Another really nice project we discussed today. Created by James Bridle, the website documents the movement of a virtual ship that has a physical presence, however it doesnt move but is represented online by measurements taken from a wind machine on top of the boat


Reporters without borders

A cool project using QR codes which play videos over faces in a magazine.


From looking at Douglas Gordon yesterday, and today having a look through Richard Prince’s work, they both liking using collage and cutting up images (or cutting bits out of images). I think Angus Fairhurst’s work also falls into this category, I would quite like to make some digital collages which I might do today in work.

In the case of Douglas Gordon he also burns and destroy images to create his work, a good example is the first work of his below.

Angus Fairhurst

Richard Prince

Douglas Gordon

Douglas Gordon

Douglas Gordon

I’ve been a big fan of Douglas Gordon and I particularly like how he appropriates old footage and re works it, would like to adopt a style like his for any video work I do

Janet Cardiff

This artist uses sound to heighten and alter individuals experiences of space and time. Quite like these idea and could relate them back to sound projects I wanted to do

Susan Philipsz

I would say Susan Philipsz Turner Prize winning installation Lowlands sort of relates to my sound project in a way however I wasn’t aware of this at the time (honest), it’s still not finished but I have a Scottish theme so this work is good for a contemporary context reference

Robbed sound art article

Quite interesting read, took it because I like the sound work mixed with old paintings.

james webb is a cape town-based sound artist, writer, lecturer and curator. webb’s work has been exhibited in south africa and abroad on a number of group shows. james webb was a recipient for an absa atelier merit award in august 2002. his debut solo show, “phonosynthesizer,” a three room sound environment, was held in a deconsecrated lutheran church. in 2001 he exhibited “thesexworks,” a nationwide telephonic and online public sound installation that was met with critical acclaim. webb contributed to holger czukay’s “linear city” album in 2001 and has attended master classes given by brian eno. in september 2002, he exhibited on radiotopia and took part in search at ars electronica in linz, austria. he is also a multi-media writer, conceptualist and journalist. james webb’s work is represented in the south african national gallery and numerous
private collections.

sound art south africa

a general introduction to focus myself.
although there are many artists using sound in their practises and many musicians turning towards art contexts to execute their work, sound art is still a relatively small medium in south africa. a sound installation, by which i mean a work that has been created in response to a space and that uses sound as its primary medium for conceptual delivery, is a sight (and sound) that is quite foreign in our country. local galleries (and in some circumstances artists and audiences) are still grappling hard enough with most new media art, that it is a stroke of good fortune to encounter a sound artwork inside their hallowed halls. this isn’t always a bad thing, and there are, of course, some exceptions?

some sex to get us going.
topless. breasts bound in masking tape, with jeans unzipped just enough to expose a tantalising tuft of pubic hair; a poster exposes the cropped, fleshy delight of a female figure. the name “belinda” is branded next to her with a phone number. the number links to an answering machine in the museum africa where gallery patrons are privy to the live hiss and crackle of sweaty voices imploring belinda to meet them; suck them and f..k them. belinda blignaut’s “poster” (1995) work had some serious repercussions. sound art had entered the gallery.

what about the people?
technology is a hurdle for many south african artists. one clever way of exploring the city’s sound nerve net without the need of heavy technology was highlighted by jane rademeyer’s “sound chain” (2000). people going about their daily chores in the centre of cape town started to wonder what was going on as a musical pattern emerged out of the unlikely succession of sounds in their environment. the familiar noon day gun blasted, followed by a sounding of ship horns from the docks, echoed in the hooting of cars and then pursued by the urgent cry of a fire engine’s alarm. the city was being mapped out in a 3d sound piece that was all around the incidental audience. it was relevant, exciting and accessible. best of all it was public.

how can we afford all the latest sound programs?
when a tool becomes an idea – then, very often that idea is nothing more than a gimmick. the same is true in this situation – not every one has access to fancy recording stations, microphones and other props in the international sound artist’s arsenal. sure, with the growing influence of the web more and more computer software is being made available. what about the people that don’t have computers? what do they do? like all good africans, they make a plan.

examples of this ethic can be found in the work of the odd enjinears, a troupe of performers and sound artists who make site-specific sound sculptures in extraordinary locations. their answer to the expensive and inaccessible nature of technology is to use everyday, throwaway stuff and create the magical out of the mundane. theirs are traffic cones tuned with piping to make deep, burping trumpets; piano wire suspended from the ceiling and rubbed with thumb and forefinger to tease out hauntingly beautiful drones. one leaves their performances feeling threatened and empowered by the sheer possibility of objects.

let’s wrap it up
the medium is still in its infancy. curiosity has set in and more and more people are wanting to play with sound and experience artistic communication through this universal medium. the lack of excessive international influence is birthing some exciting results. these results are often not seen for the gems that they are by local galleries, forcing the artist to take them elsewhere – putting the exciting result to good use by placing it in new spaces for new audiences to enjoy.