animate objects

http://2008.netaudiolondon.cc/installations/177/animate-objects

A mobile platform for sound performance and recording using film as a form of graphic score for the creation of music using physically manipulated acoustic sources. Participants are invited to record sound effects using various techniques for recreating sonic events to film in synchrony with their visual correlates, otherwise known as Foley. The result is a generative audio-visual installation created by from material gathered from participants.

The mobile studio is comprised of a recording space with necessary materials and equipment as well as a customised interface, including a software platform for the real-time recording and transformation of sound and video.

The piece has been developed and executed through collaboration between sound artists Jeremy Keenan and Matt Lewis. The project is a new way for participants to engage with contemporary sound practice that allows direct involvement in and exposition to the music making process through the exploration of object’s acoustic properties. We hope to encourage and illuminate new modes of experiencing the sonic environment through the construction of a bespoke listening platform in which multiple musical interpretations of a fixed set of video clips as visual scores are displayed.

there are limited place available for participants – please follow the blog for further announcements.

A Response to "Objects of Affection"

The exhibition review below reminded me of the following paragraph from The Tears of Things: Melancholy and Physical Objects by Peter Schwenger, a captivating book on the world of objects and humans that is full of wonder and displacements:

"[...] the search for the origins of our desires in relation to objects will always be a futile one. The common strategy is first to isolate objects from the world by acts of selection and then to group these objects according to principles of proper placement. But what is "proper" is only the matrix of a discourse, not the innate property of an object. Nor ultimately can the objects that are our property shore up in our selves the sense of le propre. No matter how carefully we arrange the museum of the self, placement comes down to much the same thing as displacement. Desire tries to consolidate a world of separate things but succeeds only in displaying its own restless movement, interminable as that of dreams." (139)