1. Modeling of the sculpture
Version One
This is the first version of my sculpture. It consists of two pieces.The free-standing sculpture has irregular shape. It provides many paths for the viewers. Water pipes, in this work, aim at presenting their aesthetic. The work makes change on the household setting into an artwork, which allows people to touch, feel and listen. The conventional points of view on water pipes, such as hidden in the setting, dirty and so on, are being inversed in this project.
Vision Two
In the first draft of the sculpture, I do have a strong feeling in insufficiency in the work. Frankly, I do not know what is the lack. Putting it in a dark room may be the solution.
The second version of the sculpture was built in the room. Without any lighting, it invites others to touch and guess its whole picture. For me, it is another way to present the object. It does not only rely on the sense of seeing. The new version keeps its irregular shape. Due to the location it is in, it is not free standing and has no water pipes on the floor.
*****The latest version will be shown
*Theoretical Research
" Sound Flow is a sound installation which creates a special hearing situation. A sculpture, made by water pipes, is constructed in a dark area. Eight sound recordings, related to the water pipes, are played in loop inside the sculpture. Without any lighting, viewers can only touch, find the distributed holes on the sculpture and listen to them. A sudden water sound will flow in a particular direction, which provides a spatial hint for the viewers.
The work challenges the viewers’ perceptual experience by appropriation, separation and combination on objects and sounds. The notions of reading things and listening sounds are being discussed. It provides more points of view and makes viewers look at things in different ways."
--- from Research theoretical text of Sound Flow
I have finished a research theoretical text. It focused on a discussion on the features of my work. Why do I need to put the sound in this situation? Why do I use the object in this way? What are the objectives of my work? What is the things the audience can get after entering into the room?
References:
Neil Cummings (1993), Reading things, Reading things: The alibi of use, Chance Books, London
Murray Schafer (2004), Open Ears, The Auditory Culture Reader, Oxford, New York
Vic Seidler (2004), The Auditory Culture Reader, Diasporic Sounds: Dis/Located Sounds, New York
R. Murray Schafer (1994), The Soundscape: Our Sonic Environment and the Tuning of the World, Chapter 1-2, Destiny Books, New York
Andrews Bick (2008), Silent Listening, web materials
http://silentlistening .wordpress.com/2008/
* Technical research
Research on amplifiers
Thanks Tiffany. She gives a useful graph to me. I can make the amplifiers on my own now:)
Research on the materials
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