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Outline of Process
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A little about this student-artist who’s process is laid out before you in an effort to tickle some understanding and awareness concerning my semesters abstractions and experiments within this IST.

DISCLAIMER I have to say now that the most concrete aspect of my Process
is that it is a fluid that flows
and is subject to the same laws of energy exchange
as any physical being. It follows my Intuition.
They travel together, Intuition is the guide, and Process ;
her devoted, ever faithful follower
My Process and my Intuition they ride down the river together.
They are not sure which tributaries they will travel along.
However, Intuition knows the river well, that she is always flowing downwards,
And, that the abundance of her wise wise water,
Upon which they float , will increase exponentially. YES.
And that the current always lets go, piece by piece, of its once
turbulent, and nervous nature. ;And Intuition knows that the river,
She will realise the power behind her strong and calm temper, And confidently push deeper and more stable channel through the earth ,
Upon which Process and Intuition ride, side bye side
until they inevitably arrive at one possible door
to the vast ocean of possible comprehension .

I’m a funny mix of a worker.
Dual; both the abstractor and the scientist.

I’m a dreamer, who wants to
pick, weight, measure and dissect
the wild flower in one instance,
and in the next,

be the silent witness to this existence and trust her as
she tells me that,
I, as the beholder,
always bore the answers,
together with their

questions.

How do my feelings sound?

Am I, or anybody, capable of describing fluently with speechless sound?

Is it possible to describe the experience of the other known human senses; touch, taste, smell and sight; using sound alone?

And the other way around:
Is it crazy to even try and describe a sound
only using touch, taste, smell and sight?

How to begin investigating the infinite energy field that
our conscious is locked into for at least this life time?

I could follow the course description?

…‘Investigate through making’?
or

Meditating to inspect?

A u r a l i z a t i o n. ... a first step.

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Reference for this section: Pauline Oliveros, ‘Auralizing in the Sonosphere: Vocabulary for inner sound and sounding,’ The Journal of Visual Culture, Vol 11. No.2 (2011).

In one of the first classes a reference given resonated with me and helped me begin to develop a vocabulary for the practise I would need to explain to others along the way. Auralization has a few definitions.

1. Acoustic simulation of an interior (man made).

2. Sounds perceived subjectively through inner listening. (Imagination covers listening to all five senses inwardly. Auralization is specific to the imagination of a ‘new’ sound.

3. Mentally modelling sound, and projecting the composition simultaneously upon our inner space. Inner improvisation.

Yes, I loved it. I had no idea how to mentally model sound, if there where many expert sound mental modellers already that I hadn’t heard of, if this was just a fancy way describing singing in ones head when its not socially acceptable to sing out-loud.

It seemed like an interesting start though.
Step one; practise connection my feelings with my inner instruments in the private of my own being.

Another motivational nugget of wisdom from Pauline Oliveros interested me. In the text she explained how just as there Telescopes that allow us to see distant corners of the Universe we cannot process with our naked eye and that there are also technologies that allow us to hear above and beyond the decibel and frequency range naturally possible for the human auditory system to pick up.

This inspired me as this technology proves scientifically that there is a whole range of sonic frequencies we are unable, or possibly just not yet trained to listen for and to process.

We are journeying through this Sonosphere obvious to a huge range of sound wave vibrating our energy as they pass through us. Noise ghosts from a dimension outside the human consciousness. Dimensions. Energies from elsewhere.
Patterns in sound energy;
forms built by sonic vibrations.
(Chladni’s sound plate)
The pattern on the coat of
an inter-dimensional creature?

Now I was aware the vast sonic experience living all around me, I wondered if it was possible to tune into them.
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I wanted to work with electronic sound production as a medium to translate my inner space sound models with. I was interested by the theory that the smallest matter in the universe known to man is proven to be a form of sound energy and not something ‘solid’ how we interpret objects. We see all these tiny ‘sounds’ zoomed out as firm objects, without space in-between. In fact everything we know as solid, is actually formed of many hollow spaces contained by sound.

I was interested by the fact that when you speed up an audio file containing 24 hours of information, that you still receive all of this information however as a ‘solid object’ without space in between. The sound is actually not a solid whole and is made of many small pieces of audible information with hollow space in between.

Before quarantine I had the idea to speed up recordings of my life (that were originally 24 hour time frame) into samples of just a few seconds. I would then like to put these samples into an electronic musical soundscape. There would be hidden information within the solid that was not consciously perceived.

Justin Bennett was mentioned in class as a reference to help me with understanding the compression of sound. I could not find much information on him however and decided it was faster, and even with failure, exciting to make my own experiment. When you take moves into unfamiliar creative territory, I think it is nice sometimes to try (at least once) to design your own steps towards your goal. When plans fall through, it can be that the space you land in is even more secluded and fascinating than the one you were originally aiming for.

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I made an initial experiment before making my own 24 hour recording.

I tried first to speed up some clips of an hour or two and discovered that speeding up an audio clip past a certain level made the pitch so high that it was inaudible. This was interesting as they information was there but hidden.

However this was too hidden. For my idea I wanted to information to be observable yet indecipherable.

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I had been interested and upset by finding out that on the 1st December 2014 a legislation was passed to ban female ejaculation for being shown in the UK in porn.

I decided to incorporate this into my idea. Seeing as I could not contain 24hours of information as an audible sample of a few seconds. I took an interview about the subject I found on YouTube entitled ‘Porn discussion - Face-sitting, consensual physical abuse & female ejaculation (C4 News, 12.12.14)’ and sped it up that it lasted just 24 seconds:

Please see file ‘Iona_Porn Discussion - Sped up to 24 seconds’
Also you can find the original file with the link below:

https://www.youtube.com/watch?v=BTMQQWNo6Ek&t=184s

I then tried to convey the feelings I had on the subject using other electronic instruments and synthesisers on Logic Pro audio editing software. I chose wet sounds that I perceived to be uncomfortable and dark to show my feeling on the matter.

I took this to Channa and Elena and the class for feedback. It was discussed that without prior explanation about the inclusion of the interview this information was not received. This was of course my idea that the facts would be present but not consciously understandable. It was discussed that maybe a video or a title could help the viewer reach my desired understanding.

I decided that a video or visual description could have been interesting and yet putting too much time into this would distract from my original goal to work with sound alone. I decided to simply give this work a title to add to the knowing observers understanding.

I entitled the work: “Inaudible Pussy Juice”

I believe this work now was at a place I intended. The title gives context.

Just because female ejaculation is not show does not mean it is not in existence.
Just because the information of the interview is not audible in the work, does not mean the legislation is not there, and only the dark uncomfortable sound of inequality remains.

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I moved on.

From this experiment it was clear to me I wanted to work more generally on how I am able to expresses emotions and translate a feeling into sound.

I know everybody is in the same situation however we are all alone in the same situation currently. With Covid-9 I have been experiencing a big change in energy and flow of work. I lay in the garden and all the pleasant sounds are there. The birds are singing and the cars pass by. A child screams with joy in a nearby garden and a chicken distressed ‘Ka-Kors.’

I decided to translate these intermittent sounds into the feeling I had within, a feeling quite different from how I would normally when lying in the grass on a Sunday afternoon in the sun.

I made an electronic piece by reconstructing some of the usual garden sounds with electronic synthesisers. I distorted them, played with them, and moved them into a tone that fitted this different vibe I was experiencing within myself despite witnessing all the usual sounds of the city suburbs.

I entitled this work: “Covid-Garden Interpretations.”

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Laying in bed the next Sunday, sun flowing in my window, I was hearing the same sounds drift in from the outside. In my tiny room I now do everything. I work, I eat, I play, I sleep. Since the quarantine began our lives have been stripped down. Those ‘clothes’ we normally wear on our personality; where we go, what we do, where we work, where we eat, where we play; a lot of them have been stripped from us. And we repeat the same movements, in the same singular environment everyday. 

I decided to create a video to accompany the corona feelings of “Covid-Garden Interpretations” that showed this stripped down, repetitive and constricted routine a lot of us are now trapped within.

I filmed my self with a static angle, I stripped down and painted a dark shape mask over my face to add to the stripped down anonymous identity I feel I’m currently residing in.

When editing I tried to repeat certain movements. I added dreamy and unreal filters to add to the feeling of living within a visceral time of my life that will soon, I’m sure, seem like it was just a dream.

I referred to Man Visible and Invisible a book by C.W. Leadbeater, which describes the meaning of colour in all its shades.

I entitled this work: “Covid-Room Re-interpretation.”
Screenshot from “Covid-Room Re-interpretation.” ^

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. Rounding up the Process

Sound as a metaphor


?Metaphorical?

1 Gaining knowledge of a scenario either via the journey of a objectively unrelated ‘story’

or

2 by describing an object to one of the five senses which is not capable of detecting the form of the object.

My favourite thing about metaphors is that you can explain how you feel about a situation or person without directly implying that it is about that particular event or someone. For example I can tell the following story expressing how I feel about books, which is also describing exactly how I feel in another area of my life. This allows me to express my emotions authentically without relinquishing the privacy of my inner world.

“I do love to read but I haven’t in a while as I feel overwhelmed by how many books there are in the world. I feel I should commit to the book I choose and end up continuing to read it, even when I realise I was mistake and that it’s not for me. Sometimes it gets better, and reading through difficult and boring parts leads to a deep satisfaction in my ability to persist, and a knowledge that the fruits of hard work, trust given and gained understanding are finer than any cheap thrill.“

For my final work of the course I decided to again work with converting my internal feelings around the current world wide pandemic into a soundscape and visual matter. As some weeks had past since the quarantine began things have settled down quite some what in my inner space. I created a more simple piece of sound with a lot less going on. This described the feeling of peace that came with accepting the current situation as well as the huge drop in appointments in my external working schedule.

I decided again to create visual graphics using myself, animals and nature.

When editing I tried to make everything seem as alien as possible that you can’t really understand what you are watching. Also the graphics at times resemble those images you see of the Covid-19 virus. Hyper colours and heavily edited from the original telescopic image it always seems. Cracking, glitches, sudden changes, overlapping senarios, repetition; I tried to bring in every aspect of the quarantine period that has effected my inner landscape so far.

I entitled this final work “Aliens and Animals and Corona go external”

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Conclusion

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Converting ones internal feeling into and external production is a tiring process at times but towards the end I found it to be quite cathartic. The use of abstract, metaphorical sound and imagery, I was able to express my personal and vulnerable inner world in a private and safe way. Nobody knows quite what you are expressing about however they can empathise with the same feeling (which they may have about an entirely different scenario.)

The progress I chose was based all around upon; self knowledge increase slowly and steadily, practise working through difficulties, expanding the diversity of my research methods and creative skill set. I believe I developed all these aspects of myself somewhat throughout the course.

Sound is as concrete as our liquid, flowing, developing understanding of this universe. As the vast majority of information is out of range of our sensory perceptions it is only fitting to conclude that this course allowed me to take just a few more (well supervised and supported) important steps on my journey though my inner space; especially using my auditory system as a guide to translate that inner space into an visceral creation that others can witness.