Sculptural Electronic Sound Discs (SESD)
SESD is a research and production project with live event on merging the sound source (electronic circuits) and the sound carrier (vinyl) into a dynamic sound object. Innovation and Do It Yourself play a leading role in this program.
Four artists, including me, experimented with electronic circuits, converted consumer electronics or self-designed electronic units that were used as a tool. The medium in this case, is a self-cut master plate which prints can be made by means of liquid plastics. These two elements were combined into an active sound composition.
In this framework we were challenged to increase our ability to innovative and to think conceptually, their affinity with the material or tactile, the Do-It-Yourself attitude, and the handling of sound as an artistic sculptural data insertion. The project can be seen as a metaphor of the in – and output we want to generate as a stage.
Exchange of knowledge with the artists, DE PLAYER and the audience is central to this innovative project. DE PLAYER now has a lot of knowledge and capabilities in the (re)production of sound recordings in small runs in the tradition of vinyl / LP (cutting, molds, casting). The contribution of the invited artists is their electronic specialization, their ability to everyday electronic objects a new meaning to the often elusive output that reflects the results of their practices. The combination of this knowledge resulted into physical and dynamic sound objects.
My contribution took on the perception of a vinyl record, the literal physical representation, the way it is being played, and the sound that the medium carries. This resulted in a seemingly unplayable, ‘three dimensional’, parabolic record which carried a perfect (parabolic) sine wave of 1200hz. Using an old trick to play normal records backwards by turning the record-players cartridge up side down and placing a spacer underneath the record I could play my parabolic object. Besides the transformation of the physical notion of a vinyl record the method of (re)production and the way of playing it had transformed the sound. Instead of the perfect sine wave I had cut to the master, the ‘bowl’ looped, skipped, scratched over the cast grooves, making the sine wave a ‘carrier’ of the medium’s materiality, making the whole process-from master to mold to cast-audible.
Available mid-december through deplayer.nl