Meeting with James Field 27/04/2016.

• To incorporate a screen based output as part of my project – this could be in the form of an animation of facial movement, this does however through up an issue of skills in terms of 3D modelling.
  • Potentially I could look into animation in a non-literal sense, instead taking the inspiration from process and material I have been exploring theoretically.
• For my hand-in for Project 2 I can prototype the final realisation
  • Developing this further in Project 3 to show clear development
  • Producing 3 x printed heads and voice input/output initially – testing materials and finishing
• For the audio aspect of the choir I would need 1 input split into 3 outputs
  • Possibly using 1 computer?
  • Using processing – tapping into an external mic and then coded to alter the pitch
  • Multiple output issues – the need for each speaker to have a different pitch
    • Synthesiser
    • 5.1
    • Check with David McSherry/ Craig Bratley
  • 1 input > 3 output
    • Mixing desk
    • Manipulate
    • Expand
  • Guitar pedels/ vocoder – raw and in the moment effect
  • Ableton Live – real time signal processing software

Following on from this I spoke with David McSherry regarding the audio component and he advised it would be just as easy to create 4 outputs from 1 input, using 2 computers. The computers would then have software that can output a different pitch to each individual speaker.

On Saturday 23 April I visited the Simon Starling: The Grand Tour Season 2 exhibition at Nottingham Contemporary, this was a collection of Starling’s major work over the years presented through the gallery space. Most of the works are based on lost histories of manufacture, with them featuring either materials or processes directly related to this. This very process led approach is interesting when considering my project work where the process/materials have dictated the aesthetics. One of the most striking pieces of Red, Green, Blue, Loom Music (2015-16), this featured and highlighted analogue technology that has anticipated digital systems. The main piece was a piano which seemingly played itself fed by music box style drum of perforated pianola paper with the notes punched into it. This was extremely captivating in the room and filled the space, creating an atmosphere that gave weight to the process Starling was trying to highlight. Alongside this was weaving and paper rolls where the music score had been translated into woven textile, again this provided an interesting link to my project work exploring the translation of objects and the spontaneous occurrences that come from these.

Another piece I particularly liked was Recursive Plates (Joseph Wright, The Alchemist, in Search of the Philosopher’s Stone, discovers Phosphorus, and prays for the successful conclusion of his operation, as was the custom of the ancient chymical astrologers, No 2, 1771-1795) 2016. This was from a set of site specific daguerreotypes made of the original painting, the metal plate is displayed on the opposite wall to the original creating a haunting reflection and ghost-like representation. Initially this piece seems lost in the space, but when you look closer and make the connection it provides a clever juxtaposition to the original that requires you to search this out. Again process is the main focus here, with the chemicals in the production of the daguerreotype directly relating to the chemical subject matter of the painting. Forming a modern day homage that both uses experimental processes and forges its own line of enquiry in the space. Also interestingly, while the painting is on display at Nottingham Contemporary another daguerreotype is in its place at Derby Museums.

On Sunday 17 April 2016 I visited my friend Jamila in Leeuwarden (The Netherlands), Jamila is a musician, writer, poet, performer and has been a sounding board for much of my project. We met up to talk through the voice aspect, how I might record and output the voice live whilst also pitch changing it to achieve my desired effect. Jamila talked me through how I might be able to do this in a more analogue and raw way using either guitar pedals (loop and vocoder) or a piece of software called Ableton. The software is an interesting option as it provides the digital aspect that would fit into the rest of my project, being the digital tool that performs the translation of the human voice, and could allow for the possibility of people interacting with the settings in a live environment.

Jamila also showed me musicians who use the software in live performances, layering sounds and manipulating them in a live setting to create something that feels very in the moment and spontaneous.