We showed our work in progress on Saturday afternoon. It’s the first time anybody has seen any of the work so it was a bit strange and challenging. But ended up being a really nice cruisy afternoon with firends and others dropping. Thanks to all who came and thanks also for the thought provoking questions!
3 screens projected as 1 channel at serial space open studio
Michele doing the spiel last Saturday at open studio
well, short throw projector is…not so good in terms of detail and image quality…strange grid all over the image. But great to see bits of the work projected! Also the scale of these ultra short throw projectors is amazing. Basically we are rear projecting and so the projector is on the other side of the screen/sheet about 1.5 metres away from it.
Michele with the ultra short throw projection of HokusPokus
ok…so we are about 1 week into our residency. set up in the dark and making lots of sound! its great to have an entire large ‘hall’ to make noise in. I often end up having to edit sound in headphones because studios are hard to come by and neighbours don’t want to listen to scraping metal rings and their harmonics…so actually being able to listen to this stuff in the air is a real freedom.
This installation is a full time job, though. We will be showing the work from November 4 of this year at PSpace, Carriageworks and we are only about half way toward the final thing. This week has also been spent testing out short-throw projectors. They are quite amazing in that you can set the projector up about a metre away from a wall you want to project onto and get a reasonably good image.
Also had first test of the sensor that will activate some of the interactivity yesterday…so we are getting there, but with a crapload more to do!
I’ll post a pic of short-throw tomorrow….
During their residency at Serial Space, Anna Munster and Michelle Barker will be developing and testing the work HoKusPoKus. HoKusPoKus is a 3-screen interactive artwork that uses illusionistic and performative aspects of magical tricks to explore human perception, senses and movement. It takes inspiration from recent neuroscientific interest in magic as a way to understand the relation between vision and movement in human perception. More info HERE.
Roll call: Sam Pettigrew, Martin Kirkwood, Tim Wall, Laura Altman, Tony Osborne, John Wilton, Jeremy Tatar
(Sam P, Martin K, Tim W, Laura A, Tony O, John W, Jeremy T)
Notes:
(Sam P, Martin K, Tim W, Laura A, Tony O, Jeremy T, John W)
Notes:
[Mike Majkowski and Jon Watts arrive]
Free play 3
(Sam P, Martin K, Tim W, Laura A, Tony O, Jeremy T, John W, Mike M, Jon W.)
[Sam Pettigrew and John Wilton leave]
Mike’s piece
(2nd variation)
0 – 2 Group 1
2 – 4 Group 2 + 1A
4 – 6 Group 3 + 1A + 2A
6 – 8 1A + 2A + 3A
(PAUSE)
8 – 10 Group 1
10 – 12 Group 2 + 1B
12 – 14 Group 3 + 1B + 2B
14 – 16 1B + 2B + 3B
Try and stay on the same sound idea for each half of the piece.
Play more on the quiet side.
Played with a clock.
(Mike M, Jon W, Jeremy T, Tim W, Laura A, Martin K, Tony O)
Notes:
General discussion:
Tony Jon and Mike Jam
Laura has an idea for the performance on Friday 24th – lots of little groups within Splinter i.e. splintered Splinter. All in favour. Motion passed.
[Martin Kirkwood leaves]
ABAC (should we rename in A1 A2?)
Tried it over 10 minutes, with ‘A’ returning at 5 minutes.
(Mike M, Jon W, Jeremy T, Tim W, Laura A, Tony O)
Notes:
A1 (i.e first half of ABAC)
Start with your own predetermined ‘transparent’ sound (i.e something that could easily develop in any direction)
5 mins (followed by a free play, 5 mins)
notes and final general discussion:
!!!! IDEA !!!!
Start an archive of pieces that Splinter has played over its 10 or so year history…
(ideas of stuff to record: Xing, Mike’s new piece, Adam’s piece, Finn’s piece, 2 points?)
The end: 6pm
Rollcall: Sam, Bronwyn, Peter, Alison, Joe.C, Alon, Jono Wilton, Jon Watts, Laura.
Piece: ABAC (Alon)
Start playing and let it evolve. Return to original mood and let it evolve again.
https://soundcloud.com/the-splinter-orchestra/1-abac/
On this recording: Sam, Bronwyn, Peter, Alison, Alon, Joe.C, Jono Wilton
Piece: 12345
For the first minute only one person can be playing, in the second minute two people can be playing, in the third three, and so on.
Two takes recorded: Sam, Bronwyn, Peter, Alon, Jono Wilton, Laura
https://soundcloud.com/the-splinter-orchestra/2-12345/
https://soundcloud.com/the-splinter-orchestra/3-12345/
Piece: PETE
Like ABAC, but PETE.
https://soundcloud.com/the-splinter-orchestra/5-pete/
On recording:SAm, Peter, Laura, Jon, Jono
Piece: Jon’s multitrack idea
Record a piece, and play it back through the P.A and play along.
Maybe repeat in future versions?
https://soundcloud.com/the-splinter-orchestra/6-jonsmulittrack/
Sam, peter, Laura, Jon, Jono
8.12pm: end of first rehearsal.
Yo.
Here is where the Splinter Orchestra records and documents its goings on.
We will endeavour to keep good minutes at our rehearsals and present you, the internet, with a full documentation of our discussion and playing.
We will be working on pieces, playing and music in general.
recordings will be made available, please check them out!
Splinter
Some secondary circuit board impressions – on foil. Looks better up close, so come along to our open house/showing/performance thing.
On the subject of connections… I was fortunate enough to get the fillet lace I’ve been working on to produce a 1.34k sine wave. Now to practice my oblique loop stitch motifs.
Something that links our practices is that we’re both into exploring connectivity. It seems that for us this isn’t just about the straightforward making of an electrical connection, but more an investigation into different states of connectivity: disconnections, interconnections, and partial connections all have a role to play and are considered to be of equal weight. Not all these connective states are necessarily electrical or material — they might be fictional or imaginative, social, cultural, ecological or environmental. Junctions, junctures, detachments, interruptions, redundancies, overlaps, shaded areas and crossovers form the works as much as they inform our thinking about them and our practice in making them.
One obvious extension of our approach to connectivity is a mutual concern for the balance between conductivity and insulation. However, things are never going to be quite that simple when our intention is to re-imagine what our materials are, and the ways they might be used or have their workings exposed. Added to that, the openness of our practice includes and embraces a certain randomness, allowing unpredictable results to arise — with any luck. So maybe that relationship might be recast as being between expectation and interference, with interference recast in a neutral, if not positive, light. For example, metres of uninsulated copper wire can easily act as an antenna — if using uninsulated copper wire brings the sound of radio broadcasts into the work, then great! That’s the sound of the electromagnetic environment that surrounds the work, its context, its ecosystem.
Green group, but this time with drifts of copper wire. This is more like it…
Green group, test version (ie: the mother boards are connected by cable and alligator clips instead of copper wire).
