mobile studio artist statement

The piano bench is traditionally a location where great composers would write, practice and perform.  In the context of contemporary art, the meaning of composing and performing has changed due to the development of electronic music software and realtime technology. simultaneously, other technological advancements have created platforms for social interactivity and global communities.

A compact recording studio is constructed using timeless carpentry techniques to house the essential field recording equipment within the piano bench.  The mobility of this studio allows the artist to travel easily to collect and transmit audio and video between spaces and performers.  The studio is intended to be a platform for collaboration and experimentation that transcends time and exists in intangible space. 

http://inbflat.net/

in doing some research, i had found this.
i had never seen these youtube collaborations to be interactive.  really fun and pretty awesome

mobile studio/post studio practice

post studio practice describes artwork that is made without a conventional studio. without architectural bounds, there tends to be no bounds as far as medium or scale.  artists that work in these settings seem to have a closer connection with the community they live by either working directly in the open, or by having their work exist in public spaces.  the surroundings are the materials, viewers put the work in existence and context.  artists are continually expanding into space, artwork is constantly expanding bounds.  Space and time are linked, therefore i am creating a mobile sound recording studio.  this will act as a performance space as well as a platform for records of locations and events and a venue for collaboration.

Latest tracks by gyrobicupola

Gyrobicupola is an interactive collaborative experiment that bends space and time.  Two stations are deployed at separate locations.  The interactions with the station as well as the environment they are deployed in are recorded.  Tracks from both stations are combined together to create an aleatoric collaborative performance.  The final product can be heard here: http://soundcloud.com/gyrobicupola

I believe that most generosity based works that stem from gonzalez-torres' work utilize the viewer/participant to shape what the work really means. The work will inherently reflect the culture of the society in which it is deployed.

Our first test reflected people's interest the objects themselves as being quite passive. It was difficult to get others to participate. There were few who were extremely curious, and then when found out what we were doing ended up being interested. As far as improvements, there definitely could have been more engaging interactions, between participants and the instruments as well as the instruments between each location. There may need to be more prompting. The main idea of collecting sounds and manipulating space and forcing collaboration and communication is vital still.

I believe people need to be forced to interact and step out of the bubbles that technology has created and possibly use that technology to communicate and transcend words and emails and texts and a facebook status. I hope to continue working in this matter and this was a great learning experience.

http://mathworld.wolfram.com/JohnsonSolid.html

http://www.owlproject.com/iLog

http://youtu.be/fOF1_lzJ7hE

Final Statement

Art and Science both use constructive and deconstructive strategies in order to make use of and make sense of the world around us. Screws in their nature are mundane interim object that are not quite tools or specific pieces, yet necessary in building. By collecting screws from various locations and objects, I have not only documented the objects in the world I live, but also have taken apart essential structural components in order to build something else.

Around the first century, screw shaped tools became common, however, historians do not know who invented the first. Early screws were made from wood and were used in wine presses, olive oil presses, and for pressing clothes. Metal screws and nuts used to fasten two objects together first appeared in the fifteenth century.

In 1770, English instrument maker, Jesse Ramsden (1735-1800) invented the first satisfactory screw-cutting lathe. Ramsden inspired other inventors. In 1797, Englishmen, Henry Maudslay (1771-1831) invented a large screw-cutting lathe that made it possible to mass-produce accurately sized screws. In 1798, American David Wilkinson also invented machinery for the mass production of threaded metal screws.