Clare Andreallo’s Portfolio

30 Second Pills is a sound project which sought to explore the genre of noise. Based on various definitions of noise, it consists of recordings of different people’s interpretations of the word noise. Each person was asked to say the word noise expressing the word’s meaning.

The work is called 30 second pills of noise. This is influenced by much of my reading which often described the listening and practicing of noise as masochistic, self punishing and cathartic.

Process of production
I have created 7 tracks of noise each is 30 seconds. The basis of each is much of the field work recording I captured of people saying noise. In the editing process I tried to further express the individual’s understanding of the word noise.

The tracks were to be experienced in a very specific space. I have designed the project envisaging it as an installation. In an empty room there will be 7 white opaque boxes, similar to the size of a phone booth. Each box has a door big enough for the viewer to step inside.Each box has a definition of noise plastered across the front of it.

This definition does not always express or act as a forerunner to the noise track within the box. This is to add to the further contradiction of genre of noise. Once in the box the viewer closes the door behind them to be left in total darkness. The track plays.

The viewer has to navigate through the room of boxed noises to actively participate in and explore the genre of noise and to better understand its essence.

References and inspirations for the work:

Mark Sinker, ‘Shhhhhh!’ in The Musical Quarterly, Vol. 81, No. 2. (Summer, 1997), pp.21-241.

Paul Hegarty, ‘Full With Noise: Theory and Japanese Noise Music’, 2001, edited by Arthur and Marillouise Kroker, file:///Volumes/USB%20DISK/2006%20semester2/audio/CTheory_net.htm, last viewed 03/10/06.

Siegmund Levarie, ‘Noise’ in Critical Inquiry, Vol. 1. (Autumn, 1977), pp. 21-31

Torben Sangild, The Aesthetics of Noise, 2002, file:///Volumes/USB%20DISK/2006%20semester2/audio/U%20B%20U%20W%20E%20B%20%20The%20Aesthetics%20of%20Noise.htm, last viewed 03/10/06.

Here are some interviews I found with Merzbow which were also influential:

http://www.furious.com/perfect/merzbow.html

http://www.finitesite.com/scarcelight/artists/merzbow_interview.html

http://www.theninhotline.net/features/interviews/hillebrandt2/

“If, in looking at a work of art, the viewer-artist is producing the experience of seeing, then there is no ‘pure seeing’ and the artist-viewer is located as part of the problematic within the visual space. This implicates a mode of seeing which rejects the notion of an ideal or transcendental subject and insists on the acknowledgment of a socially produced subject, that is, as historically specific viewer (spatially) co-extensive with the object.” Jackie Redgate

Relationships: A Semiotic Indicator
A sound project, this piece was inspired by the work of prominant Australian artist Jackie Redgate. I sought to explore the relationship between sound and image. I wanted to tell a story, but the story I’m telling is up to the viewer to decipher.

I interviewed one person about a relationship that had recently ended. I wanted the individual to tell her story, her experiences.

In experiencing the work I want the viewer to have the photographs infront them and to slowly construct the order of the images. In this way the story becomes not just the narrator’s but the viewer’s as well. I wanted there to be a dis juncture between the image and the audio. I wanted the viewer to actively try to make sense of the image, the audio and the space through which they are navigating. Below are some of the photographs.

You can listen to this work here. Below are some of the photographs that accompany the sound project. These are the images that the viewer uses whilst listening to the work to construct a visual narrative.