Reflections on Process
Walking into the abyss
Instructions: 1. walk towards birdsong or voices. 2. turn back on yourself; note what you have previously ignored. 3. draw the clouds you see. name them.
Exhibit Five: “Walking, with love on the mind” Image: A company of enthusiasts
4. Imagine this place a hundred years ago; you are walking that place now. 5. stop to smell the first flower you see. draw it in your note book. 6. walk as slowly as you can; watch the world rush by. 7. run until you are breathless. how does the world feel when your heart is racing? 8. turn leaves over as you find them. use your favourite as a book mark. 9. pick up and keep three stones that feel warm or smooth. 10. exchange stories with the cats you see. they see a lot on their own travels
Scenario ten: it was decided that the newspaper was not, as previously thought, a collection of sad news, trivia and probing hearsay, but instead a repository for found poetry, creative writing and ocular stimulation; a physical mass to incite the sonic imagination. Tabloids often proliferate a commuter’s journey in morose clusters; installations of morphing shape, aleatory music and colours that blend to grey.
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When a tree falls When a tree falls in a lonely forest, and no animal is near by to hear it, does it make a sound? Physics by Charles Riborg Mann and George Ransom Twiss (1910) [3] Our aim is to record our journeys and to reimagine them in ways that will immerse the listener in the landscapes we have travelled; to challenge preformed ideas and open up new inlets to perceive and interact. The decision to use sound as the predominant medium through which to experiment and explore arises from our keen interest in the sonic imagination - the way in which incidental sound, silence, noise and voices can communicate a sense of place and conjure up realms beyond those confined to the physical world. Within our explorations we are mindful of cultural, historical, political and economic, personal and emotional elements that combine to form our judgements of the world, but in equal measure we embrace the ludic, the aleatoric and aspects of disruption within the fabric of the known and expected.