Record player orchestra (2014-2019) [multi-component output with contextualising information]
- Submitting institution
-
Bath Spa University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 3345
- Type
- M - Exhibition
- Venue(s)
- A3 Project Space & Vivid Projects, Birmingham, England; London Analogue Festival, Oxo Tower Wharf, London, England; Orchestra:Instituto Departamental de Bellas Artes, Cali, Colombia; and other locations.
- Open access status
- Out of scope for open access requirements
- Month of first exhibition
- -
- Year of first exhibition
- 2014
- URL
-
https://doi.org/10.17870/bathspa.c.5224730
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Seeking to reposition his own sculptural practice from controlled material production and exhibition to one more socially interactive, in 2014 Carke developed the Record Player Orchestra: a performative and participatory installation exploring the possibilities of collaborative and symbiotic manipulation of sound through physical engagement with an iconic object. The project was proposed in response to a 2013
Open Call from the Old Vinyl Factory, formerly EMI, prior to its redevelopment. There have been 14 RPO performances since the first event in May 2014, 4 of which are documented in this collection.
RPO asks 4 questions:
1. Can a record player function as an instrument ?
2.How might multiple participants and their record players interact as a form of orchestra and create and perform collaborative compositions?
3. How can the interactive repurposing of an object reframe the relationship between artist, artwork and audience?
4. How can the mute materiality of an object become audible and operate as a form of hybrid sculpture?
The RPO consists of up to 16 record players and participants, each with a copy of the same vinyl record featuring 18 single tones on side A, and 7 tracks of silence and record player sounds on side B. RPO’s starting point was one of non expertise, all ideas explored with no prescribed outcome, but to experiment and create something new.Through a non hierarchical process of improvisation, listening and response, with all record players in use simultaneously, collaborative compositions were created and then recorded.
From Clarke’s sculptural perspective, key to the RPO is the participant’s physical engagement with the object; the shaping of its own sounds rather than its mute materiality, activating new narratives of the object, toward a type of hybrid sculpture, so what changes is our encounter, in the present, with the object, not its form.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
