A series of small wire objects (many of them uninteresting): object one

BACKGROUND. This installation was inspured by Gibson's classic psychological text "The visual perception of objective motion and subective movement" (1954). By encircling a small uninteresting wire object by a ring of independently assignable LED lights, then contextualising the resultant animated shadows by an ambient (but dynamic) soundtrack, the experience of the perceived movement accrued a strong sense of significance. It was designed to demonstrate the contextual power of sound and turn an unintersting spatial object into a fascinating temporal one. SIGNIFICANCE: This work was awarded a $5000 Arts Victoria grant. The development of the plinth, the LED arrangement, and the software to control the system were all custom designed in collaboration with Stuart McFarlane. It premiered at Spare Room Gallery (see catalog essay) and was then invited into the curated light festival, Gloeblight. CONTRIBUTION: How can software be designed to permit composers to develop lighting designs for installation works? How can sound and light be used to manipulate rich aesthetic experiences in relation to object based practice? How can a visual arts object be used to make the general public to listen to sound art? How can sound art be used to encourage experimental music lovers to engage in extended attention to dull sculpture? How far can the gap between a cognitive understanding of an object's inherent uninterestingness and the excitement genrated by its recontextualisation be pushed?