Surface Resonance…

Surface resonance focuses on felt and heard vibration, how they are perceived and how they contribute to the experience of sound.

Through composition for the auditory and tactile senses I have explored vibration as a product of low frequency (bass) sound, drawing inspiration from musical contexts where sensation from sound is emphasised.

As low frequency sound passes through a space it can stimulate vibrations in the building structure. These vibrations may be experienced physically, through the transmission of energy from the building and into the body, and/or may create vibration sound that is experienced aurally, such as rattles from fixtures or windows.

My interest has been the characteristics of these vibrations and how they may convey connections between sound and the physical aspects of the body or a space. I have explored the idea that vibration, both heard and experienced physically, can change a person’s perception of sound.

Research question and aims

The objective of this project has been to develop compositions for installation, which communicate my findings on felt and heard vibration. I have aimed to create works that draw association to listeners’ past experiences and engage with the way vibration is perceived.

At the beginning of the research program, I asked:

Through sound design and composition incorporating sensation technology, how can I use physical vibration to draw attention to the role of the body in the experience of sound, and how can I draw upon vibration in musical contexts to achieve this?

The question sustained throughout the project, but formed into four key principal research aims or foci, framing my research approach and helping to define the field covered. These concerned:

• abstracting musical basslines into an environmental domain
• the articulation of building materials through vibration
• composing for a tactile sensation bodily experience, and
• understanding the dialogue between hearing and sensation, and how felt and audible aspects affect awareness and perception of each other

Principal approaches to research and composition

The research has included development of a specially designed 1.2m² tactile “table” system that translates sound into strong vibration that may felt through touching or standing on it. Amplified audio signal is fed into the table, which incorporates a vibration device in place of a loudspeaker.

A core component of the research has been experiments with, and composition of vibration material for this table. I have explored how vibration is perceived, the relationships between vibration sensation and hearing, and how in engaging with a vibro-acoustic work, each sense can affect perception and awareness of the other.

The other central element of the research has been composition with vibrating building materials. I have used the vibration table to ‘excite’ material such as window panes and sheet metal into resonance. Recordings of this have been the basis for electro-acoustic composition, made to partner with the vibration material above.

The final works engage both the auditory and tactile senses, by involving audience interaction with the table to experience sensation, and loudspeakers reproducing the electro-acoustic material derived from objects brought into resonance.

The initial inspiration – musical vibration and riddim

My research has drawn from and has been influenced by environments with a strong and unique association to felt and heard vibration.

These are specific contemporary “dance” music performance contexts, where high levels of low frequency sound (as bass in music) stimulates physical responses from the body and the architectural environment.

In looking at these contexts as a reference point for my work I have been able to draw upon the unique properties of vibration within music experience, such as its strong physical aspects, and tonal/rhythmical qualities.

Throughout the program, I have investigated how vibration in these contexts can be rearticulated and abstracted in composition. A focus has been on the natural processes of abstraction that occur when music passes through a building and creates audible vibration; and how the resultant sound can shift from being musical, to either unfamiliar or registered as environmental in nature.

An element that I have attempted to capture and test how it may be referenced and abstracted, is bass-line rhythm in dub and dub-influenced music. Throughout, I refer to the term “riddim,” which encapsulates this concept. “Riddim” is about powerful, rhythmical bass, with a lilting ‘drop’ where sensation in the body is gripped and released with different tones and intensities; and a performance space responds in different ways as it is activated by the shifting bass sounds.

Play above or click to open in new window

Example - dub riddim
Rhythm and Sound - No Partial - PK / Rhythm & Sound
Please note - many audio samples herin have significant low frequency content. They should be listened to with adequate loudspeakers or headphones

In a sense, the exploration of riddim has been the common thread in all of the aspects of my research, although its conclusion has brought me to a point and creative approach that is well abstracted from this musical reference.

Conclusion of the research program

To most effectively answer my research question, I have concentrated on testing and developing new understandings within defined, less explored aspects of a broader domain.

For example, my compositions are in the realms of full-body tactile and combined tactile and audible experiences, while recognising the work of artists exploring low frequency sound sensation. With sound, I have concentrated on generating, articulating and recording surface vibration, with an appreciation of artists and works investigating space and object resonance.

Therefore, in finishing my Masters program, I feel that I have thoroughly explored my research question and aims, contributed new works and ideas within the larger field, and developed a solid basis for a broader practice that can build on my current contribution and draw from other recognised and established approaches.

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Overview subsection:  Research aims and program

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  Overview - sound and sensation setup / pdf
  
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  Inspiration in bass riddim sensation
  
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  Objects are brought into resonance
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  Manipulation by hand and body articulates the sound
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