Research Background This project puts computational creativity and the possibilities of audio technology miniaturization in dialogue with sculptural objects. The aim is to use sound and tactile approaches to the manipulation of sound to encourage participants to handle and explore sculptural objects in a gallery context. Inspiration is drawn from the generative design of complex forms explored in architecture by Micheal Hansemeyer and Mark Burry, in design as described by Peter Walters and Paul Thirkle, and in fine art by Kevin Mack. The overall goal is to offer a playful and interactive experience while querying and commenting upon the often-tacit relationship between form, material and sonic behavior.

Research Contribution This project revolves around quasi-intelligent sound-generating sculptures for gallery exhibition. Building on a long history of sound-producing sculptures and art machines from Luigi Russolo and onwards, this project extends these practices through the incorporation of digital production techniques including 3D modeling, additive manufacturing, computational creativity and post-digital sound production using ‘handmade’ electronics. The use of digital design/fabrication (3D printing etc) alongside artificial listening and software-driven sound generation imbues each sculpture with unique sonic behavior.

Research Significance Created with the support of an Arts Education and Law Research Project Grant from Griffith University, the first iteration of this project was documented and distributed online, then presented at The Listening Museum III curated by Clocked Out in association with Urban Art Projects in Brisbane. The second set of iterations have been exhibited at Createworld 2018, which is a peer-reviewed national conference. The project was also featured in a Griffith News Story in 2019 in relation to Curious Music 2019 at Brisbane Powerhouse.