Here are some examples of artwork, artists, thinkers that have inspired me to take on my project.
An artist that has always been a big influence on me is the work of Mira Calix.
One of my favourite installations of her is My Secret Heart.
A recent collaborative artwork of she was involved in is titled Planets 2018 is a response to Holsts work. Each artist was given a planet and had to make a music interpretation of it. Mira had Mercury. Working with a professor of planetary science, she sonified data from a simulated flight path.
‘my musical interpretation of the planet Mercury has been developed from sonified data gathered from my (simulated) flight path over the surface. This opportunity to pass over the craters of the planet, all named after artists, was kindly facilitated by David. I gave the material i collected musical parameters, including the 8 tone scale at the core of Holst’s original score. These compositional choices were made with a more conceptual view to connect his, dare i say it, flight of fancy, around the planet and my more binary one. The two approaches work in juxtaposition with one another, eventually leading to a brief moment of musical symbiosis. Where as Mercury may have been, amongst other things the keeper of boundaries in Greek mythology, my new score is a journey that embraces freedom of movement, without borders.’
My other influences include writers/thinkers/field recording archivists such as Bernie Krause who I think kick started my interest in soundscapes and field recordings. His book The Great Animal Orchestra has been a big influence on me – making me think about our soundscapes differently. This book coincides with his project Wild Sactury. Not only this project a mass archive of sounds/soundscapes that Krause has collected over decades but has also built a community around it where other outputs such as installation work and a program that includes workshops/talks/internships/soundscape safaris have become a starting point of a really important field.
Several communities that surround soundscape ecology include the WFAE (Worldwide Forum of Acoustic Ecology) and the AFAE (Australian Forum of Acoustic Ecology). Lead researcher in the field of acoustic ecology is Leah Barclay who in general has been a big inspiration for me – not only because she is a leading female researcher but for also for how much she has made such a large impact to such as small field. He has just published a collaborative paper (that I cant currently find but will find…)
I went to the Sound + Environment 2017 conference at Hull University where I presented a paper titles ‘Can Soundscapes be Seen as Music?’.
I’ve always been looking at what the United Visual Artists are up to as they are always coming up with really interesting and boundary pushing projects. 440hz and Our Time are a couple of large scale sound and light installation works that have impacted me in how I think about space and installation structures as well as how sight specific work can be make an impact on the viewer/audience.