Many questions posted from both Danielle and Igea are pretty much the same questions as before. I think I’m still figuring out the options available to go through considering sound investigations and other artists’ works are mostly based on technology while I’m trying to do it analogue. But like Danielle said, I could learn how technology works and maybe apply it in design later on and also find the reason why analogue and not technology. (along with other things to research on which the construction of funnel design and sound research takes a lot of time and at the same time trying to understand the physics) And yes, following to Danielle’s question in the crit feedback, I’m not trying to do this by recording sounds but instead framing and making it audible in real time.
But I think, one way to move forward is first of all,
(1) continue to do more of sound drawings (different techniques) in order to get the understanding of the form or spatial qualities and also as a drawing language.
- divide the type of sounds (built environment; traffic, human conversation, cyclists, human activities)
- nature (of the river since East River plays significant part in the whole Brooklyn Bridge idea and its construction at the time)
- more detailed sounds of something hitting on the bridge’s structural elements (industrial) in order to capture the sounds
(2) Do layerings of Brooklyn Bridge history with architectural lines – reconstruct – past and present
(3) Do minor sound recordings and maybe some video compositions. I’ll focus on these 3 steps first (I guess)
Referring to the tube as the form during the cross crit, is not the final form that I’m looking for. That was an early step in understanding the idea of sound decays by time in oppose to the length of the tube and somehow that idea goes parallel with the doppler effect which also decays by time. While reverberation happens when the sound keeps bouncing on the walls and creating echo (pretty much the same with how Whispering Gallery works) (but with additional sound absorbing interior, that’s how reverberation can be reduced) What I intend to do with these science terms of sound research is getting the spatial programs or more like the auditory experience in the museum (terms such as ‘Sound Portal’, ‘Sound Catching Architecture’, ‘Time Travelling Machine’, ‘Time Traveller’) Since this is the only way I know how to move forward with the sound thesis.
That’s what I have at the moment. Will proceed with portfolio as well.