Australia Council for the Arts

Arts Projects for Individuals and Groups

February 2018

Lucinda Dayhew's Support Material

 

Four on the Floor (Work Work Work Work)

Installation at HPFA Fine Arts Berlin, 2017:

This is an example of a recent installation of mine using mixed media and sonic elements. In the work I explore children's play and adults' play and similarities in the materials (such as vinyl, latex) used in children's sports and learning institutions and adult's BDSM and fetish equipment. It is also a meditation on psychological categorisation and our 'divided selves' and the differences in the way we present ourselves in public and private, at work and at play, as well as the desexualisation of women post motherhood in contemporary societies. 

 Materials (not including mobile sculpture): Vinyl crash mat, pole dancing pole, latex ribbons and rope, liquid and sheet material latex, ball bearings, ceramics, felt and wooden shakers and beaters, vinyl blow up toy, hand drum, gouache and acrylic paint, glitter nail polish, tape, satin ribbons, vanilla cake, yellow food colouring, silver sugar pearls, fondant, yellow painted wall.  Dimensions: height shown - 3.5 metres, width variable

Materials (not including mobile sculpture): Vinyl crash mat, pole dancing pole, latex ribbons and rope, liquid and sheet material latex, ball bearings, ceramics, felt and wooden shakers and beaters, vinyl blow up toy, hand drum, gouache and acrylic paint, glitter nail polish, tape, satin ribbons, vanilla cake, yellow food colouring, silver sugar pearls, fondant, yellow painted wall. Dimensions: height shown - 3.5 metres, width variable

  RGB Yellowcake 4/4   Materials: Ocean drums with ball bearings (internal), wooden moving trolley, latex, spray paint, gouache and acrylic paint, vanilla cake, yellow food colouring, silver sugar pearls, fondant     Mobile sculpture dimensions: 1.5 metre x 1 metre

RGB Yellowcake 4/4

Materials: Ocean drums with ball bearings (internal), wooden moving trolley, latex, spray paint, gouache and acrylic paint, vanilla cake, yellow food colouring, silver sugar pearls, fondant   

Mobile sculpture dimensions: 1.5 metre x 1 metre

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Practice Room

Installation at Galerie Wedding, Berlin 2016

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This is another example of an installation where I conceived music performances to be an integral element of the work, in a simliar manner to the work 'Palm to Palm' which I propose to make with this grant.

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Practice Room is a spatial installation that is open to be used by visitors, guests/bands and the »flatmates« (other artists in the exhibition). They can convene and try out and play (with) altered instruments. Lucinda Dayhew invites us to collective rehearsals. A practice room is usually secluded, it is not a public space. Songs and melodies are not final, the musicians have no audience yet. Dayhew allows us to experience the processes of collective music making, the harmonies and disharmonies from inside the rehearsal space – accessible to the »flatmates«, visitors and people passing by. Over the course of the exhibition she invites different musicians to rehearse in her Practice Room. These rehearsals take place at different times during the day and night, they are visible and audible from the outside, but they are not public concerts. At the opening Dayhew’s Band Luci Lippard will, however, rehearse six versions of Still Life II in public.

Text: Kathrin Pohlmann & Julia Zieger - curators of Vacancies! as part of Post Otherness Wedding  - a series of exhibitions curated by Solvej Helweg Ovesen & Bonaventure Soh Bejeng Ndikung at Galerie Wedding (state gallery) Berlin.

  Practice Room  (mixed media   -   installation view)  Galerie Wedding Raum für zeitgenössische Kunst , Berlin

Practice Room (mixed media - installation view) Galerie Wedding Raum für zeitgenössische Kunst, Berlin

 Martyna Posnanska rehearsing at Galerie Wedding in Practice Room

Martyna Posnanska rehearsing at Galerie Wedding in Practice Room

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Swan Song

Swan Song is a work by I made involving several Berlin based electronic and experimental/new music composers. It is a reinterpretation of the myth of the dying swan. The swan songs have been pressed on limited edition vinyl dubplates by Flipping the Coin. Losing quality slightly with each play, as is the case with all dubplates, after approximately 500 plays the audio on the records will be rendered inaudible.

Concept and cover art: Lucinda Dayhew

Participating musicians: Clare Cooper . Gudrun Gut . Golden Disko Ship (Theresa Stroetges) . Jasmine Guffond (Jasmina Maschina) . Ari Benjamin Meyers . NSI (Max Loderbauer & Tobias Freund) also part of Moritz von Oswald Trio, with Ricardo Villalobos – ECM remixes & Tobias . Tom Thiel . Lucinda Dayhew

2 x 12‘ inch Dubplates

Below is an example of my art related music inspired by birdsong: it is the final track on my Swan Song dubplate

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Video

Video test shots -  taken at Dorrigo National Park, January 2017

and

Practice Room installation at Galerie Wedding, Berlin - August 2016

 

Password: palms

Please click on the HD symbol and view at 720p

Sonograms

Sonograms have been used as a way of representing bird song in a graphic form since the 1940s, when researchers at Bell Telephone Laboratories in the USA invented the sound spectograph, also known as a sonogram, as a means to identify criminals by their voiceprints. From this time ornthologists have used sonograms as a method for transcribing birdsong. Sonograms display frequency versus time on a graph.

Below are two basic examples of prototype sonogram scores I made using Amadeus Pro software:

 Documentation of myself (left) and Hanne Lippard (right) performing as  Luci Lippard  as part of the Peace exhibition at Schirn Kunsthalle in Frankfurt, Germany July 2017 (source: Schirn Kunsthalle website)  Short biography:   Luci Lippard  is a performance band formed in Berlin in   spring 2014 by artists Lucinda Dayhew and Hanne Lippard.  Using drums, voice, synths and songs, the duo make noise out of poetry.

Documentation of myself (left) and Hanne Lippard (right) performing as Luci Lippard as part of the Peace exhibition at Schirn Kunsthalle in Frankfurt, Germany July 2017 (source: Schirn Kunsthalle website)

Short biography:

Luci Lippard is a performance band formed in Berlin in spring 2014 by artists Lucinda Dayhew and Hanne Lippard.  Using drums, voice, synths and songs, the duo make noise out of poetry.

 

Written Material

KEY COLLABORATORS

NSW National Parks and Wildlife Service

Short biographies

 

Kathryn Wood

Manager of Dorrigo Rainforest Centre at Dorrigo National Park.

She has been working in this, and other roles, at NSW National Parks and Wildlife Service since 1995 and is committed to opening the parks to the local community and visitors as well as to nurturing the cultural life of the park through the visitors centre.

 

Mal Dwyer

Retired ranger who worked for NSW NPWS at Dorrigo and New England National Parks from 1982 to 2012. His extensive on-park knowledge of local flora and fauna means he knows how to locate lyrebirds during breeding season. He is committed to the project and will accompany me in the field.

 

Scott Filmer

Park ranger, New England National Park since 1999

 

Ann Walton

Park ranger, New England National Park since 2000

 

Andrew Turbill

Ornithologist and national parks schools education program since 2004

 

Janelle Brooks

Dorrigo Plateau Area Manager

Has managed 12 parks and reserves in the Dorrigo area since 2012, NPWS since 1994

 

Theoretical research

In addition to researching anthropomorphism, posthumanism and human/animal relations, I have been reading widely, researching current discourse on birdsong. Australian musician and theorist Hollis Taylor’s (with co-authors Vicki Powys and Carol Probets) texts on the lyrebird and pied butcher bird have been influential, providing insight into the lyrebird’s peculiarities and habits as well as into French composer and ornithologist Olivier Messiaen’s transcriptions of lyrebird and other Australian birds’ songs, which he incorporated into some of his final orchestral works.

 

For this project I am drawing on knowledge gained from David Rothenberg’s book, Why Birds Sing. Rothenberg writes extensively on the sonogram as an early method for transcribing birdsong and on the lyrebird’s compositional abilities. He undertook a sabbatical year in 2015 in Berlin, where I currently live, and I was able to meet with him on a number of occasions to discuss this project. He has since become a mentor and project supporter (see his letter in letters of support/support material).

 

Philosophical writings on animals and animal/human relations that have influenced the project include Jacques Derrida’s concept of the animot in The Animal That Therefore I Am (More to Follow), Deleuze and Guattari’s theory of ‘becoming animal’ in A Thousand Plateaus and across other works and Brian Massumi’s concept of an animal politics in What Animals Teach Us about Politics.

 

Context: artists and musicians working in a related manner

Influential contemporary composers who undertook pioneering experimental work with birdsong in the 1960s and beyond, particularly John Cage and Pauline Oliveros. Internationally based artists whose work I consider to be relevant to this project include Pierre Huyghe with his biotopic environments and anthropomorphic/transhuman film and performance works, Carsten Höller and his installation work with birds and Camille Henrot’s work, particularly her installations featuring animals and objects. Australian artists of note working in a related manner across music/sound and incorporating scores/graphic notation into their work (both referencing noted graphic score composer Cornelius Cardew) include Marco Fusinato and Nathan Gray.

 

Australian birdsong, electronic music and musical memory

My long standing interest in birdsong stems from my childhood in suburban Sydney. Since spending extended periods of time living away from Australia, my appreciation for the uniqueness of Australian birdsong has deepened. Avian sounds in electronic music have also held a long fascination and continue to surface in my work. In the ‘90s I became increasingly preoccupied with the bird-like sounds of drum machines and similar electronic music making instruments and pursued amateur circuit making of bird noise making devices. I have strong sonic memories of the techno 303 sounds in acid techno tracks played at warehouse raves. The lyrebird’s sampling like abilities are unique as is the manner in which it ‘remixes’ songs from other birds and animals to create its own song. I am interested in musical memory and perception and the translation of sounds from one context to another, from animal to human and back. I will endeavour to address the question: how are sounds perceived and how do these perceptions differ depending on cultural, physical, biological and psychological phenomena?

 

Mentors

I have three confirmed international practitioners who will mentor the project during phase 2, creating the installation with music performance modules (not to be funded by this grant). They are: Berlin based artist/composer/conductor Ari Benjamin Meyers, a collaborator with whom I have worked with several times. He performs and has presented work extensively internationally, including at the Guggenheim Museum New York and Documenta, Germany and works as an artist exhibiting music in an art context (specialisation: arrangement, performance and music direction).  Berlin based musician/composer Andre Vida also works increasingly in a contemporary art context and has created work using graphic scores including at Eyebeam, New York (specialisation: graphic scores). New York based David Rothenberg is an ‘interspecies’ musician and philosopher and author of several books including ‘Why Birds Sing’ who has been engaging with animals and playing music with them for several decades. He has written extensively on the subject of bird song (specialisation: sonograms and birdsong analysis).