For this project, the first stage is to choose an idea or concept, and I have chosen to work with unheard sounds. This will involve creating soundscapes using audio recorded with contact microphones (and possibly hydrophones) based on a series of photos. The idea is to provide the listeners with an alternate listening experience to those they would usually expect to hear. If you do not expect to hear something, you usually pay more attention to it, as it has not had time to be filtered into background ‘hum’. I also hope to have this work exhibited in a space somewhere in Lincoln later in the semester.
As this is a process including many aspects I have not yet dealt with in my university career, my learning outcomes will be based around these, and discovering how these processes work. Another post will written in a few days confirming my choices, but they will be based on the following:
– Learning how to contact and liaise with a gallery and/or curator with respect to
– Responding to a brief in order to create a piece of work based on a particular space
– Using contact microphones to create a piece of audio work
– Researching equipment and producing a piece to be displayed
As this is the first post, and very early on in the project, I have not yet begun my research. However, there are many topics which I aim to look into in the coming weeks.
Such things include speaking with sound artists (Jez Riley French, Amie Slavin), talking to Uzma Johal (Producer of Threshold Studios) about artists who took part in Frequency 2013, researching microphones, visiting the Sonophilia Festival and speaking with Alex O’Brien, an Audio Production graduate, about her project piece which she exhibited in a gallery, and the process of getting her work to that point.