- jojomatthewsart
Interesting article on Tate website about drawing sound, drawing as making noise and vibrations
I can use these ideas and concepts to framework, particularly automatic drawing in relation to sound.
- jojomatthewsart
Updated: May 12, 2021
Project design idea
It's a dialogue
Where are we going?
A dialogue with the Starfish and me through sounds
Travelling through the sand and out into the cosmos
A conversation with a dying Starfish
A multi-channel sound installation. Place the listener inside the sound spatially – speakers like that used in Susan Hiller's work 'Witness', hanging from the ceiling. Translucent speakers, delicate.
Is this a video work? Is it just sound?
I will use the voice and edited field recordings for this work. Why the voice? There is an intimacy with the voice that can be achieved better than other instruments, it comes from the person, it's sensual, it's unique to the person it comes from. Whispering, chilling.
Residency at The Burnished, Bamff Eco-tourism in Mid March with George Finlay Ramsay
I've recorded sounds whilst away on residency that will make up the sound performance. I've started editing these sounds.
Some sounds in development:
Writing is a part of the process of this work, it also is feeding into my audio essay about ecological intimacy and meandering. Updated writing from Fieldnotes
References for the sound performance
'Technological Phantasmagorias I, II, III' at Tramway Glasgow in 2009 (can't find the image)
Samuel Beckett 'No I' 1973 staging
Bjork's keening track 'Ancestors'
Susan Hiller's sound installation 'Witness'
Which I saw/experienced at the Tate in 2011
Paulina Anna Strom's track 'Marking Time'
- jojomatthewsart
Updated: Mar 30, 2021
I invited some musicians/composers to interpret to the Singing to the Seaweed score. Passing the score on to someone else, its a reinterpretation of a place and an experience. Feelings and sensations re-imagines. What does that open up? Do I invite more people to interpret the score? How does this fit into my wider work? Where does it fit conceptually? I am not sure where to go with this thread next.
Singing to the seaweed by Nicholas Escobar
He used shells, synthesizers, distorted soundscapes amongst other sounds to make the piece.
Cuppa by Joe Coghill
My original sound peice