Hull, A. C. (2006). Corroded Memories, in What Survives: Sonic Residues in Breathing Buildings (exhibition), March 24 - April 15, Performance Space, Sydney, 20p.
Link to YouTube video of the Corroded Memories installation, duration 1 min 15 sec.
Research Background
This work is an artistic examination of the residue of human activity within buildings. It comprised 3 installations and 2 listening stations and explores the question: How can I demonstrate the residue of human interaction with space by using only sonic material?
Research Contribution
This exhibition allowed for a range of innovative arts practices to be displayed together. New and emerging technologies and software were used in constructing this work. Five sound recordings of one hour each were used to investigate our immediate and past interaction with a variety of spaces.
Research Significance
This work stood alongside other works by prominent artists - Jodi Rose, Nigel Helyer and Alex Davies - in a collective exhibition at the Performance Space, Sydney: a national centre in the research and development of contemporary arts. The catalogue resides in the NSW Library for reference and comprises two essays by curator Gail Priest and Densil Cabrera under the title, Sonic Residues in Breathing Buildings. The exhibition was reviewed by Stephen Jones for Realtime 73, June/July 2006.
Publication Details
Hull, A. C. (2006). Corroded Memories, in What Survives: Sonic Residues in Breathing Buildings (exhibition), March 24 - April 15, Performance Space, Sydney, 20p.
Link to YouTube video of the Corroded Memories installation, duration 1 min 15 sec.
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RESEARCH IMPACT STATEMENT
Research Background
This work is an artistic examination of the residue of human activity within buildings. It comprised 3 installations and 2 listening stations and explores the question: How can I demonstrate the residue of human interaction with space by using only sonic material?
Research Contribution
This exhibition allowed for a range of innovative arts practices to be displayed together. New and emerging technologies and software were used in constructing this work. Five sound recordings of one hour each were used to investigate our immediate and past interaction with a variety of spaces.
Research Significance
This work stood alongside other works by prominent artists - Jodi Rose, Nigel Helyer and Alex Davies - in a collective exhibition at the Performance Space, Sydney: a national centre in the research and development of contemporary arts. The catalogue resides in the NSW Library for reference and comprises two essays by curator Gail Priest and Densil Cabrera under the title, Sonic Residues in Breathing Buildings. The exhibition was reviewed by Stephen Jones for Realtime 73, June/July 2006.