Guitar Environment #1
Knowles, Julian D. (2008) Guitar Environment #1. [Digital/Creative Work]
Multichannel audio installation presented as part of 'Wavelength', Liquid Architecture 9, Carriageworks, Sydney, July 2008. Curator: Rene Christen----------
'Wavelength' was a group installation project consisting of a number of discrete works from following artists: Peter Blamey, Monica Brooks, Nicholas Economos, Jon Hunter, Jenny Hyde, Julian Knowles, Emily Morandini, Kusum Normoyle, Jasper Streit.----------
Author's Note: Guitar Environment #1 is a 5 channel installation work featuring damaged and degraded electric guitar sounds. Compositionally, the work is conceived within a combinatorial or musical 'mobile' framework, where any mix of channels can be listened to in any balance at any time. The playback platform for the installation is designed to create a condition of instability through interference. FM transmitter signals, sharing the same broadcast frequency, compete for pickup by portable FM receivers and headphones worn by listeners. The work thus creates a sense of instability which is articulated through the sound material and platform, aestheticising interference, noise and audio damage.----------
Curator's Note: Sound artists were invited to compose works in a way different from the cinematic baggage associated with surround sound. Each of 5 audio channels for each piece is broadcasted from a different FM transmitter hidden within the space, all transmitting on the same frequency. Audience members are invited to put on headphones tuned into this frequency and explore the soundscape of radio signals which exist within the space by moving through it. Pieces of the artists works emerge and disappear into the cacophony of the cities crowded radio waves and into each other, sometimes ambiguous as to what is the artist's contribution and what is the artifacting inherent in the system or alien signals permeating the boundaries of the installation.
Impact and interest:
Citation countsare sourced monthly fromand citation databases.
These databases contain citations from different subsets of available publications and different time periods and thus the citation count from each is usually different. Some works are not in either database and no count is displayed. Scopus includes citations from articles published in 1996 onwards, and Web of Science® generally from 1980 onwards.
Citations counts from theindexing service can be viewed at the linked Google Scholar™ search.
Full-text downloadsdisplays the total number of times this work’s files (e.g., a PDF) have been downloaded from QUT ePrints as well as the number of downloads in the previous 365 days. The count includes downloads for all files if a work has more than one.
|Item Type:||Creative Work (Digital/Creative Work)|
|Additional Information:||Contact the author for an audition copy of this work|
|Funders:||Australia Council for the Arts, Arts Queensland|
|Material:||DVD containing 5 audio channels, 5 x mono FM transmitters, multiple battery-operated radio receivers and headphones|
|Measurements or Duration:||Indefinite duration|
|Published Source:||Liquid Architecture 9. National Festival of Sound Art|
|Keywords:||audio installation, wireless audio, interactive installation, experimental music, sound art, post digital music, electric guitar|
|Subjects:||Australian and New Zealand Standard Research Classification > STUDIES IN CREATIVE ARTS AND WRITING (190000) > PERFORMING ARTS AND CREATIVE WRITING (190400) > Music Composition (190406)|
Australian and New Zealand Standard Research Classification > STUDIES IN CREATIVE ARTS AND WRITING (190000) > PERFORMING ARTS AND CREATIVE WRITING (190400)
|Divisions:||Current > QUT Faculties and Divisions > Creative Industries Faculty|
Past > Institutes > Institute for Creative Industries and Innovation
Current > Schools > Music & Sound
|Copyright Owner:||Copyright 2008 Julian Knowles|
|Deposited On:||21 Apr 2010 08:27|
|Last Modified:||15 Dec 2010 22:59|
Repository Staff Only: item control page