“It’s a different set of mind. Namely, it clearly breaks with the figure of the romantic genius that is still the archetype of the artist in the imaginary of our culture. It is not any more about inspiration, a privileged sensibility or a unique talent to subdue matter and render an Idea visible. Instead of all that, there’s an iterative process of experimentation. Something like: Set up a physical or conceptual device, kick it in motion, step back and watch it develop. There’s a back and forth with the autonomous system that repeatedly find the artist as a spectator of his own work.”—Leonardo Solaas on Generative Art. From GENERATIVE PRACTICE THE STATE OF THE ART.
Mine, Christine, Charlotte and Rob’s composition of field recordings from the water front and Shed 10.
Shed 10 is a huge, old, warehouse on Princes Wharf. The building is open at both ends and is inhabited birds. The external ambient sounds of the sea, the waterfront, road and sea traffic, combine within the building as sound board. In this way the structure blends the sounds.
It was interesting to walk around the city focusing on sound. It’s hard to concentrate on sound when you are used to an overwhelmingly visual environment. The most interesting sounds I found are echos which change as they decay with a space. Enclosed concrete carparks have their own distinct acoustics which enable very low frequency sounds to occur while these interact with a variety of other environmental sounds from within and from outside the structure.