As you may have been aware, The Cone of Silence was invited to be part of the Electrofringe Festival the weekend before last in Newcastle, as a direct challenge to the extensive program of noise production and sound art. Somaya and Daniel - directors of the Festival were interested in the antithetical nature of this (non) sound piece as a vital aspect of any discourse about sound, art and public space. And from a sound-geek person's point of view, i was more than interested in attending :D

‘The Cone’ as it became affectionately known as, made regular appearances throughout the city of Newcastle, ‘soundproofing’ it, or at least bringing back some silence to parts of public life:

- Civic Park and the Fountain
- Newcastle Library
- Darby Street (the café/counterculture ‘precinct’ of Newcastle)
- Train between Civic Station and Newcastle Station
- The TINA ‘Zine Fair
- Regular trips down the main thoroughfare – King St, between the Festival club on the hill and Octopod, near Civic Park.

In the evenings, ‘The Cone’ rested at the Festival Club, allowing people to interact with it as a static object or climb in it during gigs. And maybe to give me a bit of a rest. It weighs 10kgs you know...











There was a range of interactions with the Cone of Silence as a feature of public life during the Festival:
- A lot of wry smiles of appreciation from passersby and ‘zine fair visitors
- Rapping on the outside from a group of drunk bogans on the Friday night and the obligatory intense questioning and quasi-harassment
- Intrigue from the Police (but ultimate nonchalance – due to the festival being on)
- No engagement whatsoever on the train (which was interesting in and of itself)
- Trying the piece on by a few brave peeps.
- Being asked if the piece was an ATM (based on a TV Commercial?)
- A loud and cheery “Hi Cone of Silence!!” yelled from a car on Darby St, by a local who had been given flyers two days previously. I was almost a local then.
- And inntense conversation about the codes of silence in Fijian spiritual practice with a woman who had just returned from a silent retreat there. She tried the piece on and wanted lots of photos.

and generally a good feeling about the work.

In terms of art in the public space, the level of interaction with art - certainly facilitated by the parameters of a well-know festival – were encouraging and enlightening.

Each of these reactions, whether it was to the object itself, to the nostalgic Get Smart reference, to the idea of having some ‘space’, or to the intrusion of mobile architecture certainly echoed the sentiments many have with the much-smaller and less-conspicuous versions of acoustic private space: headphones - which is what i was kinda hoping for.

There's more to say about my experience at Electrofringe, but this is just a little taste of the actual work.








Obvious big thanks goes to Somaya and Daniel for their awesome support, courage, organisation and openness as festival directors.

Extra big thanks to Max Milne and Victoria Bennett for their added awesome photo stylee skills.

Labels: architecture, electrofringe, performance, public art, sound