Time 3:00
10/12/10 - 1:00 research on wood quality
10/13/10 - 1:00 research
10/14/10 - 1:00 research into styles of playing
Not much progress was made this week in terms of physicality, but I have been thinking much more about didgeridoo as an expression. I had a realization recently that all art forms are pure expressions of the entirety of that person, and all nonverbal art forms are expressions of things that cannot be expressed through words, simply because each art form allows for certain things to come out in a certain way. It seems very obvious to me now, but that articulation was full of power and significance.
This put all expression in a different light, especially the methods I use to express myself. Now I understand that when I play the didgeridoo, I am not just trying to make nice sounds, but I am expressing my whole and complete self through a medium that is just as legitimate as words (if not more). Every expression that I create expresses every moment I have ever experienced because it is influenced by each one of those experiences. The same also goes for didgeridoo creation; everything I create is a direct expression of self.
I am even more excited about this journey I have embarked on now that it holds so much significance to me.
Thursday, October 14, 2010
waiting for action
Time 3:00
10/3/10 - 1:00 discovery of new prospective wood
10/5/10 - 1:00 Research on differing sounds in differing didgeridoos
10/7/10 - 1:00 Research on qualities of different types of wood
This week I continued cutting up the wood in my yard, I found some new prospects in the woods right next to RPS as well. I also talked more in-depthly with Billy Peacock (who is allowing me to use his shop/equipment) about how exactly I would go about accomplishing my task.
10/3/10 - 1:00 discovery of new prospective wood
10/5/10 - 1:00 Research on differing sounds in differing didgeridoos
10/7/10 - 1:00 Research on qualities of different types of wood
This week I continued cutting up the wood in my yard, I found some new prospects in the woods right next to RPS as well. I also talked more in-depthly with Billy Peacock (who is allowing me to use his shop/equipment) about how exactly I would go about accomplishing my task.
Tuesday, October 5, 2010
The Reciever
Time 3:30
9/28/10 - 1:00 Research and communication with Ben Hicks
9/30/10 - 1:00 research on wood identification
10/2/10 - 1:30 Pulling down and cutting dead tree
This weekend I pulled a dead tree out of the ground and started to cut it up for use. It has some bugs in it, but the tree is relatively thick so the damage may be manageable.
I send an email to Ben Hicks, the maker of my didgeridoo, and asked some questions about specifics of didgeridoo shape to sound relationships. He responded by saying that he was not concerned with the shape he wanted the wood to have, but rather what shape wanted to come out. He went on to say that the energy of the wood had a great deal to do with how well the product comes out. I found this information very profound, because I have somehow failed to incorporate the feeling of the wood into consideration. I am very glad he brought this to my attention because i was ignorant of it, and I am also very glad that he had that attitude, one which I feel is perfectly appropriate. From now on I will consider didgeridoo crafting for myself as a complete art form, and incorporate as much of myself as I can in the expression.
9/28/10 - 1:00 Research and communication with Ben Hicks
9/30/10 - 1:00 research on wood identification
10/2/10 - 1:30 Pulling down and cutting dead tree
This weekend I pulled a dead tree out of the ground and started to cut it up for use. It has some bugs in it, but the tree is relatively thick so the damage may be manageable.
I send an email to Ben Hicks, the maker of my didgeridoo, and asked some questions about specifics of didgeridoo shape to sound relationships. He responded by saying that he was not concerned with the shape he wanted the wood to have, but rather what shape wanted to come out. He went on to say that the energy of the wood had a great deal to do with how well the product comes out. I found this information very profound, because I have somehow failed to incorporate the feeling of the wood into consideration. I am very glad he brought this to my attention because i was ignorant of it, and I am also very glad that he had that attitude, one which I feel is perfectly appropriate. From now on I will consider didgeridoo crafting for myself as a complete art form, and incorporate as much of myself as I can in the expression.
Tuesday, September 21, 2010
begginings of Inspiration and hopeful discoveries
Time: 3:45
1:45 9/17/10 Pickards Mountain wood scavenge
1:00 9/21/10 RPS research and blog post
1:00 9/23/10 RPS research
I was walking through the forest at Pickards Mountain this past weekend, when I came across a decently sized log that appeared to have been cut by man. It is slightly suspect due to a bit of fungi on one face, but the structural integrity seems to remain intact. The wood also seems to be reasonably seasoned, which should save me quite a bit of time. I need a moisture meter for all the wood I find, but it is especially pertinent now; if I don't know how much moisture is in it, I can't know how long to season it for.
Something that I am definitely keeping an eye out for is natural curves in wood, i would much rather use the natural curves than instituting my own curves. Curves in general add character not only to the appearance of the didgeridoo but also to the sound. If the exterior of the wood follows a curve, than the interior of the wood will have to follow that curve. When it is played, the sound waves are being constantly reflected and redirected, and when the boundaries are less linear, the sound waves emerge with a much less linear affect, creating very interesting and especially unique harmonies.
1:45 9/17/10 Pickards Mountain wood scavenge
1:00 9/21/10 RPS research and blog post
1:00 9/23/10 RPS research
I was walking through the forest at Pickards Mountain this past weekend, when I came across a decently sized log that appeared to have been cut by man. It is slightly suspect due to a bit of fungi on one face, but the structural integrity seems to remain intact. The wood also seems to be reasonably seasoned, which should save me quite a bit of time. I need a moisture meter for all the wood I find, but it is especially pertinent now; if I don't know how much moisture is in it, I can't know how long to season it for.
Something that I am definitely keeping an eye out for is natural curves in wood, i would much rather use the natural curves than instituting my own curves. Curves in general add character not only to the appearance of the didgeridoo but also to the sound. If the exterior of the wood follows a curve, than the interior of the wood will have to follow that curve. When it is played, the sound waves are being constantly reflected and redirected, and when the boundaries are less linear, the sound waves emerge with a much less linear affect, creating very interesting and especially unique harmonies.
Thursday, September 9, 2010
Novel Progression and Anticipation
Time: 3:20
1:20 9/4/10 Pickards mountain wood scavange
1:00 9/7/10 RPS research
1:00 9/9/10 RPS research and blog post
i have worked my way through , an in depth guide to the split and hollow technique of didgeridoo construction. It has enough information for me to start right away, from finding/choosing the wood to fine tuning the sound.
I have searched some at Pickard's Mountain and have gotten permission to look around at Leigh Farms. I have also located some trees in my neighbor that have been cut down and i plan to inquire with the property owner. My one concern right now with the process is the seasoning of the wood (drying/curing), because it takes an extended period of time. But i read that you can put the wood in running water to speed up the curing process.
1:20 9/4/10 Pickards mountain wood scavange
1:00 9/7/10 RPS research
1:00 9/9/10 RPS research and blog post
i have worked my way through , an in depth guide to the split and hollow technique of didgeridoo construction. It has enough information for me to start right away, from finding/choosing the wood to fine tuning the sound.
I have searched some at Pickard's Mountain and have gotten permission to look around at Leigh Farms. I have also located some trees in my neighbor that have been cut down and i plan to inquire with the property owner. My one concern right now with the process is the seasoning of the wood (drying/curing), because it takes an extended period of time. But i read that you can put the wood in running water to speed up the curing process.
Thursday, September 2, 2010
Intro into creation of bodily expansion
Time - 3:20
6/31/10 - 1:00 novel research
7/2/10 - 1:00 continued research
7/4/10 - 1:20 research
goal of this blog is to document my traverse into the depths of constitution of body "parts" using techniques and information available as well as physical resources existing in this surrounding ecosystem; Namely, I will be learning about and practicing the art of making didgeridoos.
The didgeridoo is possibly the oldest woodwind instrument in the world, used originally by various aboriginal tribes in Australia. The traditional method of creation is to take a eucalyptus tree that has been naturally hollowed by termites and thin it down to a relatively managable size. While westerners have adapted more modern techniques of hollowing tree limbs native to their habitat.
Because of the simplicity of a didgeridoo's methods of action, as well as how the techniques required to play are completely dependent upon internal movements, it is more akin to an ampliphier than merely an instrument, more to an extension of the body than merely a tool to be abused.
6/31/10 - 1:00 novel research
7/2/10 - 1:00 continued research
7/4/10 - 1:20 research
goal of this blog is to document my traverse into the depths of constitution of body "parts" using techniques and information available as well as physical resources existing in this surrounding ecosystem; Namely, I will be learning about and practicing the art of making didgeridoos.
The didgeridoo is possibly the oldest woodwind instrument in the world, used originally by various aboriginal tribes in Australia. The traditional method of creation is to take a eucalyptus tree that has been naturally hollowed by termites and thin it down to a relatively managable size. While westerners have adapted more modern techniques of hollowing tree limbs native to their habitat.
Because of the simplicity of a didgeridoo's methods of action, as well as how the techniques required to play are completely dependent upon internal movements, it is more akin to an ampliphier than merely an instrument, more to an extension of the body than merely a tool to be abused.
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