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Voice and Acoustic Feedback in Performance

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Voice and Acoustic Feedback in Performance Thesis/Dissertation Sheet Surname/Family Name : Normoyle Given Name/s : Kusum Abbreviation for degree as give in the University calendar : MFA Faculty : Faculty Art & Design School : Solid (Loud) Matter: Voice and Acoustic Feedback in Thesis Title : Performance Abstract 350 words maximum: (PLEASE TYPE) This practice-based research project investigates the material relations of the voice to amplification and spatiality. In particular, through both live performance and its mediatised documentation, I explore my embodied production of non-linguistic vocalisations. As these are transduced through audio amplification at volume, I ask: what can be generated for different ‘vocalic spaces’ through the combinations of acoustic/amplified feedback, non-linguistic vocalisation, and bodily performance? Through my performances S.I.T.E: Tension Sets (2013) and Magnesite Norway (2016), I discuss my techniques for voice and audio amplification and their interrelation in space, in concert with an analysis of approaches by Robert Ashley and Joan La Barbara who employ the voice as vibrational force. Motivated by a reconceptualisation of sound, voice and listening as vibration – with reference to Nina Sun Eidsheim’s concept of intermateriality and her rethinking of sound via vibration – this research seeks to come to terms with what can be experienced via these interrelations. I also draw on the concept of sonic dominance developed by Julian Henriques to further situate how amplification contributes to a practice of intermateriality. Further, this research identifies tensions between the multisensorial experience of sound in live performance and its documentation. Exploring processes of technological mediation used by myself in video installation Accord with Air: Tjentište (2012), I trace various signals through their transductive paths of transmission in works by artists Joyce Hinterding, David Haines and Robin Fox. I generate vibratory, visual supplementations of sound on screen as a means of affective transference. Through an exploration of the syncretic relation of sound and moving image, I distinguish the importance of sound’s transmission in physical space and its embodied experience for the creation of the sonic ‘grounding’ pursued in my performances. Examining the relation of these vocal acts to space, this project investigates the ways in which the voice makes space in varying acoustic fields and technical assemblages that traverse inside and outside contexts. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents a non-exclusive licence to archive and to make available (including to members of the public) my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known. I acknowledge that I retain all intellectual property rights which subsist in my thesis or dissertation, such as copyright and patent rights, subject to applicable law. I also retain the right to use all or part of my thesis or dissertation in future works (such as articles or books). 08/02/2021 …………………………………………………………… ……….……………………...…….… Signature Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years can be made when submitting the final copies of your thesis to the UNSW Library. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed ……………………………………… Date …………02/08/2021………………………………… COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents a non-exclusive licence to archive and to make available (including to members of the public) my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known. I acknowledge that I retain all intellectual property rights which subsist in my thesis or dissertation, such as copyright and patent rights, subject to applicable law. I also retain the right to use all or part of my thesis or dissertation in future works (such as articles or books).’ ‘For any substantial portions of copyright material used in this thesis, written permission for use has been obtained, or the copyright material is removed from the final public version of the thesis.’ Signed ……………………………………… Date ……………………………………………...... AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis.’ Signed ……………… ……………………… Date ……………………………………………...... INCLUSION OF PUBLICATIONS STATEMENT UNSW is supportive of candidates publishing their research results during their candidature as detailed in the UNSW Thesis Examination Procedure. Publications can be used in their thesis in lieu of a Chapter if: • The candidate contributed greater than 50% of the content in the publication and is the “primary author”, ie. the candidate was responsible primarily for the planning, execution and preparation of the work for publication • The candidate has approval to include the publication in their thesis in lieu of a Chapter from their supervisor and Postgraduate Coordinator. • The publication is not subject to any obligations or contractual agreements with a third party that would constrain its inclusion in the thesis Please indicate whether this thesis contains published material or not: This thesis contains no publications, either published or submitted for publication ☒ (if this box is checked, you may delete all the material on page 2) Some of the work described in this thesis has been published and it has been documented in the relevant Chapters with acknowledgement ☐ (if this box is checked, you may delete all the material on page 2) This thesis has publications (either published or submitted for publication) ☐ incorporated into it in lieu of a chapter and the details are presented below CANDIDATE’S DECLARATION I declare that: • I have complied with the UNSW Thesis Examination Procedure • where I have used a publication in lieu of a Chapter, the listed publication(s) below meet(s) the requirements to be included in the thesis. Kusum Normoyle 08/02/2021 ii Solid (Loud) Matter: Voice and Acoustic Feedback in Performance Kusum Normoyle A thesis in fulfilment of requirements for the degree of Master of Fine Art Faculty of Art and Design 2020 i Acknowledgements This thesis was conceived across a number of years, exhibition projects and diverse geographies throughout which I received the support of various friends, peers, and institutions. My sincere gratitude goes to my supervisors Douglas Kahn and Anna Munster for their insight, guidance, expertise, and patience. I also thank the curators and festival directors who have supported the development of my work, Emily Cormack, Robert Cook, Lawrence English, Caleb Kelly, Thomas Supple, Joel Stern, and Dani Zuvela. I thank the technicians at UNSW Art and Design, namely Ant Banister and Toby Gilbert for their time and generosity of spirit. The projects within these pages have benefitted from the creative input, skill and support of my network of friends and peers. I thank Ella Barclay, Hethre Contant, Luke Dearnley, Nicholas Garner, David Haines, Joyce Hinterding, Astrid Lorange, Ivan Lysiak, Matt McGuigan, Emily Morandini, Gail Priest, Mette Rasmussen, Mikhaela Rodwell and, Lasse Marhaug. Gratitude goes to my family for their encouragement and curiosity, with special thanks to Anne Normoyle and Karsten Hansen for their steady support and practical generosity. I am indebted to my friend, collaborator and copy writer extraordinaire, Peter Blamey. This thesis is infused with our conversations about sound and music, and, is a by-product of your steady, unassuming wit and intelligence. Finally, thank you to my husband Dave Fernandes. This project’s completion is owed to your kind-hearted patience and loving support, financial and otherwise. ii Abstract This practice-based research project investigates the material relations of the voice to amplification and spatiality. In particular, through both live performance and its mediatised documentation, I explore my embodied production of non-linguistic vocalisations. As these are transduced through audio amplification at volume, I ask: what can be generated for different ‘vocalic spaces’ through the combinations of acoustic/amplified feedback, non-linguistic vocalisation, and bodily performance? Through my performances S.I.T.E: Tension Sets (2013) and Magnesite Norway (2016), I discuss my techniques for voice and audio amplification and their interrelation in space, in concert with an analysis of approaches by Robert
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