Mediums and thinking for a line of infinite harmonics so far

bouncing sound through a mirror,
recording and replaying sound
Occasional pause 30 – 60 seconds – allows for sounds of the building to become a part of the drawing in conjunction with external sounds – creates uncontrolled transitory texture.

on roof environment  will envelop the building.

set up to paint and draw Only 1.5 hours of moonlight before dawn

the potential of mediums such as elastic, thread, clay, chalk and tape
light mirrors
sticks

Wool -may come under thread – enfolds softly/scratchily, thickly/thinly according to texture

different mediums for harmonic production sounds excellent.
perhaps a consideration for different methods of preparing some of the instruments in some way as a sort of ‘pre-sound’ harmonic alteration to go with the ‘post’ alterations allowed by recording and re-playing through mirrors or other mediums.

guitar to play- but it is more about things one could add to one’s instrument to produce altered sounds, a paper clip here, a pencil there. This sort of thing is especially effective on stringed instruments as the preparations are easily removed allowing the natural frequencies of the instrument to also blossom and become part of the mix.

The Bargate sundial project and the way a simple process began to unfold a lot of potential discussion about change and movement seemingly involving drawers and passers-by–also the invention of ways of making line  – and I wonder if there is anything more in your process that might contribute to the potential of creating a line of infinite harmonics through the spaces of the bargate?

there seemed something very interesting in the simplicity of the idea of drawing the shadows edge that facilitated other things – one of the things we are hoping is that the event will
generate links through difference and gather potential for future thinking and projects

– we are keen to generate future thinking and projects through a range different tangents and to break and re think our own processes through the event.

like the idea that a particular kind of space might  break and re arrange ones ideas and  process.

You asked about why the time –it was a desire to break  and re think things that led us to consider darkness and quite as a facilitating medium – and maybe there is also something about endeavour, and the excitement of anticipation

We see the event as an extension of our work, but also importantly a new beginning through which we can create ongoing links for further thinking and projects that engage with drawing process – in many ways we are most interested in the not knowing and difference as a means of generating links and ideas for the future ,

http://www.facebook.com/video/video.php?v=1483906781376&saved#!/video/video.php?v=1483906781376&ref=mf

Will be on the blog soon … when I’ve worked out how!