List of possibilities for Degree Show Piece:

-The structure is made out of natural materials that give the space true resonance and echo. This means that the internal chamber is lined with a hard reflective surface that allows sound to bounce off the walls and spiral up, projectinginto the space. The public can enter it and experience their own resonance within the space.

-The structure is made to look like a chamber, but in fact inside is a virtual landscape and experience. The internal chamber of the structure is lined with sound insulation foam, to make it a dead sound space. Inside it I will install both small speakers and microphones that will be connected to a programme virtually projecting the resonance within the chamber.

-The chamber is a wide spherical space in which the public can enter and experience their own resonance and spatial relationship to the structure.

-The space is womb/ tomb where only one member of the public is allowed to enter at a time.  It is a very internal and private experience. Where the human voice is singing to them alone.

-The space has subtle hints of my voice to encourage the public to resonant themselves within the space.

-There is soil on the floor, allowing the public to see the invisible trails of all the people who have entered before them.

Echo Chambers.....

Next week, I will be finally visiting the Hamilton Mausoelum after going through a long process of communication with the managers on the site. This will mark the end to my investigations on spaces with resonance as I now focius on creating ym own space. I will also be visiting the Roslyn Chapel and Wallace's cave in Edinburgh...This will be my last chance to record my own invesyigations and will give birth to my own creation, where I recreate my journeys and present them to the public to experience for themselsves.....

  

ECHO CHAMBER 

STRUCTURES....

These are a selection of structures that I have been looking at in relation to the possible form for my final piece. At the moment, I am thinking of creating a cone shaped bell, that will be supended from the cieling, with sound projected from inside it. The structures will then be surrounded with soil.

SOUND INSTALLATIONS.....

I thought it would be good to begin looking at ways in which sound has been installed into spaces in the past. Whilst researching, I found some very interesting ways of changing the experience through how you install, position and present it.

 http://www.body-pixel.com/2009/03/03/interview-with-satoshi-morita-on-sound-experiences-through-the-body%E2%80%A6/#more-1962

BLURB...............

Everyone keeps on asking me what the 'MAIN' point to this piece is, and I have to say I am lost, because I am not sure..It is a complex micture of things that I am trying to mesh them all together to create one big project. The piece is fundamnetally a sonic experience, using the human voice to create a dialogue with space. This is done as an installation piece where space and sound come together to create an immersive experience. Within the space, the human voice comes out of nowhere and creates a dailogue with the person standing inside it. It is meant to feel as though you are entering the human body, or an 'internal space'....
This is one side of the piece, the other has to do with the resonance of space and in specific to hsitoric sites. I have been collecting recordings from all over Soctland and in particular looking at spaces that reververate, I have been looking at spiritual and sacred places, tombs and churches. Spaces that hold a lot of resonance within them and already hold a great sense of presence and
With these recordings I hope to create a soundscape to project into the space for the final installtion. This will allow my voice to project the spaces back into the dgeree show, carrying the same presence, echo and resonance.
The final part of the piece is the strcuture I want to project into. For me it is extremely important that there is physical presence of soemthing material, and something that defines an internal experience. I also really want to use soil, this is a very organic material and relates to the cycle of life and death, being a material that symbolizes fertility and growth as well as burial matter. Soil is what I see relates back to the tombs, but also this internal dialogue with the earth, with space and nature.
During this process I have also been thinking of immaterial architecture and how we can create spaces through different mediums, like sense and touch, and sound. But I really do want to create something physical, like a chamber, a structure that the public can enter. This means that within the space, the person inside it can truly be immersed by the experience....
And finally I also love the idea of the peice being 1-1, so the artist is singing to the public directly, as if singing to them, but in a different land. So these, are all my MAIN points, and perhaps what I have to begin doing is focusing on one rather than all of them, although i have connected them so well in my head that now I find it hard to differentiate which one is which, they have all become part of each other.
The main thing for me is that I really want the public to participate in the experience of the peice, I want them to be able to become a part of it...

IMMATERIAL ARCHITECTURE....

Immaterial/Material

Tangible Architecture

Experiencing invisible space

Ephemeral Experience

External/Internal

Internal-Self Architecture 

Listening with/ through the body...Portraying the invisible aspects of space. 

"The richness of the user's experience of any building depends on awareness of all the senses, but immaterial architecture may trigger a sense more often associated with the immaterial such a smell, a touch, or a sound."

After reading the book Immaterial Architecture, I am now really liking the idea of focusing on the space as a invisible form. Not the structure itself but the other side, the invisible side, what we cannot see...I am really beginning to like this idea of 'immaterial architecture'....Before I was really anxious to involve the physical presence of the cairns in my degree show, as a way of bringing the sites back with me. Now I am beginning to realise that the sound themselves can bring the sites back and I can create more ephemeral experiences, more magical ones, where the space itself is sculpted by the sound, and appears invisible...Now with this in my mind, I want to begin exploring how I can create a show based on my experiences and how I can introduce sound to the space, how can I sculpt the experience with no physical structure, just the human voice? Entering and existing the space through my voice...What sort of dialogues do I need to have with the space in order to capture the essence of being within them?....

Richard Long....

3 Minute Wonder: Richard Long, Dartmoor from Nico Wasserman on Vimeo.

Artist Richard Long uses the landscape around him as his studio and sculpts into it, forming natural and environmental art works. He uses the medium of walking and connecting with the land as his artistic process. He connects his relationship to the environment and creates a dialogue with it that becomes the forefront to his work. He describes his practice by saying "it is art that can be made in solitude." This very much relates to the sense of work I want to make, work made in an internal and private space that can then be shared and projected into a more external one...
My art is about the landscape, but mostly what it focuses on is the relationship we have with space and the human imprint we leave behind on the spaces we exist in....I really want to investigate our relationship to space and the invisible ties we have with it. How can we exist through one another? The space through us, and us through the space?....
Long explains that he makes the work for the land and that the essence of social or human presence is not importnat to him. This very much made me realise that in my case, the human presence is the most important aspect to this piece, how we as humans sculpt space and use it to aid our lives. Even thinking about small things, like for example the places I want to visit in the world all hold traces of human  presence. They hold monuments of human activity and show how other cultures have lived through out civilisation. Coming to think about it, I am actually quite scared by the presence of bare landscape, it is very over powering and strong. Yet I love the way we try to sculpt it, and make it into our home, into dwellings we can exist in. This is a very primitive process, we have been doing it since the beginnings of human existence. The places we live symbolise with our lives, and our death. The world is not just a place we live in, it is also our resting place, where our physical bodies lie. Our connection with the earth is vital to the way we live and is extremely personal, each person has their own home, their own external and internal landscapes.

Angkor, Cambodia and Petra Tombs, Jordan. 

We create temples and monuments, create sacred spaces, we cultivate space and the landscape. Human presence can also be invisible, bringing ourselves, back into ourselves. In my own way I want to create the essence of a temple, a space to inhabit, a space to absorb human presence and to regenerate my public, to give them a space to experience their own resonance, and to sculpt the land as a way to heal our selves, to bring is more connected to the spaces we exist in, I want to bring the landscape back to humanity.