Pipilotti Rist
I saw her work ‘Lungenflügel’ in Tate, and was obsessed with it.
Her installations are frequently multi-sensory, they don’t just show video, but create environment. Encouraging the me to experience the work physically and emotionally rather than just watch it.
Sound becomes spatial in her works, shaping how I move and feel within the environment. Her work teaches me that audiovisual art can be tender, immersive, it’s an emotional landscape rather than a narrative.
Shigeko Kubota
Watching Shigeko Kubota’s Video Journal felt like entering an intimate diary where sound functions not as background, but as a pulse.
Unlike common video art, the sound often illustrates the visual field, Kubota’s soundscapes work more like inner monologues. They, the sounds give the visuals a psychological depth that might otherwise remain hidden.
Sound becomes a way of remembering, what was heard then, what she hears now, what she wants us to feel in the present.
I found myself noticing moments where the camera’s movement directly shapes the sound.
R x2 sound art work
This artwork is a computer algorithm collects data from the Internet on the force and depth of shocks in the planet’s crust, capturing all earthquakes greater than 0.1 Richter magnitude scale. On a typical day, there are up to 200 of these shocks. This data is turned into signals that operate the motors connected to the Thunder Drum acoustic drums.
I found myself admiring and have love of the piece. It made me appreciate how sound art often balances precision with vulnerability. The structure is solid, but the sounds it produces, as far as I can get, are ephemeral. That contrast feels profoundly poetic.
It doesn’t dictate how to listen only, it also opens possibilities.
It creates a sonic environment that is not just heard but inhabited.
It made me feel connected to the idea that sound art can be both conceptual and sensory.
Inhabit
You can make art out of anything
Betye Saar
My current idea of my first project is I wanna create and built a home place instruments’ collages, I will build a sculpture (like a real home place), but everything you can see in this is available to play sound tones and create your own music poems.
Here’s the draft of the innovative percussion Instruments I want to create:
And the draft of how’s whole installation looks like:
don’t know why, the image, all of my pics are unable to uploaded, and can’t access the media library. Will put these pictures in proposal document.
New-Century Instrument
Peter Vogel
Artwork: The Sound of Shadows Documentary
The artist Peter Vogel created an interactive structure The Sound of Shadows Documentary, which controlling and playing sounds by shadowing.
Can you say if this work can identified as a instrument? As it can be played sound when human playing it, can expresses melody lyrics, can cooperates with other instruments. As a music box.
as David mentioned in his book vs.Interpretation,
‘ Musicians don’t necessarily think of their instruments as technology, but they are. ‘
‘ And all the sound that come from the instrument are physically modeled digital sounds.’
You can understand, I understood the instruments as technology, it’s another way can indicate without words. Probably it’s better way to blow out own emotions than speaking in words, whatever positive or negative signs.
As far as I can see, the instruments, in any forms, pronating and louding hearable sounds.
everyone can play their own sound poems
I’m keeping wonder why’s most of the sound performances and exhibitions I saw are talking within noises more, can I create a thing that everyone will be able to play, to enjoy sound arts, but it’s in euphonic, dulcet expression.
The artist Harry Bertoia inspired me a lot, he is a sound art sculptor, his work is not built in complicated way, and everyone will enjoy to have a try.
As he said, while bending wire, Bertoia developed an interest in sound. The thin strand of metal, when it snapped and struck another wire, vibrated and generated sound. What would happen if combined these wires and created a symphony out of the striking of one wire against another?
This resulted in a number of sonics sculptures, works of art that reverberate when touched and moved. Betroia loved and thought that no musical education or knowledge was necessary for these sculptures. Bertoia considered himself to be somewhere in between a musician and a sculptor.
Why do you define synthesizers as ” horrible gadgets” , given that you are so receptive to the resources that modern technology offers on the Instruments level?
Because they’re not musical Instruments – something quite different. Maybe I exaggerate when I call them gadgets because they are very clever systems based on the voltage control of oscillators, which have simplified the switch from the old analogue techniques to the current, and highly evolved digital technologies.
One of the most alarming things about synthesizers is that they are not precise.
One of the most interesting is that they are not constructed on modular criteria, and are thus open, for better and for worse.
Two interviews, interview with Rossana Dalmonte, Luciano Berio
This interesting opinion pointed out by the musicologist Rossana Dalmonte in the book Two Interviews, interviewing by the composer Luciano Berio.
Which make me, myself start to think about What’s the instruments? How to define the instruments? Can I make sound out of anything as the instrument, as one of my favourite artist Betye Saar stated You can make art of anything?
The final film is 5.5Gb, which is completely beyond the upload page limit. I searched Google but no platform accepts compression of files over 5gb, and can finally compress it to less than 2gb completely.
I feel so sorry for the inconvenience caused by this situation, but the only way I can think of is to upload it to YouTube and then share the YouTube viewing link, and in this way, subtitles can be translated.
So here is the link of my Collaboration Project’s final outcome.
Thanks for the understanding.
I chose to introduce techno-inspired sound elements in the scenes where both main characters appear in the same space to emphasize the shift in energy, tension, and psychological complexity. Compared to the more ambient or melodic textures used in individual character scenes, the techno sound introduces a sharper, more rhythmic layer that mirrors the interpersonal dynamics and underlying manipulation between the two.
Techno, with its repetitive beats, synthetic textures, and cold tonality, adds a mechanical and emotionally detached atmosphere. This matched the mood I wanted to create: the characters aren’t showing true intimacy or emotional connection—instead, they’re performing a role, working together in deception. The techno rhythm helps underline this sense of strategic cooperation, where every move and word is calculated like part of a game.
Additionally, techno’s urban and industrial aesthetic complements the broader theme of the film—young people living in a restless, fast-paced, and alienating city environment. When both characters are in the same space, the techno sound acts almost like a pulse of the city itself—highlighting their shared survival instinct and the artificiality of their actions. It enhances the feeling that they are not in control of their fate, but rather caught in a larger system, moving forward like cogs in a machine.
Finally, the use of techno in these moments creates a sonic contrast to the more emotional, string-based moments earlier in the film. It marks a shift from inner emotion to external performance—signaling to the audience that something has changed in the energy of the scene. The cold, repetitive nature of the sound also hints at the underlying emptiness of their scheme, contributing to the film’s darkly ironic tone.
Creating this video project has been a pivotal moment in my artistic practice and conceptual development, particularly in relation to the intersection of sound, branding, and cultural identity. By juxtaposing corporate audio branding—specifically the KFC jingle—with imagery drawn from Tanzanian food culture and post-industrial visual treatments, I began to understand how sound can operate not just as atmosphere or identity, but as a tool of control, seduction, and erasure.
Through this work, I realized that audio branding is far more than a sonic logo; it is a carefully engineered affective strategy that shapes perception, emotion, and even cultural memory. The irony and tension I created in the video—by setting polished, cheerful audio against muted, industrial visuals and traditional food preparation—revealed how sound can flatten local narratives, replacing them with global corporate aesthetics.
This project opened up new possibilities for me in terms of editing and compositional strategies. I intend to continue developing works that combine documentary material, corporate media fragments, and experimental sound design, using irony and visual disruption as tools to reframe familiar sounds and symbols. I’m especially interested in making sound and image misalign deliberately, to reveal the ideologies embedded within them.
Being in Arusha, Tanzania, during the making of this video showed me how important context and location are when working with sound. In the future, I would like to engage more directly with local soundscapes—street sounds, traditional music, oral storytelling—as a counterbalance to globalized brand sound. My goal is to highlight the tension between imposed sonic systems and grassroots audio cultures.