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Resources: Young Associates Audio Project


Barnaby Andrews & Chris Astwood

The Egoistic Wood Block

4 minutes 18 seconds

The second piece we made is inspired and attributable to the carved wooden head, we began by using a 3D model as an aid in imagining and representing sonically the object not as an inherently rounded head but as a tree becoming a square or square-like block of wood that then becomes round and realized, before being left in its glass case ad infinitum. We told this story using music production software to craft an instrumental track using mostly found sounds collected with a field recorder combined with a software samplers and a single synthesiser. After work on the track was completed, we discussed possible vocal additions that could be made and agreed on a general theme and progression that a related poetry piece could take. Vocals were laid the next day over the course of three takes, and the track was then mastered.


​Barnaby Andrews & Chris Astwood

Play the Player

6 minutes

Our first piece uses an augmented 3d model (constructed from photos) of Ossip Zadkine's the accordion player into an instrument. By rotating the model and shining a light at it I was able to extract values representing the height of the model as it rotates around a central cross heir this values were then converted to midi notes and sent to one of two synthesisers. The piece was then recorded live as I tweaked the parameters of the newly augmented instrument. The pure data patch used to convert the model into midi notes is shown below as well as a snap of it all in action during some testing.


​Jack Rice and Dara Arad

Untitled
2 minutes 24 seconds

Please be aware that this audio contains adult content


Kirstin Bicker

150

1 minute 50 seconds

Taking inspiration from the feminist artist Mierle Laderman Ukeles and her Maintenance Art works, Bicker has explored the activities of the cleaning and maintenance staff of the Sainsbury's centre. Her intention is to challenge the otherwise overlooked aspects of social production, and questions the hierarchies of different forms of work, especially housework and everyday labour. Bicker aims to make the private public. The permanent collection started in the home, a domestic space. The work brings to light these otherwise unnoticed aspects.


Jim Cutler and Nicole Hudson

In Conversation

3 minutes 55 seconds

Playfully adapting the traditional format of an audio guide, the piece subjectively looks at the life of the artifacts from a personal perspective, recounting their most present histories whilst light heartedly referencing their (sometimes lurid) past. With origins spread across the globe, and some figurines having their histories linked to rituals such as human sacrifice, the figurines recount through the audio guide, their placid retirement at the Sainsbury's Centre. Created using live recorded interviews with the general public, the piece is a nod towards the animated Aardman series, Creature Comforts.


​James Hassall & Henry Jackson Newcomb

Memory, The Monument

15 minutes 28 seconds

Memory, The Monument is an aural interpretation of Thomas Houseago's Helmet/Mask II. It takes the form of a monologue, delivered ostensibly by the sculpted head itself, ruminating on themes of death, history and identity.

The audio piece is to be considered a translation of Houseago's sculpture into sound. It does not merely use the artwork as a springboard to construct an independent narrative, but seeks to closely map the sculpture's aesthetic qualities, aspects of Houseago's working method, and the web of references and influences that are evident in the artwork's surface, into sound.


Please be aware this audio contains adult content.


​Michael James Lewis and Matthew Parker

Reflections on Collection

8 minutes 16 seconds

Our audio guide is a response to the spatial and temporal conditions of the collection. We approached the objects as a group rather than as individual items in order to consider their collective value and general relationships. The guide attempts to focus the participant on discrete elements of experience as well as the broader cultural context of this grouping of items and the conditions of their presentation.


Isabella Martin

Firsthand

14 minutes 45 seconds


Firsthand is a walk through the Collection, momentarily disregarding the glass cases, to take the objects in mind - and thereby in hand. Together we can navigate this space, using echoes cast by the objects, to offer up the references, metaphors and connections of this moment.


James Midgley

Baby Carrier Adorned with Eyes

1 minute 53 seconds

My piece is a poem based on the Dayak Baby Carrier, entitled 'Baby Carrier Adorned with Eyes'. The poem's themes centre around ideas of social encounter, of the body as shell, of transitions between interior and exterior dimensions and accompanying world views. Birth is also a prominent theme – here subverted into that of consciousness birthed into the body. There is also an undercurrent of the apotropaic – features, such as the eyes on the object itself, used to "avert the evil eye".


Mike Page

Still here right now

2 minutes 8 seconds

An attempted reading that ignores the vessels history and focuses on its physicality in the present moment. A feedback loop (tempered by physical interaction and filtering) generates the natural resonant frequency of an analogous vessel.


Cicely Ryder Belson - Collecting Conversations

Collecting Conversations

1 minute 43 seconds

Altough the SCVA is a very familiar environment, when I visited the Robert and Lisa Sainsbury Collection with an intention to respond to it, I realised how easily it is to overlook the reality of what it is. Foremost it's two people's collection collated over a lifetime. I wanted my piece to identify with the collectors behind the objects through engaging in conversations with people who host their own collections, creating a dialogue not about the objects themselves but about the significance of them together.


Charlotte Reeve

Materiality

18 minutes 33 seconds

Materiality is an audio walk of the entirety of the Sainsbury Centre permanent collection. It explores the sounds created by interacting with typical materials from key geographical locations in the collection. The piece is a continuous stream and it is not dictated to the listener which order these locations are presented. It is up to the listener to think about the physicality of the objects: what they are made from and what they would be like to touch in order for them to follow the route accurately.

In a museum setting, objects displayed are traditionally sealed off from the audience, as a result the audience's understanding of the object displayed can be lost as they have no sense of the physicality of it. It is possible to grasp the context of the object and it's cultural importance from a description or a recognisible aesthetic signature, however, to feel a connection to the piece as a once functional, touchable object is something which can be missing.

Visitors to the collection will hopefully be able to gain a more rounded understanding of the object as a physical piece which once had a practical application through listening to what these materials sound like when being interacted with.


Luke Sanger

Gallery Acoustics

5 minutes 4 seconds

This piece explores the inner mechanics and hidden corridors of the Sainsburys Centre building.

When entering a gallery, one adapts to the silent space. Quiet becomes deafening, insignificant appears monumental. All sound sources used in the piece are captured from the building itself (and the lake outside), using a variety of microphones including contact mics, shotguns, hydrophones and omni-directional condensers.

Various digital signal processing techniques were applied in post-production, to warp and change the sonic footprint of each sound as it manifests in time, resulting in a spectromorphological analysis of the futuristic building.

Some sounds to look out for include: Loading bay, extractor fan, metal shutter door, air conditioning, whistling room, corridors, gallery ambience, passenger lift.


Aurora Widawati

Step

3 minutes 12 seconds

Step, inspired by the painting Walking Man No.3 by Charles Maussion, is based on the thoughts of a morning walk from the bustle of city life into the calm of one's own imagination. The prose is centred on the fact that everything depends on perspective, and one only has to find light in order to find themselves. Surrounded by atmospheric noises that mimic those of everyday life such as footsteps, the track is designed to be soothing and evoke thought.