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Bouncing off the Walls: Exploring architectural acoustics and the sculptural potential of sound and redundant technology

弹离墙壁：探索建筑声学以及声音和冗余技术的雕塑潜力

基本信息

批准号：
AH/H001328/1
负责人：
John Wynne
金额：
$ 2.82万
依托单位：
University of the Arts London
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2009
资助国家：
英国
起止时间：
2009 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FH001328%2F1
关键词：
Bouncing off Walls Exploring architectural

项目摘要

This project involves a research residency at Beaconsfield, a central London gallery dedicated to providing 'a critical space for creative enquiry' and with a reputation for innovative work through programmes involving artists as diverse as Gustav Metzger, Bob and Roberta Smith and Leafcutter John. I have been invited to develop a new site-specific, sculptural sound installation, working within the space for 6 weeks, during which time the gallery will be open to the public 2 days per week. Rather than installing a preconceived work, I will respond to the acoustic characteristics of the space, specifically its resonant frequencies, the way it acts as an acoustic filter for sounds arriving from beyond its walls and the way it in turn shapes and reflects sounds produced within it. Rather than bring pre-recorded sounds into the space, I will create synthetic sounds from scratch in response to the soundscape of the space and use a pianola as the only other source of sound. I will use a (still growing) collection of approximately 300 discarded but working domestic hi-fi speakers which, like the pianola, are redundant cultural icons that speak directly of the ongoing evolution of the way we listen. I will also use a flexible high-level sound diffusion system called the AudioBox, allowing me to create an immersive soundscape in which sound will move through the space on precise, independent trajectories. The speakers themselves, no longer restricted to the function for which they were manufactured, will become sculptural building blocks. The speaker sculptures will reach into corners and up to the 7-metre high ceiling, and the sound will return to the listeners' ears filtered by the extraordinary acoustics of this former Ragged School for deprived children. Its rich history and remarkable architecture, combined with the experience of the curators with sound art make Beaconsfield the ideal location for this research.The only visual elements in the installation will be the devices and equipment required to produce sound (amplifiers, speakers, pianola, a kilometre of speaker cable). The physical forms of the sculpture will affect sound, and sound will, in turn influence the form. The orientation of the speakers will affect the listeners' experience of the sound, while the physical structures into which the speakers are constructed will be influenced by the particular effect they have on sound and its spatialisation. As the work-in-progress develops, connections between sculptural processes and sounding results will be revealed and exploited.The pianola will be used not in a musical way but visually as a sculptural element, and sonically as a kind of tone generator to probe the resonant acoustics of the gallery space. I will work with a piano tuner to tune the instrument to the resonant frequencies of the space. Whatever music roll that comes with the pianola (there are always many on eBay) will be modified so that it plays only the notes that excite the resonant frequencies of the highly reverberant gallery space. The finished piece will hover on the border of sound and music, playing on the aura of the absent/redundant performer and on the 'personalities' of the gatherings of discarded speakers, as projected through their design, their marks of use and misuse, the modifications carried out by their owners, and even the odours some of them still carry from their former locations in smoky pubs, damp garages, dusty lofts, etc.In contrast to the redundancy of the speakers and the pianola, the arrangement of sound in this piece will be made possible through the use of the AudioBox, an immensely powerful, sound diffusion technology which will allow me to move sound across up to 64 channels and through arrangements of hundreds of speakers. I will be reconfiguring the system, which is normally used for complex surround sound in major theatre productions, to develop its potential for experiemental sound art.

该项目在Beaconsfield进行研究驻留，该画廊位于伦敦市中心，致力于提供“创造性探索的关键空间”，并通过涉及古斯塔夫·梅茨格（Gustav Metzger）、鲍勃和罗伯塔·史密斯（Bob and Roberta Smith）以及Leafcutter John等艺术家的项目，以创新作品而闻名。我被邀请开发一个新的特定场地的雕塑声音装置，在空间内工作6周，在此期间画廊将每周向公众开放两天。而不是安装一个先入为主的作品，我将回应空间的声学特征，特别是它的共振频率，它作为声音过滤器的方式，从墙外传来的声音，以及它反过来塑造和反射内部产生的声音的方式。比起将预先录制好的声音带入空间，我将根据空间的音景从头开始创造合成声音，并使用自动钢琴作为唯一的其他声音来源。我将使用大约300个废弃但仍在使用的国产高保真扬声器（数量仍在增加），这些扬声器就像自动钢琴一样，是多余的文化标志，直接说明了我们倾听方式的不断演变。我还将使用一个灵活的高级声音扩散系统，叫做AudioBox，它允许我创造一个沉浸式的音景，在这个音景中，声音将以精确的、独立的轨迹在空间中移动。扬声器本身，不再局限于它们被制造出来的功能，将成为雕塑般的积木。扬声器雕塑将延伸到角落，直到7米高的天花板，声音将通过这个曾经为贫困儿童服务的褴褛学校的非凡声学过滤回到听众的耳朵里。它丰富的历史和非凡的建筑，加上策展人的声音艺术经验，使比肯斯菲尔德成为这项研究的理想地点。装置中唯一的视觉元素将是产生声音所需的装置和设备（放大器、扬声器、自动钢琴、一公里长的扬声器电缆）。雕塑的物理形式会影响声音，而声音又会反过来影响形式。扬声器的方向会影响听者对声音的体验，而扬声器的物理结构将受到它们对声音及其空间化的特殊影响的影响。随着正在进行的工作的发展，雕塑过程和声音结果之间的联系将被揭示和利用。自动钢琴将不以音乐的方式使用，而是在视觉上作为雕塑元素，在声音上作为一种音调发生器来探测画廊空间的共振声学。我将与钢琴调音师合作，把乐器调到空间的共振频率上。自动钢琴（eBay上总是有很多）的音乐卷将被修改，以便它只播放那些激发高回响画廊空间共振频率的音符。成品将徘徊在边境的声音和音乐,在光环的缺席/冗余的表演者和丢弃的“个性”的集会扬声器,预计通过他们的设计,标志的使用和滥用,修改由主人,他们中的一些人甚至气味仍然携带从以前的位置在烟雾缭绕的酒吧,潮湿的车库,尘土飞扬的阁楼,等与冗余的扬声器和自动钢琴,这个作品中的声音安排将通过使用AudioBox来实现，AudioBox是一种非常强大的声音扩散技术，它将允许我通过多达64个声道和数百个扬声器的安排来移动声音。我将重新配置这个系统，它通常用于大型剧院制作的复杂环绕声，以开发其实验声音艺术的潜力。