EKHE and Chord(s) for Objects
- Submitting institution
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University of Central Lancashire
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 26624
- Type
- M - Exhibition
- Venue(s)
- Media Factory, UCLan, Preston, UK
- Open access status
- -
- Month of first exhibition
- February
- Year of first exhibition
- 2018
- URL
-
-
- Supplementary information
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-
- 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
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1
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- "Ekhe and Chord(s) for Objects are durational sound and sculpture installations by Joshua Horsley and Alexander Devol that evidence a practice-based investigation into the musicality of sound, sculptural form, and material when subject to duration. The interdisciplinary research examines how sculptural, acoustic, and digital technologies interact, questioning how the application of duration as a parameter reconceptualises those interactions as sonic and musical as opposed to exclusively sonic.
Within Chord(s) for Objects the relationship between sound, form, material and space are explored, resulting in resonant fields of tonal feedback sustained between the objects. Chords created through these relationships are subject to further influence by the intervention of audience’s physical presence that introduces duration and change to the sound, producing musicality. Through their presence, audience can influence discrete (pitch, rhythm) or analogue (dynamics, diffusion) aspects of the sound sculptures.
Informed by Chord(s) for Objects, Ekhe furthers the research by simplifying the articulation of sculpture as sounding object and extending the role of duration. Ekhe presents a resonant and evolving 6-hour rhythmic pattern composed using the musical principles of polymeter and phasing. Arduino controlled solenoid valves strike cast forms of aluminium, bronze, glass and ceramic with each material and form resonating with distinct pitch and timbre. The evolving and musical result is furthered by the indeterminate and subtle fluctuations in timbre and timing caused by the gradual repositioning between the sculptures and the solenoids.
This research new listening experiences that emphasise the relationships between sounds, form, material, spatial environment and musicality. The research contributes to the fields of sonic art and sculpture, placing the disciplines in an intimate and perceptible dialogue. The installations (‘Future Sound Festival May 2018 & PR1Gallery, Dec-Jan 2019) exhibited the findings to public audiences (c.500), with online dissemination reaching audiences of 20k."
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
