[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column offset=”vc_hidden-lg”][vc_single_image image=”18602″ img_size=”full” qode_css_animation=””][vc_column_text][/vc_column_text][/vc_column][/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” background_color=”#f7f7f7″ padding_top=”60″ padding_bottom=”60″][vc_column offset=”vc_hidden-md vc_hidden-sm vc_hidden-xs”][qode_elements_holder number_of_columns=”two_columns” columns_proportion=”75_25″ switch_to_one_column=”1000″ alignment_one_column=”center”][qode_elements_holder_item vertical_alignment=”top” advanced_animations=”no” background_color=”#f7f7f7″ item_padding=”3% 5% 5px 10%”][vc_single_image image=”18602″ img_size=”full” alignment=”center” qode_css_animation=””][vc_separator type=”transparent” up=”35″ down=”0″][vc_column_text]
Sound // Noise
[/vc_column_text][vc_separator type=”transparent” up=”35″ down=”0″][vc_column_text]Working with sound as both a medium and a subject, Miriam primarily uses noise in conjunction with dissonance to create indeterminate installations. Her research into sound perception ranges from physiology to musicology, seeking to understand how the brain interprets some sounds as jarring noise and others as expressive, concordant music. The term ‘dissonance’ is not unique to music theory. In psychoacoustics, the science of how sound is received and interpreted by the brain, physicists have a number of neurological and acoustical explanations as to why certain sounds clash. By comparing cultural receptions of dissonance with physiological evidence, there is reason to suggest that the physicality of noise is integral to the psychological responses to dissonant works of art and music. Her main aim in making discordant works is to create something visceral, in which the listener has a strong reaction to. However, whether the inclination is positive or negative is less important than the response itself. When using indeterminate techniques, she is able to question her own response and listen to the outcome as an audience member, because the composition is left to chance. Through subtle spatial intervention, she creates live installations using an array of old and new technology to project sound waves into a space, and in most cases, keeps the timbre of the work as neutral as possible by using sine frequencies. Miriam’s installations create an experience for the public that shows the power of resonance by highlighting the unearthly nature of pure tones, and the effect they have on space and material.[/vc_column_text][/qode_elements_holder_item][qode_elements_holder_item vertical_alignment=”top” horizontal_alignment=”left” advanced_animations=”no” item_padding=”5% 10px 10px 10px”][vc_separator type=”transparent” up=”5″ down=”0″][vc_column_text]UNIVERSITY OF LINCOLN — 2013 – 2016
Fine Art BA (Hons)
SELECTED EXHIBITIONS
2019 Enharmonic
— All Saints’ Church, Leicester
— LCB Depot, Leicester
2018 Loop
— LCB Depot, Leicester
2018 Four
— Phoenix, Leicester
2017 Leftovers
— Surface Gallery, Nottingham
2017 Love Leicester
— De Montfort University, Leicester
2016 EM16: Pulse (Residency)
— Surface Gallery, Nottingham
2016 Apex
— University of Lincoln
2015 Lucky Like (Collaboration)
— Frequency Festival, Lincoln
2015 Timequake
— Vonnegut Arts Festival, Lincoln
— University of Lincoln[/vc_column_text][/qode_elements_holder_item][/qode_elements_holder][/vc_column][/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” background_color=”#f7f7f7″ padding_top=”60″ padding_bottom=”60″][vc_column offset=”vc_hidden-lg”][qode_elements_holder number_of_columns=”two_columns” switch_to_one_column=”1300″ alignment_one_column=”center”][qode_elements_holder_item advanced_animations=”no” background_color=”#f7f7f7″ item_padding=”5% 20% 10% 20%”][vc_column_text]
Sound // Noise
[/vc_column_text][vc_separator type=”transparent” up=”35″ down=”0″][vc_column_text]Working with sound as both a medium and a subject, Miriam primarily uses noise in conjunction with dissonance to create indeterminate installations. Her research into sound perception ranges from physiology to musicology, seeking to understand how the brain interprets some sounds as jarring noise and others as expressive, concordant music. The term ‘dissonance’ is not unique to music theory. In psychoacoustics, the science of how sound is received and interpreted by the brain, physicists have a number of neurological and acoustical explanations as to why certain sounds clash. By comparing cultural receptions of dissonance with physiological evidence, there is reason to suggest that the physicality of noise is integral to the psychological responses to dissonant works of art and music. Her main aim in making discordant works is to create something visceral, in which the listener has a strong reaction to. However, whether the inclination is positive or negative is less important than the response itself. When using indeterminate techniques, she is able to question her own response and listen to the outcome as an audience member, because the composition is left to chance. Through subtle spatial intervention, she creates live installations using an array of old and new technology to project sound waves into a space, and in most cases, keeps the timbre of the work as neutral as possible by using sine frequencies. Miriam’s installations create an experience for the public that shows the power of resonance by highlighting the unearthly nature of pure tones, and the effect they have on space and material.[/vc_column_text][vc_separator type=”transparent” up=”50″ down=”0″][/qode_elements_holder_item][qode_elements_holder_item advanced_animations=”no”][vc_column_text]UNIVERSITY OF LINCOLN — 2013 – 2016
Fine Art BA (Hons)
SELECTED EXHIBITIONS
— LCB Depot, Leicester
2018 Loop
— LCB Depot, Leicester
2018 Four (Solo Exhibition)
— Phoenix, Leicester
2017 Leftovers
— Surface Gallery, Nottingham
2017 Love Leicester
— De Montfort University, Leicester
2016 EM16: Pulse (Residency)
— Surface Gallery, Nottingham
2016 Apex
— University of Lincoln
2015 Lucky Like (Collaboration)
— Frequency Festival, Lincoln
2015 Timequake
— Vonnegut Arts Festival, Lincoln
— University of Lincoln
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