When discussing my project with my tutor I have been asked whether I want the project to deal with Sound or Music? I immediately answered Music- without even taking a minute to think about it.
Exploring music and sound as concepts made me wonder what makes the sound become music, or perhaps I should be asking when is that happening. There are certain combinations of different sounds we automatically identify as music, but what about those sounds which are not that simple to read as music. Can we train our mind to 'read' music within the different noises around us?
In the next song from the film "Dancer in the dark" Bjork is using the industrial noises to create an exiting musical experience.
This is not the first time Bjork is using 'everyday sounds' for her music, in her song 'in the musicals' she is using sounds from a basketball court to create music. I'm wondering whether she was looking for those sounds while writing songs, or was she inspired to write the song when she herd the random sounds.
I have mentioned the Harmonograph in a different post a few weeks ago, when I have just discovered what its all about. Since then, I have managed to make an actual two-pendulums harmonograph. It took a while but it was defiantly worth it.
I've never been a big fan of classical music. I found it a bit boring and lack of meaning . It is only the last few months that I started listening to classical music and I already became adicted to it.
Listening to Wilhelm Kempff playing Beethoven's Piano Sonata No. 17 in D minor, Opus 31 No.2 made me so moved by it that I felt obligated to share it with the world.
Find the time to listen to the music- no background noises, no disruptions- just you and Beethoven.
It is hard to say precisely what a musical gesture is. Some may say that it is the actual action of playing, like pressing the piano keys or blowing the trombone. Others may say that musical gestures are the additional movements, which are not necessary for the production of the sound- but take a fundamental part of the musical piece.
An interesting definition of musical gestures given by Francois Delalande's is described in the book 'MUSICAL GESTURES-sound movement and meaning': "Francois Delalande (1988) defines musical gestures as the intersection of observable actions and mental images. He further argues that musical gestures may be studied at various levels, ranging from the purely functional to the purely symbolic, using the terms effectiveaccompanying and figurative gestures. The term effective gestures denotes what we would call a sound- producing gestures, while the term accompanying gestures is used for the movement that supports the effective gesture in various ways. Delalande suggest the term figurative gesture to refer to a mental image that is not directly related to any physical movement, but which could be conveyed through sound."
Watching three hours of different pianists play Beethoven I must suggest that whichever of the musical gestures described by Delalande, they all play a major role in the musical piece. Whether it is the way the musician presses the keys on the piano, the way he moves on the chair, his facial expression or the actual musical composition- they all take part in differing a good musical piece from an extraordinary one.
An interesting question that arises is: Are these musical gestures being taught? and if so, is there any guidance to the musician while he plays (like a musical score for gestures..)?
I chose to finish off with an incredible comedy bit by Rowan Atkinson.
In the chapter 'Music on the brain: Imagery and imagination' from his book 'Musicophilia', Oliver Sacks describes a situation when the music is played in our mind in the same way an image will appear in our head- without actually seeing it: "With music I know well, such as Chopins' mazurkas, which I learned by heart sixty years ago and continued to love ever since, I only to glance at a score or think of a particular mazurka (an opus number will set me off) and the mazurka will start to play in my mind. I not only 'hear' the music but i also 'see' my hands on the keyboard before me, and 'feel' them playing the piece- a virtual performance which, once started, seemed to unfold or proceed by itself."
This phenomenon of playing music in our mind is very common- and we can all remember ourselves playing a musical piece in our head. Sacks claims that "Professional musicians, in general possess what most of us would regard as remarkable powers of musical imagery." This claim makes me wonder weather being a 'better' musician makes your imagery clearer and more intense and weather practicing in some way the imagery might improve ones musical skills.
Not too long ago I came across a project by Finn Peters, who is practically exploring the connection between music and the mind. Inspired by the brain-mapping experiments of Dr Mick Grierson at Goldsmith's University, composer Finn Peters has translated brainwaves into notes and tones. The result is an album called 'Music Of The Mind' - a literal transcription of Peters' brainwaves, as well as improvisational compositions.
Last week I went to see "Shadow catchers": Camera-less Photography presents the work of five international contemporary artists, at the V&A. The exhibition is exiting and inspiring, but what intrigued me the most was a series of pieces made by Susan Derges, called 'Chladni'.
This is one image from a series of 8 photograms which were made by recording the vibration patterns created when eight sheets of photographic paper were vibrated by eight different sound frequencies of different pitch. Carborundum powder on the surface of the paper formed into configurations printed onto the paper by exposure to light. The light areas are where the powder has settled. The regular and creative pattern which is formed seems almost unbelievable, because of the lack of human intervention and the unpredictability of the pattern formed.
For this series Derges used process called photogram- 'A photogram is a kind of photograph, although made without a camera or a lens by placing an object or objects on top of a piece of paper or film coated with light sensitive material and then exposing the paper or film to light. Where the object covers the paper, the paper remains unexposed and light in tone; where it does not cover, the paper darkens. If the object is translucent, midtones appear. After exposure, the paper is developed and fixed.' Gordon Baldwin, 'Looking at Photographs', J. Paul Getty Museum, 1991.
Derges work was useful in two aspects-
1. Throughout my research and process I've been looking for way to translate the 'music language' into a 'visual language'. My challenge was to find a way to do it objectively and not subjectively. The process Derges use visualises a physical reaction to the music and its not effected by human touch, motion or felling.
2. Photogram is an amazing process of producing photograph- without a camera- a process I wasn't aware of. weather I will actually try to produce the same images or not- I found a new tool to communicate my ideas and developments.
On the 26th of October I was at the design museum's "LONGLUNCH WITH UNITED VISUAL ARTISTS". The Design Museum hosted a talk by Matt Clark of United Visual Artists.
As a part of the talk we were introduced to 'Chorus', an array of motor-assisted pendulums, which are suspended from the roof of the Boiler House. Mounted on each of the pendulums are a light and a speaker. Together these pendulums form a single instrument that explores the relationship between performance, sculpture and installation.
The way I see it, 'Chorus' is not aiming to connect light and sound in a logical way, nor to give it a deeper meaning. It is a great example of a well-made combination between visuals and sounds, which gives an intense impact on the viewer- even without being there. This is definitely something I would want to accomplish!
Throughout the exploration of my project, I constantly try to identify the user and purpose of my design thesis. The (currently) abstract activity of visualising music is not linked directly to a certain need or a problem that needs to be solved. Looking at Jean Tinguely work makes me wonder whether the 'useless object' still have reason to be.
This is an amazing video- showing the amazing connection between people and music- as if we've got the music within us and we only need to express it. The more I look into the music- the more i realise how big it is.
Exploring the notion of visual music suddenly remembered the amazing classic Disney's movie- Fantasia. The movie is beautifully presenting the interpretations of music- in a visual way.
At some point the host is inviting the soundtrack to come and show himself. The soundtrack is presented visually and then the host says: "watching him, I discovered that every beautiful sound also creates an equally beautiful picture."
I have officially begun my journey in search for the link between music and visuals. I'm not quite sure what it means yet- I just know that the connection exists. Many people have referred me to digital artist that interpret sounds into digital shapes and colours. I find the digital medium somehow detached mechanical and I aspire to explore the physical mediums of communication. Just like how Gondry made a connection between Bjork's playing and the colours (previous post)- I'm looking into the physical connection between what we hear and what we see.
Which brings me to introduce the amazing tool called the Harmonograph. The Harmonograph is a mechanical setup that employs pendulums to create a geometric image. In his book 'Harmonograph: a visual guide to the mathematics of music', Anthony Ashton is writing: "from the first moment I saw drawing of this kind I was hooked. Not only because of their strange beauty but because they seemed to have meaning...". I identify very much with what Ashton wrote- and I've decided to look more into this amazing machine.
Looking into the Harmonograph and its abilities- opened a new world of signs, symbols and meanings related to music. Hopefully, It'll be a useful tool in my journey..
I've first discovered him in Bjork video, 'bachelorette', which he directed, and i have been following him since. The thing I love about Gondry's work (except it being painfully beautiful) is that he is creating a completely new realities, surreal and magical.
My favourite 'Gondry Work' is (with no doubt) the film 'Eternal sunshine of the spotless mind' which he directed. I think that this film is an amazing piece of art, which challenge the viewer to confront the film, and himself.
This short video is a quick glimpse at Gondry's way of working and thinking. He makes me want to get up and start making things! He makes me want to be French!
This guy is amazing. Not only that he is one of the best presenters I've ever seen, he is also looking into an interesting issue in a lovely way. I'm very much inspired by how he presents the way our brain work. At first it's a bit tempting to dismiss what he is saying, but then- when you really think about it, it kinda makes sense.
A little jump back to my 'love/hate' list, one of the things on the hate list is dilemmas. The situation of choosing is always making me uncomfortable. The possibility of being wrong or making the wrong choice can drive me mad. The quicker my decision is being made- the happier I am. It takes me 3 minutes (tops) to choose a dish from the menu because I can't cope with the variety and choices.
It is interesting to think about Gilbert's ideas in terms of life choices and reactions, but also in terms of design process. Makes me wonder about the decision making and how it is sometimes good to limit ourself towards a certain design. It happen to me not ones that i have been overwhelmed and paralysed by the amount of ideas, materials and process I could use.
This video is an inspiration not only towards how to design but perhaps towards what to design.
It happens to me ones in a while. I suddenly think of a song I haven't heard for years, something from way back, something my parents used to listen to, and I play it.
Then I realise how much I've missed it and I play it over and over again for weeks. This is the song I have been playing for the fast week and a half. "lakachta et yadi be yadcha" (You took my hand in yours) is an amazing song written by Jacob Rotblit, composed by Matti Caspi and preformed by Yehudit Ravitz.
I don't know if its the words or the composition or the fact that it reminds me my childhood, but this song just moves me. There is something about how things used to be done back than, purely, honestly and beautifully.
I'll finish with the chorus main saying: "Things you see from there, you can't see from here".
I'm Scared of ageing. I'm really really scared of ageing.
There was a time when I tried to convince myself that ageing is a good thing. I thought I should embrace the maturity, and the fact that I'm becoming wiser, but it didn't last long.
I think that the scariest thing is the fear of loosing the abilities to things. Remembering, reading without glasses, eating greasy food, drinking and dancing all night etc.
Don't get me wrong, I don't think I'm old, I'm just constantly aware of the things that slowly get harder and harder to do.
But then I wonder... Would I want to stay young forever?
I think that the best word to describe my view towards fashion is ambivalence. On the one hand, I love it. I love dressing up, I love expressing my mood with what I wear, I love the endless options and varieties, I love matching things together, I love guessing people's personalities according to what they wear, and I love the feeling of excitement when I buy something new.
On the other hand, I despise the fashion industry. A slim model walking on impossible heals, snobby and alienated society, and abusive behavior towards enthusiastic new blood are some of the things I resent. I keep on wondering whether the attitude carried by the people of the industry- is what makes it what it is- glamours, harsh and unattainable.
This 'split personality' of mine, which admires beautiful and fashionable artifacts, but is also repulsed by the worship of it, is torn, trying to find a way to live with the contradiction.
Speaking of fashion....
I was on my way out from the library when i accidentally noticed 'Cleavage', a book by Wayne Koestenbaum, which I have decided to borrow without even reading its description. In his book (which I haven't finished reading yet) Koestenbaum is giving great attention to people appearances, and what it communicates. The book is a collection of fun essays, which gives an interesting view on material culture.
In his essay 'Thrifting", Koestenbaum is writing a few stories about pieces of clothing, and in the end he is giving a list of morals he got from the stories:
"wear what you want;don't let designers bully you; visit flea markets to create trends of your own; don't be afraid of the return of the repressed; wash your vintage items so they don't stink; think of the concept that you are dressing towards (French sailor during Fleet Week); don't be afraid to abandon a favorite color; dress either to be noticed or overlooked, but not both; ignore what friends tell you; if your not bald, keep your hair clean; stand up straight, or, if you can pull it off, slouch; when someone, even if that someone is your mother, gets remarried, wear a thrift-store item to the wedding; observe no proprieties; cross-dress at whim; create private mythologies around each garment you wear; tell these myths to your friends and lovers; dress down or dress up but not both at once; donate; do not condemn the garments of passerby, lest you be harshly judged; admire relentlessly, lest your spirit's springs dry up; choose a fetish (high heels) and stick to it; don't weep when a garment's life is over; say proper good-bye to every garment so that when it's dead you won't regret what was left unsaid; remember that garment have as much soul as you do; respect the genus locii of shoes; worship at the shrine of no one else's wardrobe, only your own; say a fashion pray everyday before falling asleep, lest you wake up without a style; everyday reevaluate the distance between the grotesque and the beautiful; do not fear the grotesque, lest it kidnap you; love the garment for its insufficiencies as well as its strengths; do unto your garments as you would have them do unto you." (Wayne Koestenbaum/ Cleavage- essays on sex, stars and aesthetics/ 2000)
I agree with most of the morals in the list- but not all of them. I guess what i like about it so much- is that it makes me wonder about the important of artifacts in our modern life style.
One of the first things on my 'Hate list' is 'people who walk slowly'. I have never got into why 'm irritated so much by these people- except the fact that they are keeping me from rushing to the train/ bus/ plain/ class etc.
I've decided to look a bit more into the reason of my continuing rage. Firstly, I wanted to understand whether it is me that walks too quickly, or is it actually the 'other people' who are not aware (or care) for their slow pace? In the beginning I presumed that the reason for my anger was driven from my jealousy to people who have lots of time on their hands. I was soon proven wrong as i've been disturbed by the slow walkers even when not being in a rush...
Spending some more time thinking about it, it occurred to me that the walking is actually a resembles of a city pace. I think that as a person who lives in a city, I have subconsciously adapted a certain rhythm which the city moves by; quick, efficient and alienated. The slow walk, on the other hand, is a complete contrast of that; comfortable, calm and with an opportunity for social interaction to become.
I think that the clash between my adapted rhythm and the 'Slow' rhythm is the reason for the enormous irritation. A few questions come to mind now:
Is there a different pace/ rhythm/ beat for each city? and if so, Is it measurable?
Is by living in one place for long time we are adapting its speed? or are we working according to our own speedometer? And.... I'm I the only one not liking these people....?
The first thing that went through my mind when i was asked to share my ideas, thought and experiences was my Love-Hate list. I have been working on the list for the past few months knowing that one day i would need it- but didn't know what for.
All of the 'things' on the list (whether they are a person, an object or a behaviour) has been instinctively chosen, and i did not put much thought and care into why I love or hate these things. Throughout this blog i will look a bit dipper into the things that arouse my attention and inspires me while trying their nature and their effect on others and me.
