Hum series (2017, ongoing)
These moving image works use sound as their starting point, particularly the everyday ambient sound we filter out - electrical hum, climate control units, traffic, birdsong, aircraft noise, etc. Drawing on minimalist aesthetics, the use of diegetic sound in cinema, and the traditions of large-format photography, the works are made using an extended fixed single shot, which includes the site of the source of the sound.They are intended as looped gallery installations, to allow an active role for audiences, which can interact with the works as and how they choose.
Use of a good quality sound system is recommended in viewing these works online.
Andrew McNiven: 50Hz (Audio Described) 2018, 6' 39"
HD video, stereo audio, audio description. Commission for the University of Wolverhampton.
In 50Hz (Audio Described), both image and sound is audio described for all audiences in a collaboration with Dr Louise Fryer of University College London and BBC Radio 3. The project aims to demonstrate how an existing practice, audio description, developed to increase access for the blind and partially-sighted, can also function as part of a creative process for all audiences.
A central interest in the work is the idea of ‘attention’ and this work aims to reframe the audience’s relationship to the sonic environment by provoking their attention through the directing-to and fore-fronting of ambient sound together with the related image.
Andrew McNiven: A636, 2017. Infinitely looped HD digital video, stereo audio.
Andrew McNiven: 50 Hz, 2017. Infinitely looped HD digital video, stereo audio.
Andrew McNiven: 50 Hz (West Sussex), 2017. Infinitely looped HD digital video, stereo audio.
Other video/moving image:
'No', (2017, below), was made for the project 'Denial as a Leading Principal' curated for Lodge222 in Dordrecht (NL) by Frans van Lent. The work uses a celebrated slow motion scene from Martin Scorsese's 'Mean Streets' (1973). The original excerpt llustrates Walter Benjamin's idea of the camera as an 'unconscious optic'. Extra-diegetic real-time sound (the opening bars to the Rolling Stones' 'Jumping Jack Flash') is applied to heighten the sense of tension and unreality.
In 'No' the footage is slowed down further, as is the audio track which is amplified, distorted and affords the overlaid sound greater prominence, to increase tension, and to gain a kind of 'materiality' through sonic dismantling.
Note: this work is intended for cinema presentation.
HD digital video, stereo audio.
(Mean Streets ©1973, Martin Scorcese, Jumping Jack Flash ©1968, The Rolling Stones)
All original material ©2018 Andrew McNiven. All rights reserved.