This is my latest creation, “The Space Between Sound: a Cosmic Lyre” (detail), Wood, EL wire, Arduino, Cool Neon hardware. Below is an excerpt from the Catalog of Art/ists in the Exhibition:
Here is an art writer’s interpretation of this my piece and another artist’s in relation to John Cage’s:
“A model of Cagean chance, the performance of Reverberations is dependent on the indeterminable activities of the viewer, and the same is true of Tatyana Koziupa’s kinetic sound/light installation The Space Between Sound. Rather than enacting sound, the artwork reacts to found sounds, as it is triggered by the sounds of the other artworks in the exhibition. Koziupa describes this reactive process as a “non-doing,” reminiscent of Cage’s belief that “nothing” interrelates with “something” in the space of time.8 Cage argued that there are no empty silences, and Koziupa reminds us, too, that neither are there empty spaces.
Laurie Lundquist is undeterred by Cage’s account of the elusiveness of silence. Her installation In Pursuit of Silence is an interstitial space—a silent retreat—within the exhibition space, which is replete with creative and everyday sounds. The flight from sound seems ill-fated from the beginning: the artist experiences tinnitus, therefore non-auditory sounds impress on her an auditory experience even when there is none. Lundquist interprets her personal sensations by analogy with Cage’s legendary trip to the anechoïc chamber at Harvard. Hearing his own heartbeat in the soundproof space confirmed for Cage the presence of sound even in silence. Perhaps, then, Lundquist searches not for an empty soundspace but instead an aesthetic of organic sounds that are at liberty. Cage’s art was eclectic, from studies of silence to interdisciplinary and participatory works. At one moment, Cage tried out new technologies as a way to alter musical conventions. In the next, sound was freed from frameworks altogether. And each approach occupied an equal part of his ideas on the open-endedness of sound. The Activity of Sound imitates his experimental fervor. Lundquist and Koziupa tend toward less formal structures for engaging sound, while Hilary Harp, Reva Stone, and T.J. Hogan combine and re-combine sounds whose play of noise is determined by machine controllers. Harp and Stone model Carrier Signal after Cage’s experiments with phonographs and radios, his idea of modern musical instruments. With a contemporary twist, the musical concert of radios in Carrier Signal is effected by micro-controllers. If it was Cage’s intent to recast the afterlife of an artwork as separate from the original expression of the artist, then Harp and Stone’s work might be understood as pushing further the notion of the autonomous art object. The event of their art is made indeterminate by a composition that is driven by computer algorithms that control the outmoded radio machines. “
I co-conspired with Sean Griffin to actualize this vision. This was just revealed at the Opening Reception of The Activity of Sound – a month-long exhibition at Tempe Marketplace in the Night Gallery (run by the ASU Art dept.), featuring many top-notch mixed-media artists! The Digital Catalog of works in the “Activity of Sound” show, with artist statements, and photos, can be found by clicking HERE.. (My artist statement is on page). Not to miss if you are in the Phoenix Area. I believe their hours are 6-9pm, 7 days a week. There will also be performances there throughout the month of December 2012! 🙂 Hope you have a chance to check it out. ~Tatyana