This project focusses on harnessing the resonating sonorous tones and the importance of water. Trevor Cox states, “The remarkable thing is that in both a roaring tidal bore and a lazy winding creek, the tiny air bubbles make sound at the frequencies where our hearing works best...Perhaps our hearing has evolved specifically to discern the frequencies produced by running water. After all, if our hearing worked in a different frequency range, we would be deaf to water, a substance vital for survival.” He implies that we have evolved to recognise and decipher individual everyday audio experiences because they are fundamental to life.
Drip music began as a series of experimental musical installations suspending melting ice six floors high. Act 1, magnified the tone of a singular drip. Act 2, destroyed the shape of the drip, elongated and held the note as it sizzled and crackled. Act 3, intensified the volume and highlighted the violent dispersal of a singular drip. Each Act explored the language of dripping and was documented through film and sound recordings When I had completed Act 1, I discussed it with sound artist, Alan Dunn,who exposed me to the work of Fluxus member, George Brecht and his Event Score Cards. The card entitled ‘Drip Music’ resonated with my initial experiment. In retrospect, I can see a synergy between Brecht’s work and my own.
Brecht described his art as a way of, "...ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed." He clarifies his vision through his experimental simplistic performances. I continued to experiment with everyday objects and their effect on the substance of water, concentrating on the diversity of sounds. I recorded these experiments in my book, Drip Music, and on DVD, enabling the viewer to experience my explorations within controlled environments and consequently heighten their awareness of the language of dripping in everyday settings.