Sonic Art & Sound Design- P23:Sonic art is a new art form, or rather, forms. As we shall see, it can encompass a wide range of activities, perhaps wider than almost any other art form. It is an unusual case, based upon a medium that has traditionally been regarded as inferior and subservient to other creative or expressive forms. | REALISATION AND PRESENTATION Installations Environments and Sculptures Introduction We have discussed the nature and relationships of sonic art particularly with respect to music and to fine art. These definitions and relationships are clearly important as factors that directly inform the creation of works but they take on even greater significance when we come to consider the showing of the finished piece. We shall consider aspects of performance in a later section so for now let s consider what we may call non-presented works. By this we mean works that are not presented live by a human agent and that generally fall outside the scope of simple recordings. Types and levels of technologies We have already seen that sonic art often uses technology. So arguably might a painter depend upon the science and technology of pigment development and production. But on the whole these factors do not have a substantial direct influence upon the ideas behind a painting or the process of its creation. Typically the situation in sonic art is quite different with sound and computer technologies often playing a major part in the creation and presentation of the is a tendency for this situation to be seen as comprehensive but this is far from true many works use little or no high technology but rely upon the properties of materials or may be activated by natural forces. Much of Max Eastley s work falls into this category using materials such as elastic bamboo wood or stone and relying upon wind or heat to stir them into action see examples of Eastley s work on . Equally a substantial amount of his work relies upon electronic processes creating a hybrid approach that uses technology as a means of presentation rather than depending upon it to help create the work itself. In his 2003 work Interior Landscape as part of the Arts Council sponsored project Artists in the City 1 Eastley created a deceptively simple installation using sand and stones brushed by a slowly .
