[ISEA2018] Paper: Paul Dunham & Mo Zareei — Click: an Audiovisual Sound Sculpture


Keywords: Sound-sculpture, mechatronic art, sound installation, creative appropriation, audiovisual technology, media archeology, brutalism

The paper discusses the use of obsolete or out-moded technologies in object-based sound installations. Various approaches and strategies within this context are outlined and a number of significant cross-disciplinary works are surveyed. Developed by the first author, Click, an audiovisual sound-sculpture utilising Brownie Box cameras is presented as an example for this creative appropriation.

  • Paul Dunham is a recent graduate of the New Zealand School of Music, Te Kōkī at Victoria University of Wellington (New Zealand). He has produced a number of sound works across different media. His current interest is in the use of electro-mechanical devices as sound objects and their use in sound installations. He has exhibited and presented works at The Dowse, Adam Art Gallery, Victoria University (Wellington) and at ACMC (Sydney). His work, Click, was a finalist in the 2017 Lilburn Trust NZSM Composers Competition. He holds a Bachelor of Music (Composition) with First Class Honours.
  • Mo H. Zareei is a sound artist and a researcher. Using custom-built software and hardware, his experiments with sound range from electronic compositions to audiovisual installations. Regardless of the medium, Zareei’s work is particularly targeted at the point where noise meets grid-based structures. He has exhibited his work at internationally including ISEA2014 and ISEA2015 (Dubai and Vancouver), NIME (London), ICAD (New York), ICMC (Perth), Modern Body Festival (The Hague) and Lux Light Festival (Wellington). His installation  Rasping Music was the recipient of the 1st Prize for Sound Art in the Sonic Arts Award 2015. Zareei holds a BS in Physics from the Shahid Beheshti University of Tehran and a BFA in Music Technology from the California Institute of the Arts. He recently completed his PhD at Victoria University of Wellington (New Zealand), where he currently teaches.

Full text p. 227 – 232