Recorded/Rendered Creative Work

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  • (2017-10-14) Davies, A; Hibberd, L; Davies, A
    Recorded/Rendered Creative Work
    Parramatta Girls Home Audio Walk is a narrative experimental sound work in which former residents of the Western-Sydney child welfare institution provide an account of the Home from their own experience and perspective. Presented in 13-parts, this audio walk offers a layered, living account of Parramatta Girls Home through the voices and present memories of Parragirls.

  • (2013-11-13) Thiele, L; Hatje, T; Linnenkohl, A; Gillies, JD
    Recorded/Rendered Creative Work
    Granite translates and extends an experience from the phenomenological world to the gallery space. Its sounds and images create an expanded space related to the granite country of South Eastern Queensland, Australia during an intense rainless thunderstorm. No thunder is heard during the work,

  • (2017-04-10) Hengst, S; Hanna, NN
    Recorded/Rendered Creative Work
    Discover how physics and anatomy combine to produce the human voice. Date: Friday, 7 April 2017 The unique sound of the voice starts with a breath of air. Transforming the energy in this air allows us to communicate, entertain and express our identity, mood and personality. Yet, we don't really know how it works. To celebrate World Voice Day*, join Dr. Noel Hanna as he explains the physics behind the voice production, and describes some of the remarkable experiments from the last 2000 years that have improved our understanding of the oldest musical instrument. Noel's talk is sponsored by the Australian Acoustical Society | https://www.acoustics.asn.au/joomla/ 16 April 2017 is World Voice Day (https://worldvoicedayaustralia.com/), which celebrates the importance of the voice in our daily lives.

  • (2017-03-02) Brueggemeier, J; Wodak, J
    Recorded/Rendered Creative Work
    Research Background Cultural engagement with natural collections is akin to the adage of whether a tree that falls in a forest makes a sound if no receptor is around to hear it. Repositories such as herbariums and seedbanks are consigned to silence if their collections are only engaged with in scientific terms. This sound artwork 'seed in space/sound in time' explores how non-scientific approaches to the study of herbariums and seedbanks may be akin to rendering aloud the sound of a tree falling in a forest when no receptors are around. Research Contribution This exploration is conducted 'seed in space/sound in time', the artwork commissioned from the author for the 'Art and Herbarium: Creative Ecological Investigations' exhibition at LAB-14 Gallery. The work sonifies climate data, using the actual scientific experiment that is the subject of the artwork. In this experiment, NASA and the Mount Annan seedbank sent Wollemi Pine seeds to the International Space Station in 2008, to explore the effects of microgravity and ionization on the seeds. 'seed in space/sound in time' is a rendering of 12 months of ‘artificial’ temperature data of seeds used in the experiment, relative to the ‘natural’ temperature of an uncollected seed remaining in Wollemi National Park. The artwork uses sound samples of the Snowy Tree Cricket, which modifies its pitch and pulse rate according to changes in its ambient temperature, to inflect the pitch and pulse of the samples, allowing the listener to hear what would have otherwise remained silent: the day-to-day temperatures experienced by seeds experimented on within a seedbank, sent to the International Space Station or lying in a forest. Each of the three tracks maps the temperature of one of the corresponding seeds over the year-long duration of the experiment, where every second of sound equals 12 hours of the experiment.The left channel maps the temperature experienced by a Wollemi control sample seed in Mount Annan seedbank. The right channel maps the temperature of an experimental seed on the International Space Station. In the center channel is the ‘natural’ climate experienced by an uncollected seed still lying in Wollemi National Park. The work is in four sections, for the four seasons of the year, where the ‘natural’ climate of the outdoor seed follows the seasons, while the artificial climate of the seedbank and space station follow one another closely, following the attempt to keep these seeds in identical controlled climates. Research Significance The work was commissioned by the ARC Centre of Excellence in the History of Emotions, University of Melbourne for 'Art and Herbarium: Creative Ecological Investigations,' exhibition, 2-16 March 2017, LAB-14 Gallery, Melbourne. In addition, it is the first artistic engagement with this NASA experiment, which was itself a landmark event as it was the first time Australian native seeds had been sent into space. The work was produced through correspondence with the following scientists, including the NASA astronaut Prof Gregory Chamito who took the seeds to the ISS: - Prof Gregory Chamito, Lawrence Hargrave Professor of Aeronautical Engineering, University of Sydney - Dr Penny Farrant, Sydney Royal Botanic Gardens and Domain Trust - Dr Catherine A. Offord, Principal Research Scientist, Sydney Royal Botanic Gardens & Centennial Parklands - Dr Peter Cuneo, Manager, Seedbank & Restoration Research, Sydney Botanic Gardens & Centennial Parklands - Dr Joanne Birch, Herbarium Curator, University of Melbourne Herbarium - Leahwyn Seed, Seed Technology Officer, National Parks and Wildlife Service, Office of Environment and Heritage

  • (2016-10-15) Lewis, R; Gillies, JD
    Recorded/Rendered Creative Work
    While artist John Gillies is best known for his integration of performance practices into video art, this survey exhibition focussed on his less well known non-objective work covering diverse media including photography, light sculpture, video art, installation, sound and abstract film. The exhibition surveys work from 1982 till the present including 8 new works created for the exhibition. The exhibition also places his work within a larger historical context of Australian modernist abstract work, especially through his video work 'Homage to Gerald Lewers and Margel Hinder' 2015 commissioned by Newcastle Art Gallery. The exhibition was sonically linked from gallery to gallery by works that used elements of white noise in their soundtracks. Sydney Non-Objective Gallery is known for its reevaluation of abstract and non-objective art in Australia and is funded by Create NSW, Australia Council and Inner West Council.