Updated: Mar 30
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
Updated: Feb 26
Drawing with wind and water, original track 4mins, slowed to 8 mins.
Listen to the audio here: https://static.wixstatic.com/mp3/d4db6f_f905c5537a374b8f8e851df306cf26d7.mp3
1 x drawing, ink of paper 420 x 594mm
Updated: Mar 12
I slowed down the recording of a blizzard in Greenland from 5mins to 25mins and drew with ink on paper, the marks are an attempt at capturing the sounds and at some points interpreting them. At times I was drawing with the snowstorm, it was performative.
Listen to the sound here: https://static.wixstatic.com/mp3/d4db6f_65a2546f4b31418a8abfd4e666bbe8a4.mp3
The listening practice went like this:
Listen to the recording at full speed
Listen to the recording at an extremely low speed x2
Decide on a material/method that would best represent that sound
Listen to the recording and respond interpret the sound
2 x drawings, both ink of paper 420 x 594mm, photos here are of the two works and close up on details