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By Charlotte and Lee Hwa

Project Proposal

This project is an interactive soundscape installation that allows participants to experience a series of sounds that are built-up progressively through overlapping and layering techniques to evoke anxiety. This installation is created to show that participants are able to experience anxiety using solely the sense of hearing instead of the commonly paired senses of sight and hearing (Horror Films) or hearing and touching (e.g. Haunted Houses).

This installation would have participants placed within a brightly lit confined space, blindfolded for 2 minutes. The created space would be empty, with just only a stereo speaker in place for projection of the soundscape. Participants will be split up into smaller groups of four to five people each for maximum experience and asked to put on blindfolds to remove their sense of sight. They will then be guided by the curators to the installation space to experience the soundscape. Once the soundscape ends, participants will be asked to remove their blindfolds so that they can see the space and realise that all the while they were in empty space with nothing but just a soundscape playing in the background; realise that one is able to experience anxiety with just his sense of hearing. Participants will be allowed to stay on and quiety observe the rest of the participants’ experience and all will be invited to share their afterthoughts of the installation experience at the end of the session.

The anxiety-evoking soundscape would be made up of sounds produced and recorded by the foley technique or copyright-free sounds found online. Also, the reason for allowing each group that has experienced the installation to stay on is because alternatively, they can use found objects around them to help contribute to the soundscape they hear. This brings about interactivity in terms of role reversal – From participant to having a reign over the creation of sounds. Overall it is a soundscape created by repetition. Based on David Sonnenschein’s seven categories of sound, the sounds used in the soundscape will be soft to loud in intensity, slow to fast in speed, tonal in timbre and reverberant in shape. The interactive component comes in where participants get to interact with the space as they are able to move around freely while experiencing the installation. Alternatively, they can choose to stay in the same spot; it is up to them on their next move.

Process

Research & References/Material Samples
These were two soundscapes we chanced upon on youtube and used them as reference and inspiration for ours thereafter. For the idea of repetitive sounds in the soundscape:

For the idea of building up on speed of the sounds (fast and slow) in the soundscape:

Inspiration for the ringing noise:

A scene from the movie Saving Private Ryan that we viewed in class where at that one particular moment, the noises become muffled. In the case of our soundscape we got inspired to introduce a high ringing frequency noise. Another reference we had when creating our soundscape for the installation is a sound artist whom Lei suggested to us to check out to get an idea of working with surround sound for our sound installation: Janet Cardiff & George Bures Miller – The Murder Of Crows (2008) http://www.cardiffmiller.com/artworks/inst/murder_of_crows.html Some of the sound excerpts from the installation:

Challenges Faced
We intended to book a four-walled space initially and these are the places we had in mind ranked in order to match our ideal set-up that was submitted in our original project proposal.

  • Empty space outside 2D Animation Lab (ART B1-4a)

  • The next backup location would be the meeting room on Level 4

  • Lastly, our Foundation 4D II Classroom (ART 02-23A) as a last resort

But you know, we eventually settled for our last listed location. Our 4D II Classroom we use for weekly classes only because when we wrote in to check the availability of location we did not get a reply. Not sure why though but settling with the classroom turned out for the better for so many reasons, logistics especially. We made use of the classroom to create a more confined installation space rather than using the whole class space. Mainly for safety precaution as participants would be blindfolded it would be less hazardous if they are kept in a smaller area with obstacles cleared. The
“confined space” as seen below.

Our test-trial

We tested out our installation according to our original set-up prior to installation day and here was how it looked like as a scale drawing:

Our scale drawing of the original set-up

Here’s the documentation of our test trial. We had 3 of our friends who very so kindly spared us a little of their time to help us test out our installation, whether the soundscape had any effect and if the installation space worked.

For the test trial we used just normal bluetooth speakers that didn’t have the surround sound effect so feedback from our friends was that it would be good if we could use stereo speakers instead, like the one in the classroom. Great thing was we happened to find a portable one that was placed below the television set in class and we need not go through booking procedures to use it. The sound system was awesome. The reverb was amazing and the soundscape effect was much stronger.

The soundscape wise, they suggested to make it less monotonous in a way that the one we originally tried out on them sounded very flat. There wasn’t much sounds that would make them anxious, the loudness and softness of the sounds in the soundscape could be more varied and also the ringing noise towards the back could be more intense. There was also suggestion for us to carry out the installation in total darkness as when they put on the blindfolds, they can still vaguely see the light source from below; being in total darkness helps build up the anxiety emotion.

Execution

How the sounds were created:
Our idea for soundscape was to create a tonal background contrasting with a high pitch sound to evoke anxiety. Foreground sound is created by hitting against the stairs rail that moves away from cliche Anxiety soundscape that utilises heartbeat or breathing. Our background tonal sound was created through garageband, that starts from a high note to a lower note. We then overlay it with the sound we recorded from the stairs, the reason why we chose the rail is because of the reverb that it produce and contrasting it to a low tonal background would create a tension. Further editing was then done in audacity.

Additionally to have a more immersive soundscape, we edited the sound perspective to give the feeling on the sound coming closer and to the back, the speed is also increase to build on the tension. We also added a ringing sound as to break away from repetition sound pattern, which helps to intensify the entire sound at the back.

The day of installation:

What went well: The impromptu decision of having the front groups of participants stay on to help contribute to the live sounds using found objects made the soundscape sounded even more real and thanks to the favourable weather conditions that day (it was raining). That made the installation space really dark and the extra sounds made by the thunder added on well to the reverb of the soundscape which really helped us achieve the emotion we wanted to evoke through our soundscape, anxiety as most felt fear which is an emotion linked to that. Our initial plan was to have participants stay on so that they do not return to the holding space and discuss it with the rest who haven’t experienced it. It would have spoiled the anticipation and also it would have been too boring just to sit there and observe the rest so why not contribute to their experience?

Some documentation of our installation: Before entering the installation space – giving instructions, leading the way



During the installation – the experience, interactivity between participants and the installation (contributing to the soundscape using found objects in the room)

Pardon our blurry and pixelated images (after editing) as this was the best we could get for our installation that happened in total darkness. Video footage wise it was way worse, nothing could be seen only the sounds can be heard thus we settled for image documentation this time round on the official installation day.

What could be better improved: We should have worked out a way such that all groups would be able to experience role reversal interactivity bit of the installation plus have the live sounds created be equal across all groups for a fair experience of the installation. For our case of execution we could have personally added the live sounds for the first group.

Overall, we felt that working with sounds for an installation to begin with is already a challenge what more creating sounds to evoke a particular emotion without trying to go for the narrative style/flow. This soundscape in particular as the emotion we were trying to evoke from participants was anxiety which could seemingly fall under as a sub-emotion under bigger emotions such as depression, stress etc. How one interprets a sound that they hear is very subjective but we think we managed to pull it off thanks to our classmates’ live sound contributions, our impromptu decision and of course the gloomy weather that day which made the atmosphere even better. Even though the deadline was tight, and the stress levels were high especially when it came to logistics, it was still a fun project to work on an explore!

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Before coming up with a proposal and a solid idea to execute as a group effort for this final project for 4D II we are asked to do individual research on works on either video/sound/performance art and analyse the respective artists and their works, how some of them might be controversial. I am leaning more towards the exploration of using sound for the final art installation project.

Before searching up some examples, I searched up the meaning of sound installations and got the impression that it is a time-based art which sometimes can involve the element of visual to help support/complement the installation as a whole or change it to become a video art installation altogether. With the intention to explore the idea of using sound for the final project’s art installation, below are some that I’ve found interesting and possibly usable as references and inspiration.

I couldn’t really find much sound art installations that were deemed as controversial but my personal take on this would be that the whole idea of a sound art installation itself is actually controversial. Reason being that if you were to take in a sound art installation that is purely made up of sounds only, sure it’s meant to evoke a feeling in the consumers through the listening experience however the sounds are subjected to one’s perception as it’s pretty abstract. And because of that, artists that work with solely sound for their installations are able to get away with touching on controversial ideas. Unless the work includes the other elements like visual in the form of a video/image accompaniment where the audience gets an even clearer idea of how they are supposed to interpret the installation piece.

Haroon Mirza

Here’s one sound artist that has faced a little controversy though with his work I suppose – Cross Section of a Revolution (2011) which has two films being juxtaposed. One on cultural tradition and the other, a political movement and accompanying the installation is an electronic sound that gives a sense of anxiety to the work as the whole. Looking further, one is of drummers at a ceremony in Kenya and the other is about a man in Lahore making a speech about terrorism.

Quoting an article by theguardian on his work:

“ Mirza recorded his drummers at “a stick-fighting ceremony where the groom has to fight for his bride. My attention shifted to the drummers, who provided the driving force to the ceremony.” They drum on plastic bottles, anything that comes to hand. “A subtext,” he says, “is the place of music in Islamic culture. In some Islamic cultures, music is forbidden. An underlying theme to my work is a criticism of religious faith, and the dogmas involved in religious faith.” “

Easily when there’s culture/religious faith involved in a work of art, there’s bound to be controversy involved, people questioning the work as it could be sensitive to the identified groups. In this case, the people of that religious faith. It could get a little touchy with how the artist portrayed his topic through the installation piece.

John Cage

Taking a look at his famous or rather infamous piece 4′33″ (1952), this work of his probably fits the idea of performance art more since there’s a subject involved during the performance but I’ll be looking more at his interesting take on the use of sound in this piece.

Cage’s intention with the piece was to have the composition be made up of sounds present in the environment encouraging people to listen to the sounds around them but the impression they got in return was that they were subjected to silence because there was an a pianist present but he did not play anything after taking his place on stage. The sounds of the piece were actually made by the whispers that came from them which became louder as they grew more curious about what was happening in front of them.

Cage’s intentions eventually sparked controversy about the piece since the audience thought they were treated to silence for the whole performance duration of 4 minutes and 33 seconds.

Susan Philipsz

Next looking at how sound art has developed over the years, the public has definitely become more receptive about it possibly thanks to Susan Philipsz who was awarded the Turner Prize in 2010. One of the most controversial awards around because of its history, the questioning on how some past awardees works could’ve possibly been that good to actually have a meaningful effect on the reputations of well-established artists because of their actions and approach.

Philipsz primarily works with sound and her works often consist of nothing more than an empty gallery and a recording of her own singing and sometimes she would build soundscapes into unusual locations i.e. playing a entirely unrelated recording at her selected site for the installation. Nonetheless, her receiving the award helped sound art gained increasing exposure and is now in a better state of reception.

Lowlands Away (2010) is one such example of Philipsz’ style as mentioned above. She recorded three versions of this particular song which is of a man drowned at sea returning to tell his lover of his death and it was first performed under three bridges over the River Clyde in Glasgow and later on in an empty room at Tate Britain.

Jim Green

Leaning away from the controversial side of sound installations and looking at the idea of having an environment as part of a installation just like Cage’s intention with the use of environmental sounds,  I came across sound artist Jim Green who does it rather well.

For instance with his work below, Talking Fence (2010). How the installation functioned was when people walked past the installation site lined with fencing, activated by a sensor, it would trigger the fence to talk and interact with the passersby giving them compliments etc.as they walk by. Below’s a documentation of the installation piece and the responses from the public were great.

While browsing through more his works I chanced upon another of his installations which was amusing and brilliant – Laughing Escalator (2004). What I get out of this earlier dated work of his is that it has  the same intention like his later piece, Talking Fence above which aims to encourage greater interaction from the public with his works and bring across the connection with everyday life.

What I like about these two particular works of his is his attempt to make relatable and approachable to the public with that light-hearted and amusing touch to it. Keeping this in mind, it’ll be interesting to explore the idea of making our final installation art work based on something that the audience can resonate with.

 

References: