Matthew McConway

After much contemplation, and evaluation of my options. I have decided that building a wall mounted shelf will be the most impactful piece. This shelf will act as a sculptural art piece, acoustic treatment for the space and also fully function as a shelf. I have been sketching some ideas, and thinking on what material will be best, while also being financially viable.

Today I researched ways in which I can generate parametric designs. I have come across a few different types of software, with some seeming to have a steeper learning curve than others. I am hesitant with using parametric design for my installation, as it will mean trying to learn a new software in such a short amount of time. 

Today I followed some tutorials on Youtube, using Blender (specifically Sverchok, the parametric plugin).  After following the tutorials, I decided to attempt to ‘represent’ the sound of a space using a parametric box.

I took some recordings of claps in my kitchen, and used audacity to convert these recordings into numerical data. I then selected numbers at random and used them to drive the parameters of sverchok.

This is a very loose way of representing space, and it didn’t really work so well. I am going to have to figure out another way to represent space, or else I will just have to skip this part of the design, in order to build something before the exhibition.

Parametric design is an approach to design where relationships between elements are used to manipulate and inform the design of complex geometries and structures.

• Aural Architecture embraces ‘interdisciplinarity’ – compromised of “anthropology, social psychology, epistemology, and philosophy.”
• “how to translate the private and the specialised language of each discipline into a common language, and, finally, how to discover the hidden biases that undermine the scope and validly of assertions.”
• Interdisciplinary work requires “intellectual humility”
• The flaws within each discipline are the natural result of compromise.

House and Universe.

-Bachelard presents the house as a microcosm of the universe, a space where we can explore the vastness of our imagination. He believes the house provides a structures, familiar space that allows us to dream and create, serving as a springboard for our thoughts about the larger universe. “The house, quite obviously, is a privileged entity for a phenomenological study of the intimate values inside space, provided we take it in its unity and complexity…”

-The house nurtures our sense of being and security, which fosters our ability to imagine the vast, intimidating universe. Bachelard suggests that the comfort and stability found in the home allow individuals to confront and engage with the broader cosmos in their imagination.

-Poetic image and space – Bachelard emphasises the role of poetic images in connecting the house with the universe. 

“a house that has been experienced is not an inert box. Inhabited space transcends geometrical space.”

“space and imagination are intertwined, each shaping the other in a continuous dialogue. The house is a canvas upon which we project our dreams, and in turn, it inspires us to explore new realms of possibility.”

This chapter of poetics of space conveyed the profound impact of spatial experience on human consciousness and creativity.

“In a house, as in a novel, sound is a constant indicator of what is happening… Sound, by evoking our memories, is the most powerful memory of space.”

-Auditory spatial awareness is more than detecting space, it includes the emotional and behavioural experience of space. “detecting reverberation is different from responding to it”

-Aural architecture can evoke different reactions depending on the physical design and the cultural context.

Auditory spatial awareness is and amalgam of four things:

-Spatial attributes

-Auditory Perception

-Personal History

-Cultural Values

Auditory spatial awareness manifests itself in:

-Influencing social behaviour – some spaces emphasise aural privacy & loneliness, while others reinforce social cohesion.

-Allow us to orient and navigate through space – hearing acoustic objects & surfaces supplements vision. (Replaces in cases of darkness/disability)

-Affects our aesthetic sense of space. A space that lacks acoustic features is as boring as baron, grey walls. Visual embellishments are interesting to the eye, the same is for aural embellishments, adding aural richness to the space.

-Enhances our experiences of music & voices. “Unified aural experience” “the space becomes an extension of musical or vocal art form performed within it”

SOCIAL – NAVIGATIONAL – AESTHETIC – MUSICAL SPATIALITY 

The Anti-Social Light and its antithetic sibling Social Light are designed to be responsive to a user’s behaviour. Both are intended to illuminate a space while exploring the relationship between people and the objects in their home.

With both lights, the user cannot simply command an action to occur – instead, their behaviour produces a specific effect. For example, the Anti-Social Light will only illuminate in the presence of silence. Speech, ambient sound or noise causes it to dim and eventually switch off. Conversely, the Social Light requires sound or conversation to activate it. 

The solitary act of reading and the conviviality of a dinner conversation suggest two ideal environments for each of these lights. This animation of ordinarily inanimate objects introduces an unexpected element of surprise that fundamentally recasts our relationship with products. It has very much to do with respect for what the object needs and what it demands, or it won’t respond the way you want it to. In an abstract way, it is almost like a companion that behaves a certain way in the house.

Clock:

-Time in space

-Rhythm of clock = rhythm of movement within home/movement within daily life

Storage Box:

-Irony in that “aural experiences are fleeting…”(spaces speak).

-we “lack a means of storing cultural & intellectual legacy” (spaces speak)

-could represent a ‘microspace’

-Acoustically generated parametric design.

Lamp/Light:

-Generated shape based on acoustics (parametric design)

-Leans on the idea of light v sound

-Spatial awareness & auditory spatial awareness

– Michael Anastassiades – anti social light (2001)

Bookshelf:

-Has multiple uses (acoustic treatment, sculptural piece, and shelf)

-If using acoustically generated shape, the shelf with both manipulate and represent space.

“Box with the Sound of Its Own Making” is a seminal work by American artist Robert Morris, created in 1961. This piece is considered a landmark in the development of Minimalism and Conceptual Art. Here are some key details about the artwork:

Description

• Material and Construction: The piece consists of a small wooden box, measuring approximately 9 x 9 x 9 inches.
• Sound Element: Embedded within the box is a tape recorder that plays a recording of the sounds made during the construction of the box itself. This includes the sawing, hammering, and nailing necessary to assemble it.

Artistic Significance

• Process Documentation: By including the sound of its own making, Morris emphasizes the process of creation rather than the final product. This aligns with the ethos of Conceptual Art, where the idea behind the work takes precedence over its physical form.
• Viewer Engagement: The continuous playback of the construction sounds invites viewers to contemplate the relationship between art and its creation, encouraging them to think about the often-invisible labor and actions that go into making art.
• Minimalism: The work is minimalist in its straightforward form and concept. It strips art down to its basic elements—materials, process, and time.

Impact

• Influence on Art Movements: Morris’s work influenced both Minimalism and Conceptual Art, movements that emerged in the 1960s. His focus on simplicity, process, and the conceptual underpinnings of art challenged traditional notions of what art could be.
• Interdisciplinary Approach: The piece bridges visual art and sound art, showing Morris’s interest in interdisciplinary practices and expanding the boundaries of how art can be experienced.

Historical Context

• 1960s Art Scene: During the 1960s, many artists were exploring new forms and media, rejecting the abstract expressionism that had dominated the previous decade. Morris was among the avant-garde artists pushing these boundaries.
• Influence of Theories: Morris was influenced by contemporary philosophical and aesthetic theories, particularly those that questioned the nature of art objects and their relationship to viewers and the environment.

“Box with the Sound of Its Own Making” remains a powerful example of how art can interrogate its own creation and existence, making it a significant piece in the history of modern and contemporary art.