7/5/2023 0 Comments Barney anyway you slice it![]() ![]() Especially with the experimental work that Vishniac was doing. You never know what is going to come out. What do you think experimental photography and electronic music have in common?ī: The nature of film photography is experimental in itself. © Mara Vishniac Kohn, courtesy International Center of Photography.S: I’m so excited to hear what you’ve created. S: So you’d never be able to tell it was even a piano making those sounds in the first place.ī: If that’s what you want – yeah. Pitch it down and it sounds nothing like it started. ![]() You can take a piano sample, which is what I’ll be doing, that is one minute long and stretch it out to ten minutes, so that it distorts. But music is like play-doh, you can really beat the living daylights out of it to make it sound how you want if you try hard enough. S: Do you think you’re learning a lot of new techniques whilst creating your set?ī: Yeah, and a lot of stuff that I’ll be performing, you can condense to a one minute sample. They used some very strange methods sometimes… In the installation, visitors will be able to be completely immersed and listen very closely to the music and to the subtle manipulations of sound.ī: Right, it’s not background music! Since getting into the ambient genre, I find myself thinking ‘how did they do that?’ and I’ll go and do my research and find out. You often tend not to take notice of sounds in your daily life so much. S: Yeah, I guess ambient music forces you to listen in new ways. © Mara Vishniac Kohn, courtesy International Center of Photography. That’s what keeps ambient music interesting.Ĭross section of a pine needle, 1950s-70s. If you create the sample of a sound with an instrument that people are familiar with, with a standard pre-set from a computer or anything like that, if you then find ways to manipulate that, you can create something that no one’s heard before. And William Basinski – I’ve been inspired by his manipulation of sounds. Years ago before I started listening to ambient music, I thought it was, like Brian Eno said, “music you can ignore”, which it is sometimes, but Tim Hecker’s music is like, apocalyptic – so intense, but is still categorised as ambient. Who else has inspired your work?ī: Tim Hecker is great, he’s a Canadian ambient artist. ![]() S: Tim Hecker – I’ve never heard of him before. Vishniac, or musicians like Tim Hecker, who can show us that Art and Science can go hand in hand. There is a misconception that art is not bound by any laws in the way that people feel that science is. With most artists, the methods they use to create their art are also very precise. Science is a precise study of the chaotic. Such a gap between the two disciplines doesn’t need to exist.ī: Exactly. ![]() Science isn’t an exclusively ‘precise’ study as opposed to art being exclusively ‘chaotic’, they are both precise and chaotic in different measures. However, what his work has helped me realise is that really they embody many similar values. S: What is it about Roman Vishniac’s photo-microscopy that has caught your attention and inspired you to create your original set for ‘Magnify’?ī: I see a lot of references to Vishniac’s work as ‘bridging the gap’ between Art and Science. We discussed Roman Vishniac’s innovative photo-microscopy, the connection between Science and Art, and how ambient music artists manipulate sound: Sitting in a busy bar near Old Street, I (Sarah) caught up with electronic sound artist, Barney Ross-Smith to talk about his up-coming set for ‘Magnify’, an immersive audio-visual installation for the Capture Your World: Photography Late on the 7 February at the Jewish Museum. ![]()
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