http://www.sarahmfarmer.co.uk www.sarahmfarmer.co.uk Sat, 10 Mar 2012 12:10:18 +0000 http://www.sarahmfarmer.co.uk en http://www.sarahmfarmer.co.uk/Forthcoming http://www.sarahmfarmer.co.uk/following/sarahmfarmer.co.uk/Forthcoming Sat, 10 Mar 2012 12:10:18 +0000 www.sarahmfarmer.co.uk 2975676 Curious Sounds in Curious Spaces <img src="http://payload33.cargocollective.com/1/2/64076/2975676/curious 1.jpg" width="529" height="380" width_o="529" height_o="380" src_o="http://payload33.cargocollective.com/1/2/64076/2975676/curious 1_o.jpg" data-mid="15152073" border="0" align="left"/> Image: Felix's Machines Felix Thorn Symphony Hall throws open its doors for a special event in partnership with Fierce Festival as part of the world famous venue’s 21 Anniversary celebrations. Experience the unusual side of sound and music. On Saturday 7 April, and as part of the wider Fierce Festival (29 March – 8 April), Symphony Hall will become a laboratory of ear-opening sound experiments, a chance to discover the mechanisms behind sound and explore areas of Symphony Hall not usually open to the public. Curious Sounds in Curious Spaces will feature music based performances, installations, educational interactive activities and workshops for all the family. Highlights include: • Mobile Sinfonia – One of three UK launch performances of Jem Finer’s (ex-The Pogues) new work. Developed in collaboration with a team of computer scientists at ICIA in Bath, the piece consists of a series of ringtones downloaded from the Mobile Sinfonia website and ‘performed’ by the general public in a space where use of mobile technology is usually frowned upon. • Graeme Miller – Picture and Piano is new work specially created for the stage of Symphony Hall. In a concert-installation, a player piano slides into the distance accompanied by its own movie. The piece modulates the receding music against an approaching landscape as the instrument makes its bid for freedom. • Local Musicians – The day will feature elements produced by local Birmingham-based artists and organisations: • Tissue box guitars with elastic band strings will be the DIY instruments of the past as Juneau Projects take music-making workshops into the 21st Century. Use cardboard to build your own instrument then add some simple electronics to trigger sound samples, take to the stage and play! Examples of the ingenious instruments dreamed up can be seen here. • 8 Bit Lounge will transport their monthly club night at the Hare and Hounds to Symphony Hall with Gameboy music, chip-core tunes and an array of retro arcade games to play. • Building on the success of their recent residency at VIVID and their monthly nights at the Hare and Hounds, Soundkitchen will curate the Sonic Tree, a large installation covered in speakers featuring a series of local artists and musicians. • The Feral Choir – For almost a decade Phil Minton has brought together professional singers and members of the public alike to participate in his Feral Choir. For the celebrations, groups from the Symphony Hall Learning, Outreach and Participation teams will perform. A series of workshops over a number of weeks will encourage the participants to consider the potential of their bodies to create sounds and noises beyond the traditional act of singing. • Felix’s Machines – Automata like you have never seen before. Felix Thorn makes moving musical installations from all sorts of found materials from parts of musical instruments to soap dishes. • Explore Symphony Hall – Areas of Symphony Hall not usually seen by the public will opened up to investigate including backstage and the scene dock. • Play the stairwells of Symphony Hall as Sarah Farmer transforms them into a musical instrument. • Explore the building’s resonant qualities with Bill Leslie and Stephen Cornford’s piece Tuning Up which uses sections of harmonicas and helium balloons. As the balloons are released, the helium makes them ascend to the ceiling, where they gradually deflate exhaling helium through the harmonica and thus emitting a sound. http://www.sarahmfarmer.co.uk/Entertainment-perhaps-Art-NO http://www.sarahmfarmer.co.uk/following/sarahmfarmer.co.uk/Entertainment-perhaps-Art-NO Fri, 09 Mar 2012 13:31:15 +0000 www.sarahmfarmer.co.uk 2970624 <img src="http://payload33.cargocollective.com/1/2/64076/2970624/Entertainment perhaps- art NO.jpg" width="670" height="471" width_o="2048" height_o="1441" src_o="http://payload33.cargocollective.com/1/2/64076/2970624/Entertainment perhaps- art NO_o.jpg" data-mid="15125493" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/2/64076/2970624/CRASH2.jpg" width="670" height="893" width_o="1536" height_o="2048" src_o="http://payload33.cargocollective.com/1/2/64076/2970624/CRASH2_o.jpg" data-mid="15151666" border="0" align="left"/><img src="http://payload33.cargocollective.com/1/2/64076/2970624/CRASH1.jpg" width="670" height="893" width_o="1536" height_o="2048" src_o="http://payload33.cargocollective.com/1/2/64076/2970624/CRASH1_o.jpg" data-mid="15151671" border="0" align="left"/> An incomplete history of banned music; Map, Mix CDs, Car stereo and bass box Mix CDs of banned music played from an enhanced car stereo in VIVID as part of CRASH; Contingent of the first response. Maps and CDs were available for visitors to take away. Inspired by The Sound-Sweep, a short story by J.G. Ballard in which the title character, a mute boy vacuuming up stray music in a world without it, comes upon an opera singer hiding in a sewer. As all music has been outlawed and destroyed, the opera singer is obsolete but she is desperate to perform again. The motivation for banning audible music (all music is now performed at ultrasonic frequencies) is left ambiguous, although it might be inferred that it stems from a desire to utilise the physiological and psychological effects of music, without its ‘pollution’ of space with noisy sound residues. Whether the shift is a political act of control, a practical solution to noise pollution, a means to ‘dope’ the public, censorship of music, or a natural progression in music listening and technology, it begs the question: why do we feel the need to make music? And in Ballard’s imagined world in which efforts are made to ban it, what is it that they are so scared of? http://www.sarahmfarmer.co.uk/Involution http://www.sarahmfarmer.co.uk/following/sarahmfarmer.co.uk/Involution Fri, 05 Nov 2010 18:27:13 +0000 www.sarahmfarmer.co.uk 758840 SIDESHOW2010 commissioned work, in collaboration with Joanne Masding <img src="http://payload.cargocollective.com/1/2/64076/758840/DSC02739.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/64076/758840/DSC02739_o.JPG" data-mid="3590525" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758840/M-F2.jpg" width="670" height="502" width_o="1181" height_o="886" src_o="http://payload.cargocollective.com/1/2/64076/758840/M-F2_o.jpg" data-mid="4043526" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758840/DSC00009.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/64076/758840/DSC00009_o.JPG" data-mid="4043565" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758840/M-F3.jpg" width="670" height="502" width_o="1181" height_o="886" src_o="http://payload.cargocollective.com/1/2/64076/758840/M-F3_o.jpg" data-mid="4043527" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758840/M-F4.jpg" width="670" height="502" width_o="1181" height_o="886" src_o="http://payload.cargocollective.com/1/2/64076/758840/M-F4_o.jpg" data-mid="4043529" border="0" align="left"/> 'Involution' (Projector, mirrors, microphone, amp, video camera, cables) draws on Farmer and Masding’s interest in attempting to understand the world by analysing and responding to familiar objects within it. This line of inquiry comes from a visual and an aural perspective and looks not only at the physical attributes and systems within these objects, but the schemata used in the process of exploration. Farmer closely examines commonplace noises in an attempt to find their internal sequences or to create new orderliness with external systems. For 'Involution' (Projector, mirrors, microphone, amp, video camera, cables) the sound of the fan inside a digital projector is explored with a microphone and amplifier. Masding films this process as an attempt to understand Farmer's method of exploration. The work is constructed and exhibited in a method sympathetic to key notions borrowed from the Japanese aesthetic of Wabi Sabi, which encompasses ideas of temporality. A core thought of this is that things are either devolving toward or evolving from nothingness; objects can be taken directly from the world unaltered, transformed into something else for a period of time in a particular context, simply to return to the world and disappear. Each exhibiting venue for Sideshow 2010 has been asked to provide the components that make up the piece, the artists will then remake and reassemble the work in each given space, then leave, to have no further involvement as to how long it remains for or its afterlife. EXHIBITION VENUES: 22 October - Sideshow 2010 Launch Party, One Thoresby St, Nottingham,NG1 1AJ 28 October - Wunderkammer, Hopkinson Gallery, The Art Organisation, 21 Station Street, Nottingham, NG2 3AJ 2 November - Tether Studios 17a Huntingdon Street, Nottingham, NG1 3JH 11 November - What Ever Happened To The Midland Group - Sideshow Seminar Nottingham Playhouse, Wellington Circus, Nottingham, NG1 5AL http://www.sarahmfarmer.co.uk/Surface-Arts-D-I-Y-EXHIBITION http://www.sarahmfarmer.co.uk/following/sarahmfarmer.co.uk/Surface-Arts-D-I-Y-EXHIBITION Fri, 05 Nov 2010 18:27:02 +0000 www.sarahmfarmer.co.uk 758737 <img src="http://payload.cargocollective.com/1/2/64076/758737/Warehouse.jpg" width="670" height="444" width_o="1024" height_o="680" src_o="http://payload.cargocollective.com/1/2/64076/758737/Warehouse_o.jpg" data-mid="3589802" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758737/DIY-Warehouse_169-1024x680.jpg" width="670" height="444" width_o="1024" height_o="680" src_o="http://payload.cargocollective.com/1/2/64076/758737/DIY-Warehouse_169-1024x680_o.jpg" data-mid="3589809" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758737/DIY-Warehouse_009-1024x680.jpg" width="670" height="444" width_o="1024" height_o="680" src_o="http://payload.cargocollective.com/1/2/64076/758737/DIY-Warehouse_009-1024x680_o.jpg" data-mid="3589811" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758737/DIY-Warehouse_056-1024x680.jpg" width="670" height="444" width_o="1024" height_o="680" src_o="http://payload.cargocollective.com/1/2/64076/758737/DIY-Warehouse_056-1024x680_o.jpg" data-mid="3589815" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758737/There are many ways to hit things and many things to hit.jpg" width="670" height="444" width_o="720" height_o="478" src_o="http://payload.cargocollective.com/1/2/64076/758737/There are many ways to hit things and many things to hit_o.jpg" data-mid="3589819" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758737/There are many ways to hit things performance.jpg" width="670" height="444" width_o="1024" height_o="680" src_o="http://payload.cargocollective.com/1/2/64076/758737/There are many ways to hit things performance_o.jpg" data-mid="3589822" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758737/There are many ways to hit things...jpg" width="478" height="720" width_o="478" height_o="720" src_o="http://payload.cargocollective.com/1/2/64076/758737/There are many ways to hit things.._o.jpg" data-mid="3589824" border="0" align="left"/> Images Courtesy of Laurence Underhill DIY: Exhibition and Residency Date: Saturday 18th September – Saturday 16th October Location: Book Cycle warehouse on Water Lane, EX2 8BZ Surface Arts worked in partnership with Book Cycle and EVA Studios to develop this exhibition in an industrial warehouse, under the theme of ‘DIY’. This formed a way to engage with alternative spaces to develop artistic practice outside of the ‘White Cube’ . Surface Arts invited artists to Exeter to take part in a residency in order to respond to this dilapidated building. The artists’ interactions with the warehouse, both its materials and the space were used to create ‘site- specific’ pieces. The numerous art works, involving multiple disciplines take over the entirety of the warehouse and are intrinsic to the site. DIY served as an inquiry into artist-led movements within this time of financial instability and generated an alternative monetary system through ‘in kind ‘ sponsorship to meet the needs of the project. It presents the creative benefits and alternative ways to ‘make’ and ‘do’. The show aims to create a non-alienating, engaging environment where the artists and the public can exchange ideas. The productive space of the working artist as a site of valuable, visual and intellectual interaction is highlighted here. The artists are: Adam Garrett, Chiara Gill, Hanna Downing, James Burgess, Jessica Mautner, Jo Willoughby, Julie McCalden, Mark Houghton, Megan Hoggins, Michele Louise Schiocchet and Sarah Farmer. The additional collaborators are: Dave Holder, Francis Ives and Alex Saunders. DIY will run for four weeks from Saturday 18th September until Saturday 16th October There are many ways to hit things and many things to hit by sarahmfarmer There are many ways to hit things, and many things to hit (Iron girder, found timber and gas cylinders) Collaboration with Dave Holder There are many ways to hit things, and many things to hit is a collaboration between sound artist Sarah Farmer and electronic sound designer Dave Holder. Throughout the residency period Farmer has been collecting, analysing and arranging materials in the warehouse; learning about the materials, looking for patterns within the data and creating systems to be used as compositional tools. Holder has taken recordings of these materials and created a drone based sound work centered on a scale of notes found within the matter itself. Farmer will play these objects live over the drone during a performance on the opening night. The materials used will then be left to rejoin the clutter of the warehouse, returning to their roles of unimportant anonymous debris. http://www.sarahmfarmer.co.uk/DIY-Scratch-Orchestra http://www.sarahmfarmer.co.uk/following/sarahmfarmer.co.uk/DIY-Scratch-Orchestra Fri, 05 Nov 2010 18:27:00 +0000 www.sarahmfarmer.co.uk 758631 <img src="http://payload.cargocollective.com/1/2/64076/758631/DSC02833.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/64076/758631/DSC02833_o.JPG" data-mid="3589322" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758631/DSC02834.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/64076/758631/DSC02834_o.JPG" data-mid="3589368" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758631/DSC02832.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/64076/758631/DSC02832_o.JPG" data-mid="3589425" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758631/1.jpg" width="480" height="640" width_o="480" height_o="640" src_o="http://payload.cargocollective.com/1/2/64076/758631/1_o.jpg" data-mid="3589436" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758631/DSC02838.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/64076/758631/DSC02838_o.JPG" data-mid="3589457" border="0" align="left"/> Gramophone, CDs, Loop pedal, Tapes, Tape recorder, Microphone Scratch Orchestra was an interactive improvised performance developed for Barnaby Art Market. Referencing Cornelius Cardrew's experimental music ensemble The Scratch Orchestra, participants were encouraged to destroy cds, scratch records, loop sounds and improvise with the microphone to create their own unique experimental music tapes. The usual etiquette of music handling (don't scratch the CD, hold record by the edges, sing in tune etc) was disregarded and the participants were encouraged to explore all possible avenues of sound production using very simple equipment. The outcomes were generally glitchy, industrial, repetitive sounds that whilst unusual and slightly chaotic had definite structure and made some 'musical sense' through the process of additive layering and looping. Each performance was an improvisation between artist and participant, with both as equal noise makers. Sam's tape by sarahmfarmer http://www.sarahmfarmer.co.uk/Organised-sound-by-Gloggomobil-record-player-timers-and-found-objects http://www.sarahmfarmer.co.uk/following/sarahmfarmer.co.uk/Organised-sound-by-Gloggomobil-record-player-timers-and-found-objects Fri, 05 Nov 2010 18:26:59 +0000 www.sarahmfarmer.co.uk 758605 <img src="http://payload.cargocollective.com/1/2/64076/758605/DSC02700.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/64076/758605/DSC02700_o.JPG" data-mid="3589203" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758605/DSC02704.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/64076/758605/DSC02704_o.JPG" data-mid="3589217" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758605/10.jpg" width="640" height="480" width_o="640" height_o="480" src_o="http://payload.cargocollective.com/1/2/64076/758605/10_o.jpg" data-mid="3589227" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758605/11.jpg" width="480" height="640" width_o="480" height_o="640" src_o="http://payload.cargocollective.com/1/2/64076/758605/11_o.jpg" data-mid="3589228" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758605/7.jpg" width="640" height="480" width_o="640" height_o="480" src_o="http://payload.cargocollective.com/1/2/64076/758605/7_o.jpg" data-mid="3589229" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758605/5.jpg" width="640" height="480" width_o="640" height_o="480" src_o="http://payload.cargocollective.com/1/2/64076/758605/5_o.jpg" data-mid="3589236" border="0" align="left"/> Organised sound (by Gloggomobil, record player, timers and found objects) was a kinetic sound installation for Cu, part of FutureEverything new media festival. It combines an interest in old mechanical technology with electronic new media. The Gloggomobil functioned as programmable barrel organs, triggering a hammering action which hit the objects (glasses) and therefore made them resonate. The adapted record player acted as a wet finger to a wine glass, again causing the object to resonate at it’s natural frequency. A motion sensor timer switch caused the electronic objects to stop and start, adding a rhythmic structure to the sounds, which were partly arranged by the artist following existing musical and mathematical systems, and partly dictated by the technologies used. http://www.sarahmfarmer.co.uk/Musick-for-bar-items-and-rotating-technology http://www.sarahmfarmer.co.uk/following/sarahmfarmer.co.uk/Musick-for-bar-items-and-rotating-technology Fri, 05 Nov 2010 18:26:58 +0000 www.sarahmfarmer.co.uk 758557 <img src="http://payload.cargocollective.com/1/2/64076/758557/Musick for gloggomobil1.jpg" width="670" height="472" width_o="2048" height_o="1443" src_o="http://payload.cargocollective.com/1/2/64076/758557/Musick for gloggomobil1_o.jpg" data-mid="3589111" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758557/Musick for gloggomobil2.jpg" width="670" height="472" width_o="2048" height_o="1443" src_o="http://payload.cargocollective.com/1/2/64076/758557/Musick for gloggomobil2_o.jpg" data-mid="3589117" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758557/Musick for gloggomobil3.jpg" width="670" height="472" width_o="2048" height_o="1443" src_o="http://payload.cargocollective.com/1/2/64076/758557/Musick for gloggomobil3_o.jpg" data-mid="3589121" border="0" align="left"/> Musick for bar items and rotating technology (Drill, Record player, Gramophone, Gloggomobil) was a site responsive performance, taking items from The Vaults’ current state of being (bar) and mixing them with mechanical items inspired by the historical watchmakers, metal-smiths and jewelers of the area. The performance involved playing the bottles (via the gloggomobil), resonating a rotating wine glass (attached to a record player) and amplifying the mechanical sounds of the wind up gramophone. A score was followed which was determined by finding patterns within the acoustic properties of the objects and utilising the Pythagorean scale. The tonic of the piece was based on the constant whine of the drill which powered the gloggomobil. Musick for Gloggomobil by sarahmfarmer http://www.sarahmfarmer.co.uk/Stairs-tuned-in-a-spiral-of-perfect-fifths http://www.sarahmfarmer.co.uk/following/sarahmfarmer.co.uk/Stairs-tuned-in-a-spiral-of-perfect-fifths Fri, 05 Nov 2010 18:26:57 +0000 www.sarahmfarmer.co.uk 758532 <img src="http://payload.cargocollective.com/1/2/64076/758532/DSC02676.jpg" width="360" height="270" width_o="360" height_o="270" src_o="http://payload.cargocollective.com/1/2/64076/758532/DSC02676_o.jpg" data-mid="3588901" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758532/DSC02664.jpg" width="270" height="360" width_o="270" height_o="360" src_o="http://payload.cargocollective.com/1/2/64076/758532/DSC02664_o.jpg" data-mid="3588908" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758532/DSC02665.jpg" width="270" height="360" width_o="270" height_o="360" src_o="http://payload.cargocollective.com/1/2/64076/758532/DSC02665_o.jpg" data-mid="3588912" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758532/DSC02671.jpg" width="360" height="270" width_o="360" height_o="270" src_o="http://payload.cargocollective.com/1/2/64076/758532/DSC02671_o.jpg" data-mid="3588917" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758532/DSC02681.jpg" width="360" height="270" width_o="360" height_o="270" src_o="http://payload.cargocollective.com/1/2/64076/758532/DSC02681_o.jpg" data-mid="3588928" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758532/DSC02683.jpg" width="360" height="270" width_o="360" height_o="270" src_o="http://payload.cargocollective.com/1/2/64076/758532/DSC02683_o.jpg" data-mid="3588935" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758532/DSC02690.jpg" width="360" height="270" width_o="360" height_o="270" src_o="http://payload.cargocollective.com/1/2/64076/758532/DSC02690_o.jpg" data-mid="3588940" border="0" align="left"/> Tuned stair bannisters Through altering the tension of the wire stair banisters, the stair case at g39 has been transformed into a musical instrument. Each of the 7 wires has been tuned to one of the 7 different notes in a Pythagorean scale. Pythagoras is credited for being the father of musical understanding as we know it. He established there was a mathematical reason for consonant sounds and thus developed a scale system using these simple fractions and formulae. Pythagoras believed in a ‘universal truth’ based on simple maths and that honoring these equations through geometry, astronomy and music would bring you closer to divinity. The notes of the stair case use the resonant frequency of the stair posts as the base note, or tonic, and increase by a ‘perfect fifth’ for each ascending string. This system of note generation developed by Pythagoras, (adding a perfect fifth on the base note, then adding a perfect fifth above that and so on) proved problematic within music, as it results in an infinite spiral of note generation, leading to the development of tempered tuning systems. http://www.sarahmfarmer.co.uk/Building-Up-Not-Tearing-Down http://www.sarahmfarmer.co.uk/following/sarahmfarmer.co.uk/Building-Up-Not-Tearing-Down Fri, 05 Nov 2010 18:26:56 +0000 www.sarahmfarmer.co.uk 758453 <img src="http://payload.cargocollective.com/1/2/64076/758453/BUNTD_Invite.jpg" width="600" height="776" width_o="600" height_o="776" src_o="http://payload.cargocollective.com/1/2/64076/758453/BUNTD_Invite_o.jpg" data-mid="3588566" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758453/BUNTD 01.jpg" width="670" height="446" width_o="1701" height_o="1134" src_o="http://payload.cargocollective.com/1/2/64076/758453/BUNTD 01_o.jpg" data-mid="3588587" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758453/BUNTD 11.jpg" width="670" height="446" width_o="1701" height_o="1134" src_o="http://payload.cargocollective.com/1/2/64076/758453/BUNTD 11_o.jpg" data-mid="3588601" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758453/BUNTD 03.jpg" width="670" height="446" width_o="1701" height_o="1134" src_o="http://payload.cargocollective.com/1/2/64076/758453/BUNTD 03_o.jpg" data-mid="3588649" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758453/DSC02610.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/64076/758453/DSC02610_o.JPG" data-mid="3588674" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758453/DSC02620.JPG" width="670" height="490" width_o="2048" height_o="1499" src_o="http://payload.cargocollective.com/1/2/64076/758453/DSC02620_o.JPG" data-mid="3588692" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758453/DSC02634.JPG" width="670" height="893" width_o="2048" height_o="2730" src_o="http://payload.cargocollective.com/1/2/64076/758453/DSC02634_o.JPG" data-mid="3588710" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758453/DSC02626.JPG" width="670" height="876" width_o="2048" height_o="2678" src_o="http://payload.cargocollective.com/1/2/64076/758453/DSC02626_o.JPG" data-mid="3588741" border="0" align="left"/> "As an exhibition space tactileBOSCH is predominantly known for performance and installation, work that by its very nature often leaves small remnants once the performance has concluded or the installation deconstructed. Many of these small reminders such as stray splashes of paint, dents in the walls and floors, hooks and pulleys in the ceiling often remain untouched during the post-exhibition clean up due to the vastness of the gallery and thus become more permanent then the original artwork. The six artists have continued in this process of augmentation and supplementation of the venue through creating a selection of delicate and unobtrusive works throughout the gallery, many of which could remain well into the future. The artworks of Building up-Not Tearing Down do not hold an overt presence in the space nor are they pointed out through a map or set of plaques but instead the audience must search the vast space for each artists multiple contributions. It is during this process of exploration that they themselves will also become better equated with the fabric of the building that is itself a palimpsest of architectural and aesthetic features. The collaborative nature that the artists have approached in the making of the exhibition, to the extent of creating secrecy that excluded the residency organisers from knowing much of what they planned, perhaps provides a glimpse of what the Birmingham, Bristol and Cardiff trinity could become. Building up-Not Tearing Down is the result of a four-day residency involving six young artists from Birmingham, Bristol and Cardiff. As a conclusion to the series of city visits ending with December eleven the residency is an attempt to create a microcosm, or Petri dish experiment of what might happen if the three cities worked together in the realisation of an exhibition or project. The invited artists were granted complete freedom to chose their thematic remit, manipulate the fabric of the building and decide how much they would co-operate with each other". - Neil Jefferies Pythagorean fundamental frequency and harmonics of Eb (Bass note of building,pluck-able tuned monochords) 4 Monochords made from wood to look like structural beams, tuned in Eb - the lowest note projected throughout the building by next door's extractor fan. The monochords were tuned at 1:1, 1:2, 2:3 and 3:4 which, when plucked, sounded the original note, an octave above, a 5th above and a 4th above the fundamental Eb. Sound of next door's extractor system (via 40m contact mic) The sound of the extractor system of next door's building was amplified into the gallery space. It was amplified at a volume that enabled it to be heard in a room full of people at the level it can be heard at when the building is empty. It was amplified through a homemade contact microphone attached to an 8m pole, propped against the extractor system, with a 40m audio cable running from outside, through the building, into the gallery space. The extractor system, which was constantly on, played a consistent, quiet, low hum throughout the building for the duration of the residency and provided the bass note of the space. However, on the day of the exhibition opening, the extractor system had inexplicably been turned off, meaning it could not be amplified, further highlighting the futility of the work. Singing at the building (trying to find the resonant frequency of tactileBOSCH) "Hold the object that you are hoping to make resonate in front of your face. Slowly sing a tone with increasing pitch. If there is a resonant frequency in the audible range, you should be able to hear the tone emitted back to your ears at that pitch" http://www.physlink.com/education/AskExperts/ae698.cfm "Like mechanical resonance, acoustic resonance can result in catastrophic failure of the vibrator...." http://en.wikipedia.org/wiki/Resonance http://www.sarahmfarmer.co.uk/Some-Sounds-I-Found http://www.sarahmfarmer.co.uk/following/sarahmfarmer.co.uk/Some-Sounds-I-Found Fri, 05 Nov 2010 18:26:55 +0000 www.sarahmfarmer.co.uk 758343 Some sounds I found (...)' is a nomadic, site specific sound installation and performance piece that utilises the sounds within the environment in which the work is situated. This is created by placing microphones next to objects, appliances and areas that have interesting sounds. Timer switches which turn microphones and appliances on and off are used as a rhythmical device. <img src="http://payload.cargocollective.com/1/2/64076/758343/DSC02462.JPG" width="670" height="893" width_o="2048" height_o="2730" src_o="http://payload.cargocollective.com/1/2/64076/758343/DSC02462_o.JPG" data-mid="3588069" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758343/DSC02460.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/64076/758343/DSC02460_o.JPG" data-mid="3588074" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758343/DSC02452.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/64076/758343/DSC02452_o.JPG" data-mid="3588082" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758343/DSC02466.JPG" width="670" height="485" width_o="2048" height_o="1484" src_o="http://payload.cargocollective.com/1/2/64076/758343/DSC02466_o.JPG" data-mid="3588107" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758343/DSC02449.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/64076/758343/DSC02449_o.JPG" data-mid="3588130" border="0" align="left"/> 'Some sounds I found (BS1 3JA) 08' An audio installation at the show 'Rhys and Hannah present.... Goodbye space, hello spaces' using the sounds of 2 lights, 1 fan and the alarm box. It was amplified through the gallery, creating a constant pulsating, electronic musical backdrop to the space. This was a fixed installation for the duration of the show <img src="http://payload.cargocollective.com/1/2/64076/758343/DSC02494.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/64076/758343/DSC02494_o.JPG" data-mid="3588212" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758343/DSC02498.JPG" width="670" height="900" width_o="1981" height_o="2664" src_o="http://payload.cargocollective.com/1/2/64076/758343/DSC02498_o.JPG" data-mid="3588220" border="0" align="left"/><img src="http://payload.cargocollective.com/1/2/64076/758343/DSC02500.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/64076/758343/DSC02500_o.JPG" data-mid="3588238" border="0" align="left"/> 'Some sounds I found (B9 4AR) 09' A 1 day installation at 'Eastside Projects' project space, using the sounds of the alarm box, 1 fluorescent light, 1 light switch and timer switches on the microphones. The sound was outputted to wireless headphones, and the mix was altered throughout the day to give various different sound pieces which could be listened to whilst walking around the rest of the gallery. The radio sounds were picked up from the alarm box. All these samples were created by simply turning sounds on and off via the timer switches and altering the mix. Some Sounds I found (B9 4AR) by sarahmfarmer