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Glass is used in combination with investigational electronics to explore possibilities for creating sound and comprehending pattern. More acutely, the audience-operated instruments are considerate of archetypal patterns in systems of nature and sound’s effects in materials. This is done so through the process of creating sound from light, mediated by a combination of mediums and the relationship of their design. Patterns created through the shared co-existence of elements within the instrument present a deeper enlightenment to systems both seen and unseen.
Glassblowing in its emphasis on form and pattern, focuses on the distortion of light or more fundamentally waves. Using a simple circuit, this distortion can be translated and represented by an action such as sound. Making the detector interactive allows a new sonic perception of a previously visual pattern, and can go even as far to demonstrate the user’s interaction with the work as a new socio-mobility pattern. Cymatics is another example of the translation
series of patterns, in this case from sonic to material to socio.
The invented system does not follow a streamlined utopian vision of technology but heads more toward the messy, chaotic, vision in which the instability and the properties inherent in the materiality of electronics is embraced. Through this the composer inside the electronics and the composer inside the materials is found. The optics within the glass objects recall those fractal-like movements and patterns of hot glass formation, similar to those conjured through Cymatics, and it is this linking of the image of movement to actual movement through sound that is fascinating.
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