitive beats. Or do we stick with a straighter documentary illusion of a truth (as per my bus tours).

We are somewhere in the middle of all this. & for me analysing it, discussing it, will hopefully hopefully help me come to some decisions. But doing it is key, a direct intuitive response to space.

JS [10/04/13]

I remember ( not very well) something that Alfred North Whitehead proposed, about taking a room over 24hours, then reducing all information gathered to a synthesised or much reduced version, to see what would be left. What objects, sounds, smells etc. would remain as an essence of the whole. Your project brought this to mind, so I will try to find the reference. The only book I have left (somewhere) is Adventures of Ideas, but I don’t think it was in that.

NS[10/04/13]

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