ThingSpeak booklet

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Contents

Relfections about the course Personal history map History cards Taxonomies Classification cabinet Objects and utility Meaning in objects Aesthetics Mirror of the world exhibition Book binding workshop Pinhole camera A brief history of Design through the objects and movements Reflection Week 12 and the final knowledge thing The Double Bass; Significantly Instrumental References Final Thoughts

Personalis historia pecto Taxonomies Ordo historiae decursu tabula Relfections de arca et utilitate obiecta Meaning in AESTHETICA obiecti Speculum orbis terrarum exhibuit Officina Pinhole camera A brevis historia Book binding and Design in obiecti ad scientiam et reflexio motus est

Personalis historia pecto Taxonomies Ordo historiae decursu tabula Relfections de arca et utilitate obiecta Meaning in AESTHETICA obiecti Speculum orbis terrarum exhibuit Officina Pinhole camera A brevis historia Book binding and Design in obiecti ad scientiam et reflexio motus est

RYLN-FRSR-2017

This booklet is a contextual representation of what I have explored in ThingSpeak 2017 Hoc libello est contextual repraesentatione `didici, in quibus sum ThingSpeak MMXVII

This course has taught me how to look at objects from a fuller perspective I believe the projects and class discussions where extremely helpful in achieving a greater understanding and appreciation of objects.

Allowing others to offer opinions and speculations to achieve a deeper understanding of not only objects, but in addition, the people who view, acquire them.

Personal History map I was born in 1995 Parents artists and musicians I was taught how to treat others Loved building with Lego and was fascinated by space Started learning music Started primary school Watch Independence Day, dream to be an astronaut shattered learnt what it meant to have a good sense of justice from my teacher and parents I had a more than a handful of experiences with bullying and learnt how to stand up for myself and others in need of help I struggled at everything except music and art Moved high schools for music and was never utilized because of a disgruntle head of music Moved high schools again for music and started to excel rapidly as I was playing several times a week in multiple bands In graduating high school I was disappointed that all my hard work grilling myself every day amounted to a below average score Being beaten down so harshly I decided to work full time after differing a Bachelor of Music Performance I still had a strong belief that if I wasn’t a musician, then who was I? I worked 5-7 days a week in hospitality and went on auto-pilot for a couple of years.

I found out about Industrial design and its philosophies and started to get excited about learning again, although I was quite scared at the time to do anything other than music (what my passion was and still is) I told my father about my rigid way of thinking that I could only choose one thing and not the other. His answer was “Do everything” This didn’t make sense but at the same time I relaxed and started to realise that choosing one thing to study didn’t trap me for the rest of my life, In the contrary, it helped me discover more talents and passions that I had little knowledge of. Considering this, if I had never taken the small step to study again, I wouldn’t be making the giant leaps that I can today. Taking this step to study was also a great aid in helping my mental health get back on track.

My niece Ava was born and suddenly every little thing I would worry about became such a non-problem. This perspective made me realise that we will always have certain problems in our lives, but if we choose to focus on them, they become worse. If we choose to understand them and move on, we can progress through life at a greater pace whilst deepening the understanding of ourselves.

I started Graphic Design at Boxhill Tafe because I needed a pathway into RMIT Industrial Design and found that I loved the graphic design work. I started to excel and became a mentor to the other kids in my class. I was encouraged to take up a teaching role at Boxhill after finishing the diploma but on acceptance into RMIT I decided to go with my gut and start the thing I had been planning for the last couple of years.

Having a class discussion on how each of us would explore our own personal history map was a nice way to introduce the idea of collaborative learning.

Even though it was sometimes confronting, I enjoy this task because it allowed me to take a step back and see the progression of my life through significant moments.

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Creating taxonomy is a fantastic tool for analyzing artefacts. Sitting out of guidelines that can be used for classifying any artefact you choose offers a quick and simple way to define the artefact in question.

By using this method, my group could learn a great deal about several artefacts in a matter of minutes.

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The classification cabinet exercise was an interesting take to take part in.

My group came up with three classifications whilst other groups came up with several.

Discussing our decision-making process showed me how some individuals perceive and categorize artefacts in relation to themselves and others.

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My 3d printed home cooked meal is for people who have suffered from natural disaster.

A nutrition block is put into the 3d printer and the finished result is a dish that resembles a home cooked meal from that person’s country/city/village. The 3d printer would be able to use the nutrients and reassemble them in any pre-chosen way.

The application of this product would be for people from areas that have been hit by natural disaster.

It could give them the chance to feel a moment of piece in the chaos whilst getting enough nutrition to carry on.

Meaning in Objects

Trying insert meaning into an object proved more difficult than I previously thought. Working in the group allowed for a quick concise decision-making process that ultimately lead us to a final design more efficiently than working alone.

I think this exercise help me understand how to put together the final knowledge project for ThingSpeak.

I don’t apprecicate hyphenation

Aesthetics

My main aesthetic drive is to keep things minimalistic.

For me, well utilized negative space speaks volumes The same when comes to materials. Unless you’re designing a rocket ship that needs to withstand terminal velocity, less is almost always more

Mirror of the World Exhibition

The mirror of the world exhibition held at the Melbourne State Library was a nice way to show the progression of art and craftsmanship simultaneously growing together.

I came to the realization that even though the overall shape of a book has not changed very much it is still the most excellent vessel in containing knowledge and in this realization, I have gained a deeper appreciation for the humble book

Book binding Workshop The bookbinding workshop was instrumental in revealing how much work and craftsmanship goes into such a simple object.

It was nice to be able to contextualise majority of the learning that was taught in the lectures and transfer that knowledge into an object. If activities like this were implemented more often in schools, I believe people’s perception of the mass manufacturing industry would change drastically for the better.

Pin Hole Camera Workshop This was my favorite exercise because it gave my an entirely new perspective of how we capture an image and why we do it.

I now see how special capturing an image is and how we take it for granted now days.

A brief history of Design through objects and movements

I feel that this last section of things speak Would be fantastic to explore further.

I really liked being able to expand on the Bauhaus movement. I think this lecture would be good great as one of the first lectures because it gave so many fantastic references to explore like the scandinavian design movement (looking whilst being incredibly difficult to make or how the industrial revolution came with a loss of ownership of ‘making’

Overall I think I went as well as I could go in the trivia quiz. I surprised myself in areas I previously thought I had no knowledge in

Reflective essay

Introduction How human beings understand objects can be broken down into categories that can be loosely defined, but not restricted to, by personal, social and cultural belief systems.

However, as these definitions are broad, there is considerable room for deeper thought and speculation that hopefully challenges and consequently alters belief. Nevertheless, whilst these parameters exist, pure versions could only be generated by an individual who holds no bias. Through the exercises and resources explored in ThingSpeak, I will attempt a philosophical discussion on the perplexing notion of how we understand objects and, in doing so, how it may help us to design, make meaningful and wonderful new artefacts that benefit individuals, the community and the planet we call home.

Understanding artefacts The significance of classification is essential to how we perceive the objects around us. To comprehend how we understand objects around us is to recognise the important tool of categorisation. We categorise, for the most part, by using our experience in its relationship to other objects and experiences. The tactile sensation, colour and shape, sentimental value, weight and quality, and an infinite amount of other possible classifications, are used subconsciously to name and in turn, understand an object.

The first concept that we explored was the notion of unpacking an object by looking at an artefact’s many layers of connection to the world and how it relates to other objects. This was a useful concept because I had never considered that unpacking an artefact would help to understand its identity and place in the world, and how it has and can affect its surroundings. In addition, the sundial exercise was instrumental in a collaborative learning space and allowed for many cooperative opportunities to share knowledge. Most unexpected was the discovery of how much you can learn about a person just by listening to the way they perceive an object.

Buchanan (1992) suggests that to adapt to the ever-changing definitions of professions we must break down the walls of ego and belief to open channels of communication that will benefit us in the short and long term.

Additionally, The Art of Innovation (Kelly, 2016) discusses this style of collaborative working and cohesive learning and how it has been made accessible by the design company IDEO to produce results that far proceed that of a regular work/learning space. Introducing this element of co-design and collaborative learning can produce results that far exceed that of solo or independent learning and designing. learning cohesively can be aided by determining a benchmark or finding a way to compile the information in which the task at hand is presented. This is where taxonomies and chronologies can help us understand artefacts in a quick and simple fashion whilst generating ideas that allow us to channel our focus into the direction we want to explore. Cohesively mapping out categories, that may associate but not necessarily relate to an artefact, can push us to assume the position of a person that may not hold bias and, in turn, we reveal a greater understanding of the artefact.

A natural progression from developed taxonomies and chronologies is the ability to identify and break down the classification of an artefact whilst being able to pin point its’ origin. When assessing the chapter Differentiation in Design (Forty, 1992), I gained a concise understanding of how there are more subliminal levels that are hidden, by the main categories to classification, among class, status, gender, ethnicity and age, and how this influences what we perceive as normal each day. The chapter revealed these ideas though examples like the type of clothing that a maid wore, or the design and colour of children’s toys. It also detailed how these classifications are still being used today even though several have evolved. I also found the subject of social class classification interesting. This alerted me to the way that you can identify a person’s wealth by analysing their clothing. This idea is common knowledge but it plays in our subconscious mostly unless we question ourselves to why and how do we know this? I believe significant contemplation would be instrumental in designing for people to meet these and other needs or desires across all classifications.

Response to artefacts Identifying how we respond to artefacts is a more difficult to grasp in the sense that each person will encounter the same object in a different way even when in similar personal and social circumstances.

The first idea we explored was the response to an artefacts utility. If an object is useful or can be repurposed, an individual may see it as a necessary item to own even when it is unattractive. This can be related back to Maslow’s hierarchy of needs where the first three basic human needs are that of the physiological, safety and security (S. Gaur, March 22, 2017). Because these three needs are so primal they have the instinctive ability to affect the way we perceive artefacts of utility and their necessity in and to our lives. I believe that the response to an artefacts utility has moved beyond Maslow’s hierarchy of needs as a direct result of how ‘comfortable’ our lives have become. The utilitarian nature of objects has diluted to the point that we think that we ‘need’ when in fact we ‘want’. Furthermore, we are in a society that buys objects just for the sake of buying them, having become a community that works to shop and spend.

The second idea we explored was the response to an artefacts’ meaning. This idea can be broken down into two categories but are not limited to them. These are both personal and social. The personal response can be identified when evoked by a memory or emotion. The social category articulates how different demographics will generally respond like-minded to an artefact with a myriad of feelings due to similar cultural understandings or political and religious beliefs. Embedding an object with meaning is something that most can identify with, whether it’s your father’s old boxing gloves or your grandmother’s diamond engagement ring. The association to that person and that artefact causes an instant connection to memories of the past. This can also relate but is not limited to, a place. An example of meaning instilled within an artefact is that of the Eiffel tower. The landmark represents romance and is readily identified with Paris, France. This assumption can also be made for monuments and geographical locations of significance across the world. However, unlike the rest of the world, the French rejected the statue when it was first erected, because of its crude metal structure which towered over the aesthetically pleasing masonry buildings and cobble streets of Paris (Barthes, 1997). The structure was viewed as an eyesore more than the engineering marvel and considerable achievement that it was. Yet this perspective has thankfully changed over time.

The third idea we explored was the response to an artefacts’ aesthetic; a loose categorization that becomes apparent when we instinctively label an artefact as attractive or ugly, or even attribute its colour as feminine or masculine (Ulrich, 2006). These indicators are preconceived and identifiable through the history of mankind yet adapt to our changing ways. This became evident when modernism emerged around the late 1900s and “Man had progressed far enough to find pleasure in purchasing a plain cigarette case, even if it cost the same as one that was ornamented” (Loos, 1908, p. 2). Further contemplation had me drawing links to the cyclical nature of what popular culture finds aesthetically pleasing. I recognised that around the 1950s artefacts where once again evolving from the simplistic design of the early 20th century. Here objects started to be manufactured with more extravagant ornamentation and playful patterns that became more extreme. Additionally, the use of colour and a variety of materials became more and more liberal until the end of the 20th century.

Currently it appears that we are pushing for simpler design with clean lines, (e.g. no buttons or seams).

It seems that every so often simplistic design elements become more aesthetically pleasing and, furthermore, that we must bring the use of shape and colour back to a neutral field or blank canvas so that designers can begin to push the boundaries of what is aesthetically pleasing or challenging again.

Making an artefact In the past few weeks we discussed the idea of creating a time capsule for knowledge in the form of a book. We discussed how its contents, the artwork it was often embellished with and the craft required to manufacture (presentation) and how they have changed in a myriad of ways over time whilst the book itself has remained an archetype. This was illustrated by attending the exhibition at the Melbourne State Library titled Mirror of the World. The immediate access to knowledge on such a massive scale was made achievable by the creation of the Gutenberg printing press (Manguel, 1997). This sparked a realisation that mankind and our creations may not have progressed to the state that we currently live in if the book had not been invented and widely circulated. Being able to see the process of designing and constructing the Gutenberg press was insightful given the lengthy journey an idea must take to become eternalised in the shape of a book. This thought led me to further explore the act of making an artefact.

When making an artefact there is an opportunity to gain a deeper understanding and appreciation not only for the artefact but also the time, materials and equipment involved in its creation. The process becomes intrinsically personal because of the knowledge and outcome that they, the creators, are ultimately responsible for. The appreciation gained from making a book can help to develop a deeper understanding of the time and skill required to manufacture artefacts in our life time. In turn we can become aware of our actions when poor care is taken in choosing or making an artefact. A new found or invigorated responsibility for not only the things we make, but the things that we purchase, can benefit us greatly. I believe that there is a disconnect between where our artefacts and even our food come from in our society and within our culture. Most people don’t even know what their artefacts are made from. This kind of uneducated consumerist culture has led to a dizzying array of problems for designers who strive to create long lasting artefacts that do not harm the planet at any stages of the artefact’s lifecycle. Because design goes out of fashion so quickly, people are less and less likely to reflect on the quality of what they are purchasing. This, in turn, allows many companies to get away with harmful production methods. Introducing the idea of making things, whilst simultaneously educating the mass population on where their products come from, can help break the acceptable yet destructive notion of things as temporary and disposable.

To conclude this segment of learning we started the book making workshop, I was excited because hands on work is one of my favourite things to do. It was interesting to see over the duration of the workshop, and making the book, how people were reacting to the manual labour, from the initial stages though to the book being near completion.

Some of the initial reactions were less than enthusiastic with students feeling challenged about the hands-on work. As the project progressed, people became more invested and were striving to create something beautiful that they would be proud of. Similarly, in the camera making workshop we discussed what capturing an image means and the value behind the ability to clearly reflect on and revisit moments in our lives that hold meaning.

Even though the sentiment and aesthetic appreciation of a book or photograph will change, as a collective we can identify the importance of keeping records, not to record the good times but also the mundane and tragic.

I can relate to this idea of making things from scratch because I have known from a young age that they become personal reflections of yourself, treasures that retain memories and emotions that may be harder to identify through something purchased. This idea was instilled in me by my family and further engrained in me by my grandfather’s outlook on life. He would often make me sturdy wooden toys that would be able to endure my rough handling instead of buying cheap plastic things that would have the reached their use-by date sooner than the manufacturer intended. My passion for making things extends to my lifelong goal of building an old 1940s style Harley Davidson motorcycle. Most people who know this often can’t understand why I would want to build something rather than buy it new. My simple answer is always, “If I build it, I can ride it all over the world and I know that if something breaks, I can fix it.” The second layer of bewilderment often comes from the fact that I would rather buy things that have been used. I feel more of a connection to things that have earned their patina rather than something that needs to be washed and waxed every day.

Conclusion Although the idea of attempting to deconstruct the levels of information that lie within an artefact seemed to be a challenge, I found this course helpful in arranging the different stages of perception and gained a deeper understanding of how to reduce an artefact to its core function and evaluating its the place in the world.

These tools would defiantly help in the process of re-designing an artefact and encourage a cooperative learning and working experience to achieve greater results and reach higher than I previously though attainable. The ideas I encountered and appreciated challenged the way I thought about some artefacts and other beliefs, such as my views on sustainability and the value of craftsmanship, were strengthened.

W12 And the final knowledge thing

Containing fourteen weeks’ worth of knowledge into a single object proved to be a difficult concept to come up with. I didn’t want to make a book, I wanted to conceptualise my experience in ThingSpeak. I first though that I would create a document with several pages containing all the information necessary, then cut all the individual sheets into puzzle pieces to show how I’ve ultimately felt that the course has been one big puzzle of knowledge that I had to assemble using the tools I gradually learnt. Although I didn’t select this as my final object, I feel this was a significant idea that represented the course for me.

My Finale Knowledge Thing was an exploration of how this unit has layered knowledge to achieve a beautiful understanding of how objects speak to us. By printing the entire contents of what I have learnt in ThingSpeak onto a single page, folding it into a beautiful piece of origami and finally placing the crane into a wooden box I made, I feel that I have demonstrated this course, the and the knowledge that it contains. Although my rational may be unclear to others, I think it is instrumental to allow for further speculation by people that will in turn, further reflect the individual perception of things.

Rylan Fraser (b. 1995) Cra-ni-um, 2017 One which holds all knowledge The origami crane has been made from a single sheet of paper with the content of ThingSpeak printed onto both sides. The sheet went through the printer 37 times to achieve the final aesthetic.

The Double Bass: Significantly Instrumental

Figure 1. Man with Double Bass. Reprinted from At the seaside, by C. O’Brien, 1959. Retrieved from http://www.colinobrien.co.uk/photographs.php?id=40

Introduction The Double Bass is an uncommon example of the marriage between craftsmanship and functionality, and extravagance and simplicity. It is purpose built to blend rhythm instruments with those of melody, yet powerful and complete on its own. When the instrument is played by an expert musician, it ceases to be just that of a skilfully crafted artefact. It transcends the sum of its parts, offering beauty and something unexplainable.

There will always be some confusion regarding the history of the double bass and its architects as there are few documented events to support the most common theories on its origin. The few records available show a fragmented history revealing only a few significant moments that link hundreds of years where its development and use are left unexplained and in virtual darkness. Through this exploration I will unpack (see Appendix 1 – Mind Map for more detail), the history, links, relations and multiple designs that have been developed as, and in addition to, this original and indispensable arrangement.

Figure 2. English Double Bass. Reprinted from English Double Bass by string emporium, n.d., Retrieved from http://www.stringemporium.com/english-double-bass.htm Moments of significance The Australian Chamber Orchestra website credits Gasparo da Salò as being the most likely the creator of the double bass in the late 16th century (ACO, 2013, Our new double bass section, para. 3). In his own right, Gasparo was a genius and talented musician, creating the first double bass in the image of another instrument of this period, and with only three strings made from sheep-gut. It was only in the twentieth century that this configuration started to change, even though the overall design remained static across many centuries. A fourth string, made from flat wound steel, was added to increase the range and depth of sound that could be achieved on this instrument.

Figure 3. Gasparo Da Salò Sculpture. Reprinted from Gasparo Da Salo, Inventor Of The Violin 1540 – 1609

by K. Nisbet, 2012, Retrieved from https://www.flickr.com/photos/keithnisbet/7815824794/in/photostream/

See Timeline (Appendix 2 - Timeline) for more detail on the development of the base over time.

Whilst the physical form of the double bass did not change considerably over many centuries, a rise in popularity and notoriety arrived with the jazz scene in the late nineteen twenties. The widespread use of the instrument and its illumination as an effective solo instrument within this genre, took it from classical roots to cool and saw the development of unique techniques and theory to support this rapid change.

Double bass players began to drop the bow that had been used since its creation. A finger picking technique called pizzicato, only used on occasion in classical music, was also liberally adopted. The new sounds that emanated from this cultural shift had a powerful reach that inspired many generations to come.

This reach would bridge the divide between classical and jazz genres, where new forms of music would be pioneered and played in to milestones marked across politics, art, our understanding of sound, craftsmanship and technique. The significant merge into politics through Charles Mingus, a jazz legend and master of the bass, is one that can’t be denied.

Figure 4. Photograph of a musician performing on a double bass. Reprinted from Nigel Henderson, N. Henderson, c.1949–c.1956, Retrieved from http://www.tate.org.uk/art/archive/tga-201011-3-1-169-1/henderson-photograph-of-a-musician-performingon-a-double-bass An extension into Politics Charles Mingus, was one of the most influential and respected bass players in the jazz community. This man was also a highly regarded composer across a range of genres and would often use his musical status and popularity as a platform for his strong social and political beliefs. As a result, Charles Mingus was heard by many. One of his most infamous compositions, Fables of Faubus, smeared the then Governor of Arkansas, Orval Eugene Faubus. Faubus was a known white supremacist who refused to allow African-American youths to attend high school, even after the American Civil Rights Act of 1964, enforced by the United States Government, which prohibited racial discrimination.

Mingus wrote the following lyric to highlight the this: ‘Name me someone who’s ridiculous, Dannie Governor Faubus!

Why is he so sick and ridiculous?

He won’t permit integrated schools’. (mingusmingusmingus, 1959, Fables of Faubus section, para. 1).

This lyric was delivered in a shout/call-like manner throughout the accompanying musical piece. It was written quite comically, mocking Governor Faubus. At the time, Collumbia Records, who had signed Mingus as an artist, would not allow Mingus to release the piece with the lyrics even though it had been recorded and produced. The lyrics were considered controversial and deemed to be negative propaganda. Nevertheless, this composition was heard and celebrated widely in the jazz clubs across America at the time. The title made it clear that the piece was political and an attempt to highlight the blatant disregard for the Act under Governor Faubus. Ultimately, the original recording from 1959 was released to the public with lyrics intact.

Figure 5. Charles Mingus performing. Reprinted from jazzin photo, by D. Redfern, 1975, Retrieved from https://jazzinphoto.wordpress.com/category/charles-mingus/

Figure 6. Orval Eugene Faubus. Reprinted from dogdharma, by unknown photographer, 1959, Retrieved from https://dogdharma.wordpress.com/2014/12/17/color-blind-and-the-infinite-capacity-of-hope/

Influence in modern art Music is often the inspiration for art and artists. Such is the case for Sao Paulo born artist, Bruni Sablan. Her work consists of large scale, oil on canvas paintings where the masters of jazz, particularly Charles Mingus and Ray Brown, are the muses portrayed.

Nora Villagran, a writer for the San Jose Mercury News explains Bruni’s style and the influence of music/ musicians on her art as follows: “If Jazz had a soul, and one could see it, it would look like a BRUNI Sablan painting. And, like Jazz itself, BRUNI is all radiance and joy one moment ... Sorrowfully living the blues the next. Improvising … But in harmony with herself, her Art.” (brunijazzart, n.d., para. 2).

This statement is clear when you look at BRUNI’s work. Her incredible style has immortalised some of the greatest musicians to live.

Figure 7. Charles Mingus, oil on canvas. Reprinted from BRUNI, by S. Bruni, n.d., Retrieved from http://www.brunijazzart.com/library/artists/Mingus,Charles,897,%20 24x30,%20Profile.htm

History The Da Gamba The Da Gamba, developed by Silvenstro Ganassi was regarded as the predecessor of the double bass. This instrument was largely found in Spain in the region of Valencia. in the late Fourteenth century (Orphenon, 2011, The oldest viola da gamba in history, para. 2). In addition, there were several developments of the da gamba with different tunings and sizes.

The Da Gamba is considered the predecessor of the double bass because of its ‘low bowed’ playing position like the cello. Both are entirely different to the violin which is considered a high bowed instrument (VSL, 2017, History, Viola da gamba bass versus violin bass, para. 2).

Figure 8. The viola da gamba. Reprinted from orpheon.org, by Montoliu, 1475, Retrieved from http://www.orpheon.org/OldSite/Seiten/education/OldestVioladagamba.htm

The Electric Bass Fender, a leading guitar manufacturer (Fender, 2017, title section), has stated that they were the first to create the electric bass. This has become a widespread belief but it is incorrect. Paul Tutmarc is actually documented as having developed the first electric bass during the 1930’s. However, it appears that it went largely unnoticed because it was ahead of its time (Blecha, 2005, Falling through the cracks of history section, para. 2). The instrument he developed never received the recognition among the music or jazz communities.

Many bass players began to use the electric bass because of convenience. Built in the style of an electric guitar, it has been traditionally heavier, with a fretted neckboard and four steel strings of differing gauge that play octaves lower than guitars.

Jaco Pastorius, arguably the greatest electric bass player to come out of the 1960’s, explained that maintaining the double bass in optimum condition was largely dependent on temperature which was impossible to moderate at the time (Pastorius, 1978, Do you play cello or acoustic bass section, para. 1). By contrast, the electric bass offered convenience in terms of size, weight and capacity to maintain the instrument, especially for a traveling musician. Although compromising on the traditional sound of the double bass, the electric bass would successfully traverse genres and help pioneer new styles.

Figure 9. Paul Tutmarc with a No. 736 Bass. Reprinted from Blecha archives, by unknown photographer, 1937, Retrieved from http://www.historylink.org/File/7479

Figure 10. ad for the then-new Precision Bass (and Bassman amp) (Fender, 1952). Reprinted from the precision bass in the 1950s, by Fender, 1952, Retrieved from http://www2.fender.com/experience/guitarchive/the-precision-bass-in-the-1950s/

One of the most influential genres that the electric bass pioneered was Motown. The bass player best known for his part in its creation was the late James Jamerson. As one of the most highly regarded electric bass players of all time, his solid bass lines continue to be utilised by bass teachers to demonstrate the importance of keeping time and creative simplicity to novice bass players.

Figure 11. James Jamerson, Standing in the shadows of Motown. Reprinted from Amazon.com,

by Dr. licks, 1989, Retrived from https://www.amazon.com/Standing-Shadows-Motown-Legendary-Jamerson/dp/0881888826

A further example of the evolution of the bass can be found during the mid-sixties with the removal of frets from the fretboard. Whilst touring around the United States, Jaco Pastorius decided that he wanted to recreate the sound of a double bass through his Fender Jazz bass. It has been largely speculated that he went to a hardware store in a small country town hours before a gig and bought a file, chisel and wood filler to grind down the frets of his electric Fender Jazz Bass, thus creating the first fretless electric bass. This was a successful homage to the resonance of the double bass whilst keeping the convenience of the electric bass.

It also asked more of bass players and their technique as finger positioning would need to be more precise to create the note; as with a traditional double bass. It would, however, also make room to slide through notes more readily than with a fretted fretboard.

Double Bass Craftsmanship The Double bass has been expertly crafted with temperamental materials that require specialist craftsmanship and assembly over a lengthy period. This process utilises hardwood (for the more expensive instruments) to create the sides or ribs. Less expensive instruments can commonly be made using plywood veneer/laminate.

However, those that are solid wood are carved and shaped using several jigs, water and time, to create the shape of the bass

Figure 12. Construction of the double bass. Reprinted from Puglisi, by Puglisi, 2010, Retrieved from http://www.atelierpuglisi.com/ The front and back pieces are made from solid wood, often maple that is several inches thick that is carved slowly and painstakingly to create the traditional shape of a bowed front and back that we are familiar with.

After this process is completed, the headstock is carved from a solid piece of wood in the same manner as the body of the instrument. This is followed by the fretboard, usually made from rosewood, which is then attached to the neck. The pieces are finally assembled using several supports, struts, adhesives and steel inlays. At this point the vision of the double bass is finally achieved. The final steps include sealant and varnish, hardware and strings.

Figure 13. Construction of the double bass. Reprinted from Puglisi, by Puglisi, 2010, Retrieved from http://www.atelierpuglisi.com/

The two most commonly manifatured double basses are the German and French. Both basses have adopted similar characteristics over the millennia. Although the basses look the same, they adopted different bows and with different bows came different playing technique. The German bow is held at an angle and seems to be a more aggressive way of playing whilst the French bow is small with a more delicate technique.

Figure 14. Bowing technique. Reprinted from Gollihur Music, Bows: French and German grip, by M. Gollihur, 1997, Retrieved from https://www.gollihurmusic.com/faq/14-BOWS_FRENCH_AND_GERMAN_GRIP.html The lengthy process, craftsmanship and materials required to make a double bass is considerable. This in turn contributes to the expense of the instrument which is generally quite a significant cost – from $2500 for a novice bass to upward of $120K. This could contribute to why the double bass is less popular as an instrument of choice than its cousins; the violin and guitar.

Personal connection to the double bass The bass has always been a major part of my life. I grew up listening to my father, who was an extremely talented bass player and composer. Added to this was my mother’s beautiful singing voice. It was inevitable that I would learn music.

I started learning to play the piano at age 5 and quickly moved to the bass guitar. I took music and bass lessons for a few years and then switched to guitar, cello, drums and any other instrument that I could get my hands on. Ultimately it was the bass that I would always come back to. After auditioning and being accepted into Victoria’s only specialist music school from year ten, I would begin to develop my skill as a double bass player as well, focussing on both jazz and classical music, and playing in multiple school bands across these genres.

One of the biggest and most unconventional influences came from a famous trumpet player, Miles Davis. His album, Kind of Blue (1959) fascinated me through its obvious genius and well-constructed melodies. I have listened to the first track on the album, So What, more times than I could ever count and its timelessness still surprises me. Every time feels like it is the first time every time whilst also sounding remarkably familiar.

Davis’ spellbinding influence translated into a pursuit of simplicity in my bass playing. I resonated with Charles Mingus when he said, “Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that's creativity.” (Mingus, n.d.).

Conclusion Although the need for change has meant we have lost some knowledge of the simplistic acoustic sound that is the double bass, it will continue to support musical constellations and genres well into the future.

It may take new forms as it has in the past or it may be used for purposes not yet intended by our current understanding of it. The development and contribution of this instrument has benefited generations through the art that has been produced, through the craftsmanship, the music itself, and the addition of technology that has shaped new sound and form. It can be said that the depth of this instrument has supported a wealth of culture and enriched history.

Essay bibliography Cover page • Colin O’Brien. (n.d.). Man with Double Bass - Brighton Station - 1959 [website image]. Retrieved from http:// www.colinobrien.co.uk/photographs.php?id=40 Introduction • String Emporium. (n.d.). The English Double Bass [website image].

Retrieved from http://www.stringemporium.com/english-double-bass.htm Moments of significance • ACO. (2013). Our new double bass. Retrieved from http://www.lib.rmit.edu.au/easy-cite/ • Flickr. (2012). Gasparo Da Salo. Inventor of the Violin 1540 – 1609 [website image]. Retrieved from https:// www.flickr.com/photos/keithnisbet/7815824794/in/photostream/ • Tate. (c.1949–c.1956). Photograph of a musician performing on a double bass [website image]. Retrieved from http://www.tate.org.uk/art/archive/tga-201011-3-1-169-1/henderson-photograph-of-a-musician-performing-on-a-doublebass Politics • Jazzinphoto. (1975). Charles Mingus [website image].

Retrieved from https://jazzinphoto.wordpress.com/category/charles-mingus/ • Dogdharma. (1959). Orval Eugene Faubus [website image].

Retrieved from https://dogdharma.wordpress.com/2014/12/17/color-blind-and-the-infinite-capacity-of-hope/ • Mingusmingusmingus. (2011). Fables of Faubus. Retrieved from http://mingusmingusmingus.com/sue-mingus/revenge Influence in modern art • Nora Villagran. (n.d.). about BRUNI. Retrieved from http://www.brunijazzart.com/Backgrounder,BRUNI,8,09.html • BRUNI, S. (n.d.). Charles Mingus oil on canvas [website image]. Retrieved from http://www.brunijazzart.com/library/artists/Mingus,Charles,897,%2024x30,%20Profile.htm Before • Orpheon, (2011). The Oldest Viola da gamba in History. Retrieved from http://www.orpheon.org/OldSite/Seiten/education/OldestVioladagamba.htm • Orpheon. (1475). Viola da gamba on the ceiling fresco of St. Maria Trastevere in Rome [website image].

Retrieved from http://www.orpheon.org/OldSite/Seiten/education/OldestVioladagamba.htm • VSL. (2017). Viola da gamba bass versus violin bass. Retrieved from https://www.vsl.co.at/en/Double_bass/History

After • Fender. (2017). The world’s leading brand of guitar manufacturer. Retrieved from https://www.fender.com/pages/about • Historylink. (1937). Paul Tutmarc with a No. 736 Bass. Retrieved from http://www.historylink.org/File/7479 • Pastorius, J. (2017). Portrait of jaco. Retrieved from http://jacopastorius.com/features/interviews/portrait-of-jaco/ • Hystorylink. (2005). Tutmarc, Paul (1896-1972), and his Audiovox Electric Guitars [website image]. Retrieved from http://www.historylink.org/File/7479 • Fender. (1952). THE PRECISION BASS IN THE 1950S [website image]. Retrieved from http://www2.fender.com/experience/guitarchive/the-precision-bass-in-the-1950s/ Craftsmanship • Puglisi, A. (2010) Unnamed [website photo]. Retrieved from http://www.atelierpuglisi.com/ • Puglisi, A. (2010) Unnamed [website photo]. Retrieved from http://www.atelierpuglisi.com/ • Gollihur Music. (1997). Unnamed [website photo]. Retrieved from. https://www.gollihurmusic.com/faq/14-BOWS_FRENCH_AND_GERMAN_GRIP.html Personal connection to the double bass • BrainyQuote. (n.d.). Charles Mingus Quotes. Retrieved from https://www.brainyquote.com/quotes/authors/c/charles_mingus.html

References Buchanan, R. (1992). Wicked problems in design thinking. Retrieved from https://lms.rmit.edu.au/webapps/ blackboard/content/listContent.jsp?course_id=_77281_1&content_id=_8162486_1 A wicked problem in design thinking refers to commonly known problems that have no ultimate solution and can only be improved upon by learning more about the issue itself. More explicitly this article relates to the way that the practice of design changes at such a rapid rate that it can never be entirely defined or quantified. The author suggests that combining the efforts of people across several professions may produce creative solutions to the wicked problem of design thinking where the common lack of communication across disciplines does not.

Kelly, T. (2016). The art of innovation (2nd ed.). Profile Books.

The art of innovation discusses how the design firm IDEO came to fruition, its design processes and its ideologies. A discussion of the practice of co-design and its benefits is also had.

Forty, A. (1992). Objects of desire (revised ed.). Thames and Hudson The chapter Differentiation in design discusses the idea that there is a distinction between the upper, middle and lower classes alongside gender and age that allow designers to reach an understanding of their customer base that will enable them to create products targeted to certain demographics.

Sudjic, D. (2009). The language of things: understanding the world of desirable objects (1st ed.). WW Norton & Co. A discussion of archetypes (the typical example of a person or thing) and how different identifiers allow as to associate and understand a new object. The author suggests that all objects co-exist as an evolution of one another and draws links between how designers can manipulate these associations to provoke and control emotion in consumers.

Barthes, R. (1997). The Eiffel tower and other mythologies (1st ed.). University of California Press.

This essay discusses how objects are perceived differently around the world and can how they hold meaning in several ways. Barthes uses the example of the Eiffel tower and how the it is viewed by many around the world as a beautiful beacon, yet the French feel it is a burden given its crude industrial construction that does not fit the historical design of the city.

Ulrich, T. R. (2006). Design: creation of artefacts in society. (1st ed.). Pontifica Press.

Ulrich discusses how to map the rapid association to and understanding of objects when initially viewed. The different categories that influence our decisions as a consumer and how they can be manipulated to influence us to see attraction in new designs that retain familiar traits of their predecessors are also covered.

Loos, A. (1908). Ornament and crime. (1st ed.). Ariadne Press.

This excerpt discusses the progression from design extravagance (unnecessary ornamentation) to a sleek simplicity. Loos argues that the place for ornamentation continues to reduce in our modern times but that we should not deprive the craftsmen of their talent. Rather, we should allow room for them to express t`heir art.

Manguel, A. (1997). A History of Reading. (1st ed.). HarperCollins Publishers Manguel explores the progress of the book from its origin in hieroglyphics to printed hardcopies as we know them today. Also discussed is the widespread access to knowledge that has grown because of book production and how this has benefitted progression and mankind.

FINAL t

houghts

The thing I really enjoyed about ThingsSpeak was the class discussions at the start of each lecture regarding the weekly text. Being able to offer opinions on what the writer was talking about and have queries explained helped me get into each lesson and hit the ground running.

Although I felt out of my depth a lot of the time because this type of learning is very different to my regular learning Style, I enjoyed it the most out of all of my units this semester and feel I have benefited greatly.

The weekly readings and discussions definitely helped me with my academic writing skills and the exercises gave me tools in ordering my study process more efficiently.

By Rylan Fraser s3568808