A glittering black album at the edge of audibility. Guttural, grinding, murmuring and fidgety. Against layers of tones and beats, it tells a story of love, betrayal and abnormal sexual behaviour between the senses.
Gekiyasu album at the Final Show 2015, Royal College of Art.
A record player, a chair, a glass of whisky, a daily sound cinema with the curtains drawn.
We decided to go to vinyl!!!
One long tone that stretches out into the night
cut with a diamond needle into PVC dubplate at The Carvery.
and a lovable dog called Roy
(A plagiarized paper making desperate connections between everything that we like, to be read loud)
During the Second World War, acoustic locators were the state of the art system for detecting enemy airplanes. They were, essentially, ear extensions, amplifying horns and dishes, that when used in triangulation, could pinpoint the location of an airplane. These acoustic locators extended the body into space, increasing the distance that the unaided ear could hear. They were not the most efficient system, but they did allow the listener to hear beyond obstructions like hills and architecture.
Today we have a different sort of sensory requirement. We no more have to make these extensions as we have rather sophisticated radar systems like DRONE DETECTOR’s that can be deployed as a network of sensors to create a detection frontier.
Our senses today have been consumed and have reached a sense of complacency by merely inhabiting the times that we are in (digital, hyper-media, consumerist, ocular-centric etc). On a day-today basis our senses are neglected apparatus.
They function, unless we are aging, ailing or altered by psychotropic drugs. We see, touch/feel, hear, taste and smell without effort, unconsciously and ungratefully. Though at one point we perceived the astounding qualities of extending our senses out into the world via technology, we have reached a lazy acceptance of what Marshall McLuhan called ‘indefinable limits of our own body.’
Here’s a moment in time for a wake-up call to anyone who momentarily forgets that our sensory apparatus are strange small creatures that seem to lead a life of their own. The photograph shows the tongue tasting an eye in a squirm inducing, non-kosher, almost pornographic meeting of two sensory apparatus that it seems, were never meant to meet (despite the subjects being the artist and her husband). Beyond the initial resolution there is a powerful sensory struggle at work. The tongue serves as a tool to break the hegemony of the eye’s distant view. It also sparks the debate between touch and feel. As your eye gets licked are you touching feeling or seeing feel.
The relations between the senses are not all of the same kind. We can mark out a distinction, for example, between the sound and sight relation as they currently subsist. The relation between sound and sight may be said to be largely indexical; by which I mean that the evidence of sight often acts to interpret, fix, limit, and complete the evidence of sound. Seeing may then appear as the destination or terminus of sound – “Oh, now I see what you mean.” Perhaps because of the imperfect nature of hearing in humans, hearing tends to ask questions which get answered by the evidence of the eyes. As the two senses on which human beings seem most to rely, hearing and sight are closely interwoven, but not necessarily synchronized. Though light moves faster than sound, these relations are reversed in the logic of human perception; it is sound which seems to be immediate, and sight, as the sense with which we achieve balance and understanding, which follows after it. Hearing proposes: sight disposes.
Sound beats, stretches, compresses, and contorts. Sound always brings a difference into the world, and is associated with sometimes-painful change or disruption. Music is specialized excessiveness of sound into space. It occupies space and transcends all in the available air floating around us. This brings us to think about the experience of listening and the irresistible concept of ‘sound-space’. Sound locates us in the world in a richer and more three-dimensional way than seeing, which seems by contrast to make the world a flat screen. For we can hear textures and qualities, or at least judge of them by their sounds, and we can thus hear the insides of things, while we can only ever see their outsides.
Here in context, is our album; a story narrated, through sound, of a man inside an eye. We intend to execute a tale of love and betrayal through the narrative possibilities and impossibilities of sound, a slow moving sound scape with musical tones that can be interpreted and misinterpreted. This album/story is an acoustic locator to listen to our own bodies, watch our senses and most importantly feel our emotions complicate itself around times like this.
A fantasy documentation of OBE sound track and visual experience.
The track we have been working on is quiet and withdrawn from the noise of the world, and so in order to exhibit at the work in progress show we had to find a way to create a secure listening space to invite the audience to listen. The idea came to create an interface, a dome shape fixed to the wall, inside there are small stereo speakers and a mixture of lights. The lights are changing, one is on a revolving motor, the others react to the sound as it plays. The lights project the image of the man that sits on the plastic dome, his image passes over the walls of the dark listening space. Upon approaching the dome, the audience may notice a small hole in its centre from where some noises are creeping out, by putting your ear to the dome you can here the interiority and extreme quietness of the sounds as they pan and vibrate off the dome wall.
STEP ONE: Vacuum forming experiment
STEP TWO: Yiran draws a sketch
STEP THREE: Etching the drawing
To be continued…