Concerts for the Deaf: Four Senses Multisensory Concerts Series 1999, 2002
Raewyn Turner
The Four Senses Multisensory Concerts 1999 and 2002 translated music in light, smell, vibration, movement and gesture.
Four Senses Multisensory Concerts 2002 with Aotea Youth Symphony orchestra.Dorothy Winstone Theatre, Auckland, New Zealand. Photos: Milan Radojevic
Four Senses Multisensory Concerts 2002 —Raewyn Turner & Tony Brooks
The Four Senses concert series 1999, 2002 with a symphony orchestra, engaged and reframed perception of music and played with simulated synaesthesia and subjective experiences. I was commissioned by the Aotea Youth Symphony orchestra to create a second series of Four Senses concerts in 2002 after my first series in 1999 where I placed the audience amongst the orchestra.
The 2002 series ( Raewyn Turner & Tony Brooks ) were performed at the Dorothy Winstone Theatre, Auckland, New Zealand, by the Aotea Youth Symphony Orchestra and included mixed ability dance group, Touch Compass, deaf signing choir, Hhands, and sight-impaired vocalist, Caitlin Smith. Tactile cushions and balloons were available in the auditorium for those with hearing disability.
The canvas of the orchestra was dressed in white, underlit with ultraviolet light. (bluish, white and uv) which is a base ‘note’ found in nature. Divided into sound groups, each section was assigned a colour and its complimentary to achieve high degrees of retinal stimulation, brightness, afterimage. This colour mixing method was developed when working on earlier projects for example, with the New Zealand Symphony Orchestra [ENZSO, 1998], Melbourne Symphony Orchestra,[1984, Australia]. I created the pre-programmed light states with a lighting plan and a PC based stage-lighting program to make a light resource, along with smell, of multiple sequences and cues available for use in improvisation; each piece of music had its own improvisation resource and structure.
I invited Tony Brooks (UK) to collaborate with me on Four Senses 2002. Tony Brooks utilised sensors, cameras and other leading edge technology to capture body part movement and translated it into painting with coloured light. In this way the orchestra conductor was able to “paint” the scene through his gestures within an interactive space. Similarly orchestra members, dancers and a special signing choir for the deaf images were blended into the backdrop in real-time such that their velocity of movement affected the colour of image generation and collage composition.
The light collage thus created was a play of interaction between live video feeds and sensors, and coloured light pre-programmed to an interpretation of sound, each affecting the other in a dynamic visual loop.
Raewyn Turner : My method of translation used in the 2002 Four Senses Concerts
Raewyn Turner ©
My first step in making a perceptual analysis of music is to make a morphological configuration of music in pauses and phrases as a description of sound.
I interpreted sound to light by making a visual representation of the sound, in an intuitive drawing. This puts sound into a relationship with other experiences, specifically a visual experience of light and dark. Phrases of the sound were coded into light, the pauses into dark, so making correspondences between sound/silence and light/dark. The method involved intuitive drawing, charts, measurements, referral to the seasonal time of harvest of aromatic plants, and an equation which produces a selection of plants from which to choose smell pitch.
The chosen smell elements were orchestrated in an improvised layering of pre-selected fragrances of different pitch, throughout each piece of music.
Proportional comparisons based on duration of piece of music and latitude periodicity.
Raewyn Turner © 2002
Example: Brahms Hungarian Dance 10
Proportions of silence to sound events in music
Duration in seconds of the entire piece of music = 110 seconds
Divide above by 2 = 55 seconds
Divide total by the sum of silent events = 5 seconds = 11. seconds
Proportion of silence to sound = divide by 10 = 1.1
Proportions of light to dark events in pollination times
• Refer to the pollination chart showing the list of plants with corresponding pollination times. ( time at which plants flower at particular latitudes, at particular night time and daytime hours)
• Estimate night time and daytime minutes.
• Find the proportion of night minutes to daylight minutes by dividing daytime by night time.
• Match the proportions of a flower and its subsequent essential oil’s pollination time and latitude at which this occurs with the proportions of silence to sound events in piece of music to obtain a range of corresponding proportional comparisons.
• chart of Rise and Setting times for the sun for 2007:
• I find those proportions are present in December 2007
Eg 1.1 @ 10' south of the equator.
20’N, India: holy Basil (^), angelica root (o), champaca (o), frankincense (#),
frangipani (o), jasminum (o), musk mallow (#), amamthus (o), patchouli (o#), rose attar (o), rose indian (o), sandalwood (o#), tuberose (o#), tuberose (o#)
10’N Somalia: myrr (#)
10’N Thailand
13’N Vietnam: caleput (^)
13’N Cambodia
10’N Philippines: elemi (#)
9’N Ethiopia: frankincense (#)
10’N Nigeria
10’N Costa Rica: cardamon (^o)
11.30’N Sudan
8’N Ghana: cocoa extract (o#)
The selection provided an olfactory pitch range.
Olfactory Pitch ^ (top), o (middle), # (bass)
Raewyn Turner 2007. Music drawing. Brahms Hungarian Dances #10
Raewyn Turner 2007. Music drawing wire form. Brahms Hungarian Dances #10
Raewyn Turner 2002. Music Drawings for Right Of Spring, Igor Stravinsky (1913)
My music drawings led to a further collaboration. Generic Processes Based On Spatial Interpretation of Music Collaboration with Mirjana Devetakovic Radojevic, School of Architecture, University of Belgrade, Generative Art Conference, Department of Architecture and Planning, Politecnico di Milano University published at www.generativeart.com as a PDF file.
Generative Art Conference GA2002 Milan 11-13 December Spatial Forms Generated by Music — The Case Study. Collaboration with Mirjana Devetakovic Radojevic, School of Architecture, University of Belgrade, published at www.generativeart.com as a PDF file
‘Indications’ Brahms Hungarian Dances #10 .2007 Described by my head movements and chocolate
In a further translation of music I found that Music and Chocolate share the same resonance!
The pleasure and sorrow experienced in music may be succinctly expressed in gesture. The natural language of nodding the head to music is in regular use, often unconsciously, amongst people listening to music. While creating multisensory concerts for the deaf ( 1999 and 2002), I investigated the translation of music into colour, light, smell, vibration and the language of gesture. The video was an experiment to test whether music can be conveyed through gesture, and refers to Bulwer's 'Darling virgin Philosophie of Gesture' seventeenth-century research in 'The Naturall language of the Head'.
Indications was viewed through a tunnel of dark chocolate.
The geographical location of where the chocolate was sourced corresponded with the : Proportional comparisons based on duration of piece of music and latitude periodicity Raewyn Turner © 2002 (above ). The chocolate flowered at the proportion of night minutes to daylight minutes matching the proportions of silence to sound events in Brahms Hungarian Dances#10
Using the chart of Rise and Setting times for the sun for 2007: I find those proportions are present in December 2007 :1.1 @ latitude 10' south of the equator.
The closest match 1.1 8’N Ghana: cocoa extract.
Brahms Hungarian Dances #10 and Ghana chocolate share the same resonance!
Maintenance of the work in the exhibition. Each day I applied a fresh coat of chocolate.
‘Indications’ Installation exhibited ::
New Zealand Festival of the Arts 2006
Prague Quadrennial 2007 Installation
Presentation Stage, Prague Quadrennial 2007
Published :
FOUR SENSES on Netzspannung.org : Multisensory Spaces 2002. ( static site )
Inhabited Information Spaces Living with your Data. Snowdon, Churchill, Frécon 2006
https://www.digitalartarchive.at/database/general/work/four-senses.html
Four Senses Documentary, Inside Out a series about disability screened on TV One. produced and directed by Shirley Horrocks , Point of View Productions
Four Senses Multisensory Concerts Series#1 1999
Raewyn Turner © Four Senses 1999
The audience was seated amongst the orchestra. ….to be continued