We met at Signal for today’s class session, for a short brainstorming session on how we might be able to collaborate with Signal for our final class exhibition. There are a few glass panels that are able to project photos/videos, and a couple of speakers that produce sound. Our task is to come up with an idea that will utilise this technology and enhance our understanding of what it means to be specific to site.
Seeing as how Signal is located near Yarra River and a train station, some of the words that resonated with us were things like: water, reflection, light, buildings, home, body, movement, signals, city… The list goes on.
One thing I was reminded of upon looking at these glass panels was an art piece by Marina Abramovic. I had the privilege of watching this piece at the MONA museum in Tasmania a couple of months back. Visitors were recorded and invited to hold up a frame to their face, and scream as loud as they wanted. It was set in quiet Norway, atop a hill. The entire compilation of screams lasted for about an hour (if I’m not wrong) and as I watched it, it was compelling and almost painful; it was as if I could see the pain and expression behind those people’s screams. Here is a link to the story; I was unable to find a video on it.
From there, I wanted to think about an idea that involved the public in some way, that they would be able to participate and later see how they have contributed to our exhibition. This thought also reminds me of Marcus Cook’s work. I’m not sure if that would be too taxing, but it’s certainly something I’ll think about in the coming week.
Today, we were required to present our video and also what we found interesting about our respective artists. As Siobhan, who was editing the video, was unable to export the video, Jordan and I only got to watch it for the first time today. Happy to say that it turned out pretty well.
What I found most interesting about Marcus’ work is the fact that he had to give others the authority to play around with his invention. I wrote about it in my reflection, about how the audience was given an opportunity to participate, to collaboratively create something new with his piece.
Joseph and Robbie both gave us feedback on what they thought about our video. We were told that we managed to capture it well, and because there was a crackly sort of effect in our audio recordings as Marcus talked, Joseph mentioned that the inconsistencies would be something that Marcus himself would appreciate and be able to relate to.
It was something new to reflect upon, because it made me think about how videos are capable of capturing a person’s personality based not only on the content, but on technicalities as well. Overall, it was a really good experience, being able to talk to an artist who works the way that he does.
We also got to see everybody else’s videos today, and it was splendid. I could clearly see that the artists had left lasting impressions on the students with the way they worked, and just being able to be around such artistic individuals was indeed something that we needed, not just for our professional practices, but for our creative ones as well.
“You never quite know [how the project will be] until you’re installing it and you see it run for the first time; how the space is going to shape the project.” — Marcus Cook
For our third assessment, each group was given the opportunity to meet different artists, individuals who have previously utilised the Testing Grounds space for their projects. Marcus Cook of Shogun Lodge Services was our designated artist, and we had the honour of arranging an interview with him. We were unable to find much information about Cook off the Internet, so meeting up with him and listening to his stories and experiences was indeed a privilege.
Having had a dinner party at Testing Grounds with my fellow classmates a couple of weeks back, I kind of had an idea of what it felt to be in that sort of space, using it in unconventional ways. In Cook’s case, he set up a distance-based sensory project in which several sensors were placed around Testing Grounds. Brandon LaBelle (2004) describes “sound installation art” as work in which “sound [is positioned] in relation to a spatial situation, whether that be found or constructed, actualised or imagined”, and how it has reimagined the social-spatial power. As people moved around, and noise and sounds from the environment took their course, information was then collected on a network and sent back to processing computers that in turn, modified video projections that were displayed on the walls of Testing Grounds.
According to musicologist Helga de la Motte-Haber (1999), she suggests, “Located beyond the realms of the traditional art world, installations created a new consciousness of our perception of reality. Here, the public was also granted a new authority”. This was evident in Cook’s project at Testing Grounds. He talked about how he can never predict how people would interact with his invention. “There is a feeling of [the project] being a larger thing in that particular sort of space because of its flexibility and openness … If you’re building things you want other people to use, it’s one of the things you have to sacrifice very quickly – or, it gets taken away from you,” Cook says.
In Born’s Music, Sound and Space, Ouzounian (2013) talks about the “extended spatial imaginings within music” and how it brought about new relationships and experiences with audiences, especially the “repositioning of audiences as co-creators of music”. She emphasised a particular course at the New School for Social Research and how it essentially proposed audience-interactive works. Much like Cook’s installation, he was able to see people do things completely different from what he intended, and how that was actually one of the greater things about his discovery. “It reminds you that you don’t know everything,” he said with a smile.
Cook also mentioned that he used to see these things as somewhat fleeting; something that you had to experience for yourself as you are in that moment, knowing that it wouldn’t always be there. In the same way, Ouzounian (2013) talked about sound as sculpture, and how they were sometimes “particularly ephemeral, consisting of actions so incidental or brief”. Cook’s approach towards Testing Grounds was an experiment, and he found great pleasure in watching people interact with his work, seeing how the visuals projected on the walls would change, shift, and shape. More than anything, they were moments that happened once and were significant for that segment in time; sequences that changed every other second.
Listening to Cook talk about his experience with Testing Grounds, as well as sharing about some of his fellow artist friends’ works, reminded me that art is an important, collaborative effort that brings people together. His source of inspiration does not only lie in the people who come across his installations, but also the people who have utilised Testing Grounds just as he has, like his friend Keith Deverell. These artists have “imagined new interactions with their publics” (Ouzounian 2013) and thought of ways that these audiences are able to work hand-in-hand with what the artists themselves have created.
Overall, this documentary project was a fascinating experience as it opened my eyes to the various artists and their capabilities; their wild ideas and determination to make it work. By relating Cook’s work to Ouzounian’s take on sound installation art (together with her usage of ideas from various professionals), I gained a better understanding of how his work found its place in the world, and how interactions are formed and regulated to create brand new discoveries. More so, it has further sparked my interest in Testing Grounds as a space (and place), and how so many artists have once formed a temporary home in its margins, not forgetting the many collected encounters that have come together with it.
Ouzounian, G 2013, ‘Sound installation art: from spatial poetics to politics, aesthetics to ethics’, in Born, G (ed.), Music, Sound and Space, Cambridge University Press, UK, pp. 73-89.
As I re-watched the interview with Marcus Cook and once again listened to his experiences with Testing Grounds, I began to become more interested in what he was doing and his passion behind it. One thing he said that particularly stood out to me was this: “If you’re building things you want other people to use, it’s one of the things you have to sacrifice very quickly – or, it gets taken away from you”.
As somebody who enjoys art, I took this to heart. I enjoy illustrating and designing, and one of the things I have always struggled with was “letting it go”. I never really fancied the thought of designing for others, simply because it always involved different visions and expectations. I enjoyed doing art for myself.
I have spent the past few years attempting to change or modify this mindset, and it seems that Marcus Cook is one of the artists I’ve met that has spoken into my thoughts, and reminded me that the beauty of art is being able to share it with those around me. His words helped me remember that I have to learn to let go of certain things in order to watch your passion and knowledge grow, just like how he took back with him so many observations and discoveries that allowed him to better himself as an artist and individual.
In the same way, I hope to be able to learn from that and learn to sacrifice these things as well.
Over the past week, we had been discussing a lot of our plans over Facebook Messenger, seeing as how that was the most convenient method for all of us. Jordan had been e-mailing Marcus Cook, our assigned artist for Assessment 3, liaising to come upon a suitable day in which we would be able to hold an interview and film a short documentary with him.
And so, the day was finally here. Siobhan had to babysit, so Jordan and I handled the interview. I came up with a couple of interview questions to give Jordan a rough idea on some of the things he could potentially talk to Marcus about, and Jordan booked a TV studio at RMIT.
On the day of the interview, however, we found out that we had been double-booked. However, we were lucky enough to get help from some of the RMITV crew, and they reassigned us to a radio theatre at Building 9, and even gave us a couple of external lights. Jordan and I had no experience whatsoever with setting up those lights, but thankfully we managed it quite alright.
We set up a key light, back light, and fill light. We arranged the setup, had the main camera filming on a tripod, a Zoom mic recording audio, and one floating camera which I later handled. On the other hand, Jordan held the interview with Marcus Cook. No doubt there were a few technical difficulties with the main camera as it heated up and also ran out of memory, we eventually managed to get the footage we needed, so all was well.
Overall, it was a good experience, from contacting our artist, all the way to documenting his experiences with Testing Grounds. Siobhan will be editing the video, and I’m personally excited to see how the final cut would turn out.
Last night, we headed to Testing Grounds for the dinner party that we had been talking about in the past few weeks. We were going to try out Joseph’s backpack projectors, and all of us were pretty excited about that.
By having the dinner party at a place such as this, it made me think about how we might reuse a place for our own purposes. I took several photos to illustrate the environment that we were in. On a wall right next to the electric blue TESTING GROUNDS sign, was a lovely projection setup. It reminded me of the Wednesday Night Market – they, too, have weekly projections of old movies, sometimes the silent kind, and people could gather around to watch short films from long ago while feasting on whatever night market goodies they could lay their hands on.
It was a lovely night, complete with food – each person was required to bring something to the table – and a barbecue pit as well. There was salad, fruits, hot sausages, and even a homemade cake topped with bright blue icing, chocolates, and lollies.
We sat on plastic chairs around the little bonfires, enjoying the music and embracing the cold that came along with it. All was well, and it was a very pleasant evening.
It then came the time for us to try out Joseph’s projection backpacks. I admit to not quite knowing what I could project for that night, so I chucked in a random selection of photos and videos that I had.
When the time came for us to head out in the cold to try out the totally cool and advanced – excuse my use of simple language – projection backpacks, Dea managed the gadget while I helped take some video footage with her camera. It was cooler than I expected, as we projected different images and videos onto various places.
As I reflected on the evening, I thought about how different visuals are capable of reacting with a particular environment and the various meanings that could be concocted out of it. Apart from that, the use of different textures and shapes in which we projected on could too be something of consideration. It was an eye-opening exploration piece, and it was something that we were left to think about in regards to space and place, and the way in which it was utilised.
The entire evening was both enjoyable and interesting, and it ended with Jordan presenting us with a short musical accompaniment on the outdoor piano that had a spot at a quiet corner of Testing Grounds.
In class earlier today, we watched the final few presentations. One thing that stood out to me was from Elle and Claire’s videos of the drains at South Yarra. They placed little candles on the waters of the drain, and we watched as they travelled from the pitch darkness of the tunnel, out into the bright daylight. There was a sort of significance to it, and it was almost as if a reminder of what our own lives are like.
The drain reminded me of life as a valley; a continuous journey. The lighted candles represent us, as people, and how we go through life without ever being able to go back in time, but having to keep moving forward, through both darkness and light. And if we can keep a positive attitude, such as the lights do, even darkness – or difficult times – wouldn’t have a hold on us.
There was also a moment in the video where they were in the bridge/tunnel, and they shouted “HELLO!” followed by some whistles, as if testing what they sounded like under there. Jordan commented on the audio and it was a very interesting point. He talked about how sometimes, the nature of the audio is sometimes lost when we try so hard to manipulate it or imply different things on to it. The innocence and natural response of them going “HELLO!” just gave the video a rather organic feel, because if anybody were to venture down that tunnel as well, it would too be our very response.
After having completed and submitted our videos for Assessment 2, we were then required to present them in class earlier today.
Some of the comments I received was on the video’s sense of eeriness, which was what I was aiming for. Someone also mentioned that he liked the contrast between macro and wide shots. Robbie noticed my tendency to trace objects and linkages from one end to the other, and also the play of light and blurriness, and mentioned that it was as if mapping the building’s history and the connection of perhaps people who have had interacted with that place.
It’s interesting how we begin with a particular intention or interest in mind, and how others who watch it would be capable of noticing something else instead. Robbie also commented that my sound was a little overlooked – which I now do agree with – and that there is so much more that can be experimented with both sound and visuals.
Overall, it was a very interesting class as we got to see the places that our fellow classmates have explored and documented. It’s very inspiring. I also do hope that I will be able to outdo myself in the upcoming assessments.
Traversing up the stairway on my first visit to the Nicholas Building, I had intentions to explore it, with thoughts that it might be a good place to carry out Assessment 2. However, two floors up, and dread had already kicked in and I didn’t want to see what lied ahead (well, at least not alone). I’m not often someone who is easily creeped out by my surroundings, but I had enough of the eerie silence and dim hallways for one day. It is said that “a person entering the space of non-place is relieved of his usual determinants” (Augé 1995, p. 103). I wanted to go ahead, but instead turned back and decided to come with somebody the following time.
With the experiences I previously had in mind, I decided to document the Nicholas Building in a way that revealed its ability to instil the feeling of being trapped or confined. The next time I went, I was with my group mate, Nicolette, and we explored pretty much the entire building. By “broadening and deepening [my] sensitivities” (Mason 2001), I began to notice the various elements that constituted this prominent building. I looked at the jarring white lights and the cracks in the wall; the alluring architecture and the graffiti on the windows.
We were doing some filming in the elevator when a woman entered and asked us what we were doing. Filming for a uni project, we told her. “You should film one for us,” she said, as the elevator stopped at her floor, indicating that she offered Tarot reading. On a different occasion, we were at the vertical stairwell, and at the very top of the building was a heavy grey door that read NO ACCESS: MAINTENANCE ONLY. We were kindly acknowledged by a woman who too asked us what we were doing. Filming for a uni project, we told her. “You see those locks?” she asked, pointing towards a window nearby. “They’re there ‘cause they found some kids who liked sneakin’ out over there, sittin’ there for a smoke.”
Just as in Karavan’s memorial, the keepers of this building have too “intentionally insert[ed] manufactured objects into the landscape” (Hornstein 2011, p. 19). Padlocks to avoid youngsters from going out for a smoke; closed up entrances that refrain wanderers from wandering; windows that are locked on the inside and barred up on the outside. The walls are stained with graffiti and blotches of spray paint, and stickers dominate little crevices in the building – perhaps a sign of rebellion, or of recognition.
Looking at this building as a non-place and how it “creates neither singular identity nor relations; only solitude, and similitude” (Augé 1995, p. 103), I am brought to think about these spaces that have made room for conversation, and how they give me the impression that there is so much more to the Nicholas Building than what we know. So many hidden secrets, trapped within these walls; countless stories that seem almost as surreal as the building itself.
Today’s studio class involved us playing around with sound and noticing just how much information can be found (and manipulated) from a single piece of audio. Sound plays just as important a part as the visuals itself, and is capable of introducing its viewers to an experience, be it long-lived or ephemeral.
We took a snippet from one of our Assessment 1 audio files, and I added a reverb and delay to it. Everybody worked on creating their own masterpieces, and we proceeded to the hallways of Building 13 where the sounds from our Macs filled the air. With our devices in hand, we entered the lift and proceeded to the fourth floor of the building, and continued our journey by taking the stairs all the way back down. Our sounds filled every corner, and it was a disorganised yet fascinating noise.
Later at night, I went for an event and did a little bit of recording. Took a snippet of it, and played around with it. This short audio is what I got – a second of chaos.
