(music concrete) 2008 /// solo exhibition: susanne vielmetter los angeles projects
The sculpture is a translation of an entire 12 page classical music score with a color and size relation for each note a-g. goethe called architecture “frozen music”, and the piece explores musical structure as architectural form. there are about 3500 pieces of wood.
dimensions variable (48 “strands” each approximately 5 – 7 feet tall),acrylic, wire, wood, polyurethane, approx. 3500 pieces of wood.
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“The strong focus of traditional engineering acoustics on reducing noise level ignores the many possibilities for characterising positive aspects of the soundscapes around us. Desirable aspects of the soundscape have been investigated in the past, mainly by artists and social scientists. This work has had little impact on quantitative engineering acoustics, however, perhaps because of barriers to communication across different disciplines..
..Buildings and trees can be used to scatter, deaden or reflect sound, to create peaceful, quieter spaces or vibrant, exciting-sounding areas.”
http://www.cityofsound.com/blog/2007/10/indiscreet-musi.html
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25 maggio_ apre il blog riguardante il mio progetto di tesi
l’intenzione è quella di condividere con chiunque sia interessato informazioni e sviluppi della mia ricerca, raccogliendo e analizzando tutto il materiale trovato.
ogni commento e suggestione è piacevolmente gradito!
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L’immagine in testa alla pagina è catturata da errantbodies.org in cui sono capitata da poco cercando Brandon Labelle (sound artist)
“Sound is inherently and unignorably relational: it emanates, propagates, communicates, vibrates, and agitates; it leaves a body and enters others; it binds and unhinges, harmonizes and traumatizes; it sends the body moving, the mind dreaming, and the air oscillating. It seemingly eludes definition, while having profound effect. Sound teaches us, by always being temporal, spatial, and relational, that space is more than its apparent materiality, that knowledge is festive, alive as a chorus of voices, and that to produce and receive sound is to be involved in connections that make privacy intensely public.”
Brandon Labelle
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