Final Source Statement - Ambient Noise

This form is a series of planes intersecting, and progressively erecting to and upright-standing sculpture. It's simplicity is meant to not distract from its overall goal, which is to have the following elements:

Flat steps, rectangular slabs, cubes, some circles - all together gaining mass as I add elements to shape the sculptural piece.

The steps represent hierarchy; this specific element I feel represents the different steps children take in their own walk through ambient/white noise - the further up they travel, the more noise, hence the gaining of mass in elements.

The upright slabs represent the different spaces they transition through (imagine doorways leading to a different type of exposure of noise).

The open physical form, and the black perimeters and some rectangles altogether represents how noise infiltrates regardless of the when, where, why, and how the ambient noise is created or our goal to stop the noise; my specific goal here is to show that it does not matter how you want to address the noise, but that noise captures your attention - creating distractions everywhere you go. And the white interiors and white steps are representative of safety, even though noise is infiltrating.

The geometric shapes will represent the detail in my sequence that in essence are the tools instructors provide students a guided-forwardness in dealing with the ambience. As the tools (small shapes climbing up the sculpture) become a greater mass, that is representative in the complexity and preparedness in which kids are equipped with to deal with ambient noise. The location of the shapes are either touching or defensively shielding the black.

Sculpture progress

Update Source Statement

Another week has past us by and my project has not changed much. Because my form will be planes intersecting, and progressively erecting to and upright-standing sculpture, it may appear to be simple in its abstracted sequence from base to top. It's simplicity is meant to not distract from its overall goal, which is to have the following elements:

Flat, steps, adjacent slabs, squares, triangles, circles, color - all together gaining mass as I add elements to shape the sculptural piece. The steps represent hierarchy; this specific element I feel represents the different steps children take in their own walk through ambient noise - the further up they travel, the more noise, hence the gaining of mass in elements.

The upright slabs represent the different spaces they transition through (imagine doorways leading to a different type of exposure); a gaining of mass will be present to indicate this specific thought.

The open physical form altogether represents how noise infiltrates regardless of the when, where, why, and how the ambient noise is created; my specific goal here is to show that it does not matter how you want to address the noise, but that noise captures your attention - creating distractions everywhere you go.

The geometric shapes will represent the detail in my sequence that in essence are the tools instructors provide the kids to move forward in dealing with the ambience. As the tools become a greater mass, that will be representative in the complexity and preparedness in which kids are equipped with to deal with ambient noise.

Primary colors will be applied to the tools uniformly so as not confuse the different geometry and to support the simplicity of this built form.

Updated Photo's of Final Project

Updaed Source Statement

Ambient Noise:

In the past week I have had time to sit on sculptural ideas to assist/morph my thoughts into a built form. While my sketches show lines and direction, I thought to incorporate some of the things that they all had in common and/or unique from each other to give expression to my form.

I expect to have the forms layout to be built with consideration to represent something that starts with simple numbers - I will add density in color and material (that will show a start and end point; time base element), in which case at end point, a vertical form will be erected. I plan on showing how a mixture of door frame-like formations, steps, and shapes with color, will represent the steps, levels, and tools children are provided to be prepared to deal with the noise that we live in every day.

Site Photos, Tobin Montessori Community School, Cambridge, MA

BILIOGRAPHY

Gary W. Evans

Design and Environmental Analysis, Human Developments, Cornell University,

Ithaca, New York 14853-4401

Evans, G. W., Lepore, S. J., Shejwal, B. R., and Palsane, M.N. 1998b.

“Chronic residential crowding and children’s well being: An Ecological perspective,” Child Dev. 69, 1514-1523.

Kryter, K. 1994. The Handbook of Hearing and the effects of Noise, Academic, New York.

Regecova, V., and Kllerova, E. 1995. Effects of urban noise pollution on blood pressure and heart rate in preschool children,” J. Hypertens. 3, 405-412.

VISUAL COMMUNICATION

The title of my piece will be AMBIENT NOISE

I will be using wood and paint to create a bah relief that morphs into a 3 dimensional for. There will be flat overlapping shapes in a series which, signifies a direction. There will be some curvilinear pieces which overlap in some areas with additional vertical pieces of varying color and value as the piece moves from flat to sculptural.

The increasing density of units from flat to sculpture will show a movement that represents the accumulation of time. The way the viewer perceives the piece will invite that they view it from 360 degrees and it will be displayed on the ground.

The flat areas, bah relief, will represent the simplistic infiltration of noise and the increase of layers to a more complex form will depict an increase in ambient/environmental noise.

There may be some variations that occur in the process of creating the form. It is important to me to be open during the process to any organic evolutions that may improve the success of the piece, both visually and conceptually. It may include materials – perhaps metal will be incorporated. And the display of my form may change from floor to table for example.

BIBLIOGHRAPHY

WHITE NOISE

Christian Marclay, 1994

(Artstor)

WHITE NOISE

Joseph Grigley, 2000

SOUNDLY THROUGH THE NOISE

Charles Long, 2003