Proposal REVISED

Working Title:

A flicker of life:  The simple marriage of light and sound and how its uniformity can transform the ordinary into something extraordinary. Light and sound that occupy one space and overlap the senses.

Aims & Objectives

To create a space that allows an audience and or individual to move freely within and absorb sounds and lights. To remove individuals from reality and allow there eyes and their ears to wander and create thoughts in their minds separate from everyday experiences.

The aims of the project are to heighten visual and acoustic dynamics that light and sound combined have on a social levels of interaction. To discover what makes us move, tap our foot or even sign along, The action, the reaction and the interaction of the participant can have when placed in an confined space. How the space they are confined to has been transformed by a historical invention of light and the modernization of digital or even analogue sound. As sound changes or light changes through different variables, whether through colour and our volume dynamics, how does this change the action, the reaction and the interaction? The objective is to mesmerize to allow individuals to enjoy and enlighten them to feel a little more free within a space that asks nothing of them but to walk through, watch and listen and forget about anything else.


  1. to elevate the interaction with spaces that are transformed by the use of variables of  light and sound
  2. To create self awareness of the viewer of the simple psychological effects that light and sound can have
  3. To obtain greater appreciation of  old and simple technologies as Art forms
  4. To create social interaction in an alternative venue and promote personal development in understanding social interaction
  5. Affecting the sensory levels of our minds, allowing the mind to turn off and wake up in another space, in short mind travel


Do we ignore sounds because they become repetitive and familiar? is what John Cage reflects on as to what is today’s silence. Do we ever experience silence or do we think that we do, but then again we can hear that song that has stuck in our heads or even hear our heart beating, we are never alone in sound.  We can consider sound and silence in a more constructed form such as TV on (sound), TV off (silence) , or the bark of a dog and the immediate silence after it stops. Light one of the most important elements of daily life, do we dismiss the beauty of light as the car in front of us brakes and forces us to go slower or stop, only to annoy us that we have been blocked on our journey, but if the car is breaking because a young child is passing in front then it makes the light alright and actually a positive and pleasant appreciation of red light. It’s all within small variables that can change positive reactions to negative and vice versa.  The practical research will entail the changing of variables in order to record what types of sound and light have the most receptive qualities.

As the context of this work is a combination of both light and sound primarily apart from the materials that will be used to construct the final outcome of the project, both key components of the project have a large contempary definition in the means of relational aspects to other work that has been produced. Taken anywhere from the technology of a light bulb, to synthesizing music on a computer. Works of such artist as Armin Van Buuren , Deep Dish and The Chemical Brothers acquire successful partnerships of electronically produced music with the added element of the human voice and creating successful pieces of music that allow the mind to wander along. Taking into consideration always when we are actually exposed to sounds and lights then therefore there will always a different type of self-involvement entailed

Industrial lighting designer such as Achille Castiglioni’s is one of my references in the means of contemporary influences, his piece “Taraxacum” designed when he was 70 is a reference to a glowing Atom Bomb in your living room.  Castiglioni was a man who was inspired by everyday and ordinary materials that he could transform and create his legendary pieces that are always a delightful visual feast.

The combining of both light and music in essence are just a very simple marriage between two historical technologies of analogue history that have taken the route of advancement and technological prestige to another level.  At this time, research is still ongoing to finding lighting theories and the parallel theory of colour as well, in order for me to grasp onto a better understanding theories of light. How light uniforms itself around us on a daily basis, the differences and advancements from candle light to the latest technologies of led lights. These fields are yet to be successfully  researched..

Critical Theory:

In conjunction with outside viewers and onlookers can I critique the success of the progress of this project, If the reactions are not those of what I intend or just as suitable, reactions that may have not been considered by me then therefore there has not been adequate amounts of research in order to define an outcome, therefore further research will be undertaken after the preliminary sample projects are reviewed.

Through reading and researching, I am confident that I will be able to learn more and be able to communicate what I have understood into a concrete presentation of light and sound with my own interpretation. Where there is sound there is no silence and where there is no light there is darkness, the combination of two technologies that go beyond there practical use and tack into the mental well being and preceptors of our mind. How do we relate to them when they are put together and are confined to one space that then equates the variable of space as well?

Position of Objectivity

How does this happen, how do I interest and how do I know if the audiences that pass through the installation are affected in any way by the project.  Does the installation piece move them into a sub environment or does it just make them feel awkward and a not so pleasant of an experience. Through the experiments I hope to be able to gather enough information through different audiences what heightens the senses in individuals, what makes their foot tap when they hear a beat, what types of colours and light forms keeps them staring longer, what makes them leave their immediate thoughts behind and create new ones instantly, does the project make their minds wander and travel elsewhere, does it make them sad, happy, skeptical or does it even make them feel that have been immersed into something unknown to them , therefore the feeling of unfamiliarity makes them feel uncomfortable. The project is to allow individuals to be able to move around and be surrounded by light and sound and nothing else.

Parallel Theory:

In conclusion, we all relate to what we see, some of us more aware than others what lays between the lines and behind the scenes and some of us relate on social levels, become part of something extraordinary without even understanding that we are. We are all the show on the stage and the audience everyday, we look and we are being looked at whether we know it or not. Sometimes we notice more and sometimes less, and sometimes we are so far removed from where are feet are walking, and that is what is extraordinary.

The reasoning behind the final outcome of the project in being an installation piece is to formulate the main ingredient of digital art, which interactivity. The project is to create an environment through the development of my own thought and of others who will be used in the interviewing process. Its to create a sub environment within our walls that’s have no direct relationship to the outside world , but still withhold elements found in a daily world, light and sound.

Works by practioners such as Jim Cambell, Spencer Finch , Jennifer Steinkamp and Mathias Gmachl , I believe will be very influential to my project in the use of light and colour and the moving object and for some part the musical reference in the work by Gmachl . The sound part has yet still to be discovered on how it will be combined and influence the outcome. The music will develop in parallel context with the lighting component. At the moment electronic practioners such as the Chemical Brothers, Deep Dish, Armin Van Burren and Paul Van Dyke are all examples of electronically enhanced music that I believe can have a sensory influence on many, as their music combines the human voice to the digitally mastered sound, I believe the analogue addition of the human voice soften the hardness of electronic music and can carry you further into a poetic trance, and in essence sounds that have become monotonous in daily life may also be a way to famalirize the audience to the sound used.  Even if the sound does not appeal to some it’s almost impossible to ignore the audibility of the spoke or sung word.  There is also the use of only electronics and the higher pitches to mimic the audibility of the human voice as a constant beat with artist such as Alice Dee.Jay.  On the rise as well is the combination of harder sounds of Hip Hop lyrics (Kid Cudi) combined with a free structure electronic influence, I  will consider this music as well when formulating experiments to conclude on the most responsive of music types and combinations. Different types of electronic music samples will be considered and co-related into the experiments that will be produced to gather response and reactions along with experiments to be used to record light and colour response.


Many small projects will be created in both the sound and light components of the project. I will use different audiences to present to and record there reactions. The light component will also have the testings of colour interaction as well.  I have also started a scrapbook where I will collect bits and pieces of interest and produce photographic images that are reflections of the light component of the project.  Surveying and interviewing various people that are relative to the light and or music industry , as well as individuals that have just a consumer relation to light and or music. I will also be enrolling in tutorial sessions to learn how to use a software that will allow me to be able to create my own electronic music … Recording instruments at the moment to be used are video, photography, voice recording, a written and visual diary..


Very undefined at the moment as the in the way of context.  The project will be presented as an installation piece to be positioned in a  private space , this will also add an architectural element to the project as well. The project will embody a space and allowing the viewer not only to view and listen but be able to move their body around the installation, using a private space will have somewhat of a more intimate detail to the installation, as opposed to it being presented in a more public space.  The thought of the installation to be put into four walls is also a way to create the notion of it being a more individual experience matter and forcing audiences to  enter and try to identify with my own personal and private mental structure, when what they will actually be doing is creating their own mental structures.  Privatizing the installation allows for individuals who enter the space of the installation to react without having to feel like they are being watched or monitored and therefore can feel more free to react truly to how they feel, some may dance , some close their eyes and just listen , some may just stare, its all an option, just hope that no one just walks out quickly.  The final outcome as for now is not in any shape or form, it is literally a foggy dream of light, colour, sound and space .

Work Plan:

  1. Ongoing: Research:  collections of photographic images and video and sound clips. Reading and sound tutorials
  2. Testing Period: creating and testing experiments for visual and audio feedback
  3. Refine testing, As a result to previous testing results
  4. Attending light and or sound workshops (before finalizing structure)
  5. Final drawings of installation piece, collection and editing materials to be used
  6. Final Stage. Refining, building, installing, and test runs to home country audiences before its final presentation in London


Books: (current but will expand)

Nicolas Bourriard. (2002). Relational Aesthetics. France: Les presses du reel.

David Toop. (2004). Haunted Weather: Music, Silence and Memory. London, England: Serpants Tail.

Brandon La Belle (2006). Background Noise: Perspectives on Sound Art. New York NY: Continuum.

John Cage: No Such Thing as Silence: John Cages’s 4’33”  (waiting to arrive)

Paul St George (2009). Sequences: Contemporary Chronophotography and Experimental Digital Art. London, England: Wallflower.

Lev Manovich (2001). The Language of New Media. Cambridge Massachusetts, USA: The Mit Press.

Christiane Paul (2008). Digital Art.London,England : Thames & Hudson.

Janet H. Murray (1997). Hamlet on the Holodeck, The Future of Narrative in Cyberspace: Cambridge, Massachusetts, USA: The Mit Press.

David Doubilet (1999)  .Water Light Time, Phaidon.

The Polaroid book: Selections from the Polaroid collections of Photography: Taschen

Robert Eisenhauer (2008). Sequences of Light : Selected Photographs 1980-2000: North Carolina, USA: Ivy house publishing group



(articles will cited if used)


Variety of Electronic Musicians and electronic sounds, (undefined at present)

Hoping to be able to attend workshops for light and or sound


~ by id09 on November 8, 2009.

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