Russolo was Futurist and also an early experimental and noise music innovator. He created noise machines to replicate the sounds of industry and the modern world. He then worked these sounds into compositions
(Listen to the machines here: http://www.ubu.com/sound/russolo_l.html)
The Art of Noises – 1913
This is Russolo manifesto on sound:
INTERACTIVE SOUND SCULPTURE
Who doesn’t remember makeshift telephones made of wire and cans? The Invoxicated interactive play sculpture is a bit like that, but a bit more complex, a lot cooler looking, and it actually works! Children can explore the playful qualities of sound by talking into one end of the sculpture to produce sound for the listener on the other end. By bending parts of the sculpture and pressing its various buttons, a multitude of sound effects can be achieved in real time. (Taken from:http://www.yankodesign.com/2011/06/08/interactive-sound-sculpture/)
Here are a few shot I took of some instruments that have been modified to increase there sound potential. They look ludicrous but also suggest basic ideas of sound dynamics.
Yuri Suzuki is a sound artist, designer and electronic musician. Suzuki’s work raises questions of the relation between sound and people and how music and sound affect people’s minds.
Acoustic Pavillon, 2015
The Garden of Russolo, 2013
Make Something From Nothing, 2014
Installation at Ikon Gallery – 13 May — 12 July 2015
The perpetual outsider status projected onto the main protagonist in The Castle (2005), a key work in this exhibition, corresponds to an anxiety that is often engendered by cultural institutions. Involving a large installation of loudspeakers based on a 1920s design by Marconi, the work proclaims a quotation from Kafka’s The Castle: “You are not from the Castle, you are not from the village, you aren’t anything. Or rather, unfortunately, you are something, a stranger, a man who isn’t wanted and is in everybody’s way …”
Broadcast through the antique sound system, the words recall street propaganda announcements as they insist that integration is impossible, that the stranger will always remain on the outside. On the other hand, Fly (2009), involves an illuminated fire exit sign and the sound of a fly buzzing inside. There is no yearning for admittance, but rather this is an innocent creature desperately trying to get out.
Taken from Press Release: https://ikon-gallery.org/event/pavel-buchler/
Two works by Studio Weave opened my mind to the possibility of creating sound sculpture and started my interesting the cone as an amplification device. Both works are sight specific.
Looking up at The Lullaby Factory
Studio Weave has transformed an awkward exterior space landlocked by buildings into the Lullaby Factory – a secret world that cannot be seen except from inside the hospital and cannot be heard by the naked ear, only by tuning in to its radio frequency or from a few special listening pipes.
The Lullaby Factory consists of two complimentary elements: the physical factory that appears to carry out the processes of making lullabies and the soundscape. Composer and sound artist Jessica Curry has composed a brand new lullaby especially for the project, which children can engage with through listening pipes next to the canteen or from the wards by tuning into a special radio station.
There Hear Hears
Set within the stunning parkland surrounding the Grade I Listed Kedleston Hall, the Hear Heres offer visitors an immersive and interactive experience that invites curiosity.
The Hear Heres are designed to pick up and amplify particular sounds related to their four locations.
National Trust selected Studio Weave from 168 competition entries to design a series of ‘playful incidents’ to whip up a sense of adventure for exploring the parkland surrounding Kedleston Hall, Derbyshire. The term incident was used by Robert Adam, whose first major commission was to design the mansion and estate at Kedleston in the 18th century, to denote a manmade point of interest in a rural setting.