Data analysis_Critical Reflection_Coding Memo_034 (23a) - Aaron - Phase 2. Generating initial codes

Process and flow of coding ideas:

Continuation with revisiting earlier memos and expanding on the scant and unusable codes previously generated. Previous codes in grey with new expanded contextual codes in orange

Lack of awareness and disrespect

Solid objects releasing the sound of the landscape

Foreign exotic landscapes are a useful escape

Illumination and light as mysterious and magical experiences

Movement revealing sonic flaws

Reverberation and rhythm reveals celebrated sonic flaws

Weight of objects making a positive or neutral difference

The weight of an object impacts on the note it makes when struck

Outward appearances of sculptures may look similar. But the object may conceal inherent sonic variations

Familiarity and security of known practice

Social objects are reminiscent of connection

There is security in creating objects that have a familiar and affectionate history

There is safety in known and familiar locations and practice methods

Uniqueness and individuality is preferred to mass produced

Mass production is uniform and not unique

Happy accidents

Playful fun

Uniqueness – same but different

Taste and smell are difficult to describe using metaphors

There is a known language and metaphorical dialogue in training involving visual, taste and smell

Visual metaphors are easier than the other senses

Art galleries favour visual rather than sound – research sensory museum

Personal visual data banks are driven by experience

Personal visual data libraries provide a unique perspective

It only requires a short travel distance to acquire and experience a different visual library

Possibilities for experiences a different visual library may be possible in VR

Sonic navigation and wayfinding

Personal experience of sight loss

Hallucinations due to reduced visual input to the brain can be interesting and fun.

Two different colour perceptions is fun.

The brain creates its own imagery if visual inputs are reduced

Generating your own sonic encounter encourages focus through touch and sound

Sonic objects that require tactile engagement invite you to focus on the moment

We generate our own encounter and unique experience when we interact with art

The object is inanimate. It’s the responsibility of the participant to respond to the sonic output

Music played without the distraction of ‘noise’ is preferred

There is too much ambient noise for music to be heard

People don’t listen. They are absorbed.

Quiet observation in a crowd is possible with focus and lack of noise

Sound as a meditative focus – active listening

The sound of leaves moving can reveal tree species and identify seasons

Comprehension of scale despite sight loss

Scaling down of large objects allows a large view to be comprehended

Large scale can be comprehended without sight.

Enormous natural wonders are magnificent and awe inspiring

Enormous scale can be overwhelming and terrifying

Colouring in – filling in the visual gaps

Self-generated imagery even when sighted

In the absence of seeing fine details the brain makes up  the rest, based on visual experiences

Animation works on the basis of persistent vision. The eye and the brain can only process 10 -1 2 images per second. The brain generates the missing pieces.

Sighted people generally don’t listen

Adults are less concerned than children at listening to their surroundings

In general people are not interested or trained to listen.

Men and women don’t listen

Sensory sensitivity even when sighted

Assumptions about sight loss

Artwork created with a sonic focus on listening is deliberate. It has nothing to do with sight loss

Making sonic artwork allows people to focus on listening

Happy accidents and positive opportunity

Artists aren’t trained to listen

Design in current times is based on the visual. It’s about looking at the things because of the visual qualities.

Sound as a navigation method

It is possible to venture into new lands and environments by using sound as a wayfinder and navigation method

Internal memory data bases

Mountainous natural beauty of enormous scale is sublime

Memorisation of maps, prior to travel aids with navigation.

VR and sound as a navigation method for those with sight loss

Sentimental familiar objects, cast in bronze, can be cathartic

Love and relationships can be immortalised in bronze

When sentimental objects, cast in bronze, are displayed and hung as a sonic collective there is a narrative that’s rich

Developing and expanding practice methods, despite sight loss, is possible

Creating can be a method to avoid unpleasant and distressing loss

Gongs, bells and sonic sculptures can be staged to tell a story

Bronze sonic objects engage focus and can be played to create a cue for reflection

Objects need to be staged so that sonic qualities tell an arranged story and are not haphazard

Focus and study of visual art allows for engagement

Even with intensive active looking, the image cannot be seen in its entirety

General sense of shape, figure and form creates notions of what is being seen

The business of concentrated listening happened in childhood

Personal moods and social atmospheres can permeate in subtle ways other than speech

How people move furniture and navigate their environment reveals a lot about their mood

With sight loss recognition of people at incredible distances – due to comprehension of gait

Professional dancers and principal ballerinas have a certain facial gait

Drilled and choreographed movements make it difficult to distinguish individuals

Individual movement is a way of recognising people

Moods can be discerned by gait, even in the absence of verbal clues

Pouring bronze is a sill and requires assistance with sight loss

The notion of integrity is applicable to both structural and ethical considerations

The larger the weight of a sonic bronze sculpture the less likely it is to break

Photographing places as a navigation method prior to a visit is possible, but memorising maps is a more efficient method.

Multi sensory overload can occur when the man-made works is experienced when previously only the natural world was familiar.

Both materials and methods can create unexpected pleasant results

Allow room for unrestrained results in output, requires a hands off approach

Random visual results can be achieved in metal pouring – if the methodical approach is unrestrained

In the visual arts it is rare for acoustic properties to be taken into account

Practice without assistance is possible up to a point

To achieve a final polished result, assistance is required

Flaws in the metal distort the sound; this is celebrated.

Sonic objects that are out of tune are preferred as they reveal the flaws

Sound waves collide as result of imperfections

People don’t expect sonic reverb and out of tune sonic sounds in sonic artwork