” self-preservation”

The title of my 1st project is, as shown above, self-preservation. I intend to create visual and audio pieces, capturing my thoughts and feelings in a specific space and time during the last 4 years in London, UK. I am going to present it in the form of a visual diary, using short video clips I have recorded at different locations and times, putting it together as one video with sound produced by me in the background. I would like to show it on an old, retro TV from the 50s/60s to give a nostalgic effect to it. On top of that, I am going to create a theatric scene using black tulle material hanging from the ceiling, my auto-portrait, and a poem written by me to showcase my thoughts. It is a letter to athazagoraphobia, a fear of being forgotten. Trying to leave marks on earth to prevent disappearing, quite directly self-preservation.

At first, I thought we were supposed to come up with just one idea to build our portfolio but then I realized that we have to have 2 ready. As much as I knew what I wanted to do for the first project, I was completely lost when it came to the second project. I was thinking hard about what I create that it’s gonna be in sync with my first idea but creative and different. I wanted to combine meaning, sound, and theatrical presentation. I wanted to create something WOW! I had a lot of ideas, but most of them were too complicated and hard to build. And then, during the night, it struck me. I want to build an enormous model of the human heart around 1 standing loudspeaker to create an imitation of sound coming straight from the heart model. It is still hard and I don’t know how technically it will work out, which I need to discuss with Milo and technicians at LCC. What I am thinking about is building a wire model of the human heart around a standing loudspeaker and then covering it with various materials of different shades of red. Of course, in my head idea looks brilliant but I have never seen or heard of anyone doing this, which is really cool by the way, but then the concept is very much in space and I am not sure how it will come out. Which is exciting and scary as I won’t know until I am actually building it. Maybe in the process, I will realize it is too complicated and I will change the idea but I think for now I will stick to it. Why heart, you could ask? It is the very first sound we animals give out to the world around us. It is sound that we create all the time, our whole life, and as soon it stops our existence stops too. It is an obvious explanation but I think with deep, existential meaning. Talking about sound, I want to use the actual sound of a heart beating, which I am gonna transform.

1 chapter: The origins of Tibetan bowls
2 chapter: Physical and spiritual effects
3 chapter: different types of singing bowls and using purpose

Some authentic Himalayan singing bowls from Nepal, Tibet, and India are more than 500 years old. There are 9 types of singing bowls:

1.1 crystal bowls have not been as popular as the regular singing bowls since a long time, but they have been popular recently. They are famously used in various healing therapies since the 80s. The resonance of these crystal bowls seem to grow into the interior spaces and that is one of the reasons they have been revered throughout the meditation and yoga community. Even though the crystal singing bowls are not as ancient as Tibetan Singing Bowls or Nepali Singing Bowls, they have become a very useful instrument for sound healing. The rich and pure vibrant overtones produced by such crystal singing bowls, one can find a deep relaxing and rejuvenating state of mind. Each crystal bowls are blended with the finest gemstones and precious metals during their construction, resulting into a work of art in itself.

1.2 Tthadobati singing bowl, term “thado” means “Straight.” Thadobati has unique features because its surface is a smooth and flat bottom. The singing bowl of Thadobati has straight walls and a large flat base. The medium-sized bowls are made of plain rim whose width is equal to the wall itself. This bowl carries positive vibes and energy. Compared to the jambati singing bowl, it’s deeper. Thadobati singing bowls have high walls, flat bottoms, and straight sides. The lips are plain and undecorated and respond well when played with a mallet. The Thadobati bowls are the ancient bowls available and date back to at least the 15th century. These are the most popular and unique singing bowl types available in the market. 

1.3 Lingham singing bowl, the singing bowls of Lingam are marked by a lingam in the center of the inner bowl. Singing bowls of lingam are among the rarest singing bowls of the Himalayas. It’s known as a masculine form; the lingam within the bowl’s base is a slight protrusion of the cone. It’s believed that it was founded back in the 16th century. The hand-made bowls have smooth sides, and the lips are stretched to the bowl inward. Lingam bowls are shallow and have a protrusion in the center. The peak in the bowl makes a flat bottom with a navel-like shape. It has a unique sound due to this unique structure and can be quite difficult to play. Lingam embodies the Hindu god Shiva. Lingam bowls get used in rituals and also for medicinal purposes. Moreover, ancient lingam bowls have a distinct rounded style, similar to Jambati. The Lingham feature can also get incorporated into other bowl styles including Manipuri. A genuine old lingam must have consistent metal at the bottom to build a strong lingam.

1.4 Naga or Pedestal singing bowls have a chalice-like appearance. They are responsive but sometimes the sound produced gets distorted by the loose pedestal base. The thin walls and round shape are not conducive with sonic depth. Antique Naga bowls must have a ceremonial or sacred purpose as they get found in a great condition. Many specialists believe that the Naga bowls got used as an offering bowl due to the pedestal.

1.5 Mani singing bowls have an inward-facing lip, flat bottom, thick walls, and are wider in the middle. They are small to medium-sized and are also referred to as Mudra singing bowls. You can find some decorative markings although older Mani balls do not have them due to wear and tear. Ancient Mani singing bowls date back to the late 16th to 19th centuries. These bowls were generally given as wedding gifts in the olden days. Mani bowls have a very high tone, although they are large and heavy. The sound of the bowl is generally in the 5th octave or the 6th octave. Moreover, they are short and stout and easy to play with a ringing stick. Many specialists believe that they might have got used for ceremonial, sacred, or ritual purposes. 

1.6 Ultabati singing bowls are large, heavy over 7 ” and are similar to Jambati. They are quite easy to play and can produce the lowest two octaves. Ultabati bowls can produce OM sound which is of spiritual significance in Buddhist practice. They can also produce fountains. In Ultabati, the side of the bowl gets curved under the rim. They have prominent hammer marks and the etching lines are similar to Jambati bowls. Ultabati also has low tones similar to Jambati. They have black, or darkened outside walls and bright in the interior. 

1.7 Manipuri singing bowls are small or medium-sized with shallow insides and splayed rims. they are easy to play and produce the primary tones. These are the best types of singing bowls for beginners. Manipuri is the original singing bowls introduced to Western travelers in the 1970s. Moreover, the name Manipuri comes from the Northeastern state of Manipur in India which is a center of brass objects. These bowls were extensively used which lead to thick etched bowls turned into thin smooth bowls with no markings. Manipuri bowls have hammer marks and fine craftsmanship and they are quite smoothly made. Furthermore, Manipuri bowls have a wide range of sizes, and thicknesses. They have primary tones and can produce lower second octaves to the 5th. The best singing bowls for sound healing and music recording.

1.8 Remuna singing bowls have smooth thin walls. Remuna bowls are similar to Thadobati in shape and timbre. They have a similar soundscape and you can combine with Thadobati in sets. Remuna has inward sloping walls along with a flat bottom and has intricate artwork. They have deep etching with circles inside and out, and also occasionally on the bottom. Remuna bowls have two textures outside, and a darker and rougher bottom half. Remuna Singing Bowls have a simple and rather refined and faintly globular profile that subtly curves away from a modest flat base before gracefully curving back towards the rim. The widest part of their belly is typically just below the midpoint. They typically have thin smooth walls and a plain or single-grooved lip. Decorative markings, if any, are limited to a few concentric circles in the centre of the bowl, and perhaps an incised line below the outer rim and around the belly. Some bowls have a small raised area, or mound, in the centre of the basin, otherwise there is little variation in form apart from size. Remuna bowls are often found in a good state of preservation. Some carry a small inscription. They are renowned for their responsiveness and ease of play, and have particularly lovely voices. Moreover, Remuna have the most beautiful artworks among all the singing bowls, but they get worn away after long use. 

1.9 Jambati Singing Bowls are bowls with curved walls, flat bottoms, and inward-facing lips. They have hammer marks which makes them quite appealing. Jambati singing bowls have classical etching lines on the outside rim and circular markings at the inside-bottom. Ancient Jambati have no lines as they get worn off from repeated use. Moreover, they generally play 2nd or 3rd octave but their range is of four different octaves. They get used for grain storage, which preserves them and keeps them in great condition. You also need a mat or cushion to place and play the Jambati singing bowl. Furthermore, Jambati bowls respond well when played by a mallet and are the heaviest of all-singing bowls. They date from the 15th or 16th century and were made mainly for ceremonial use. Decoration is minimal, confined to a few simple incised bands encircling the outer rim to form a collar, and some  concentric circles radiating from the centre of the basin.  They have wonderful resonant voices and long sustains, and are very popular with collectors, healers, and sound therapists. 

1 chapter: The origins of Tibetan bowls
2 chapter: Physical and spiritual effects
3 chapter: different types of singing bowls and using purpose

1. The ancient Himalayan tradition and spiritual practices of using singing bowls, have roots in Tibetan Buddhism. Buddhist monks have used these bowls in meditation since ancient times. Singing Bowls is a nearly symmetric metal bowl that produces a musical sound either by rotating a wooden stick around the outside rim or softly hitting the wooden stick on the outer rim. The wooden stick is called “Puja” in Nepali and mallet in English, these wooden sticks are covered with felt or leather. Singing bowls are commonly known as Tibetan Singing Bowl, Tibetan healing bowl, Tibetan Meditation bowl and Himalayas Singing bowl. Due to its name many people believe singing bowls are originated from Tibet but in reality, it has originated from Nepal and Eastern India.Few researchers believe singing bowls were first made in Mesopotamia over 5,000 years ago. As such, singing bowls are believed to be one of the most ancient artisan crafts in human history.
2. Sound has been used from ancient time for meditation and healing by using Tibetan bells: Himalayas singing bowls, Bells, Tibetan Gongs, didgeridoo, wind chimes and other ancient musical tools. The use of singing bowls for their therapeutic value has been traced back to more than 1000 years. According to Study published in the Journal of Evidence-Based Integrative Medicine, it has been found that an hour-long sound meditation has helped people reduce their tension, anger, fatigue, anxiety and depression while increasing a sense of spiritual well-being. The main instrument used was the singing bowls for 95% of the session. People who had never done sound meditation experienced significantly less tension and anxiety afterward, as well as those who had done it before. The sound from Himalayas Singing Bowls take our brain to Theta waves (4-8 Hz) which induce deep meditative state of mind as in this state our senses are withdrawn from the external world and we are able to concentrate on indication from within.  The sound vibration helps us to be in peaceful states, clarity of mind, and intuition. When our brainwaves are out of balance, there will be corresponding problems in our emotional or neuro-physical health. A combination of under-arousal and over-arousal is seen in cases of anxiety and depression. The brain wave can be altered by using Singing Bowl sound vibration, one of the ancient ways of healing through brainwave entraining. Tibetan Singing Bowls or Himalayas Singing Bowl is an ancient method used in Eastern culture to balance the Chakras. The sound waves, in the form of sine waves, run correcting frequencies to the unbalanced chakras, bringing them back to normal functioning. As the vibration from the sound of the singing bowl runs through your body, it is calibrating your chakras to run at their most optimal tone.

Each chakra resembles to a different body area, neural network, organ system, vibration, color – and a different musical note or frequency:

1st chakra- NOTE C- skeletal/spine

2nd chakra- NOTE D- reproduction/bladder

3rd chakra- NOTE E- stomach/ liver

4th chakra- NOTE F- heart/ circulation

5th chakra- NOTE G- lungs/throat

6th chakra- NOTE A- sinus/ lower brain

7th chakra- NOTE B- nerves/ upper brain

The overall balancing effect of the Tibetan Singing Bowls and theta brainwave entrainment combine to enhance and support the corrective rebalance of the sine waves effect on each chakra. The result is balanced chakras which then, in turn, enhance cellular and systemic healing throughout the body that is facilitated by the theta rhythms.

Articles and books I intend to use:

1.1 https://handicraftsinnepal.com/singing-bowl-types/

1.2 “Healing Sounds, The Power of Harmonics” by Jonathan Goldman

1.3 https://www.shape.com/lifestyle/mind-and-body/science-behind-sound-healing

1.4 https://www.harpersbazaar.com/uk/beauty/mind-body/a42445135/sound-healing/

1.5 “Tuning the Human Biofield: Healing with Vibrational Sound Therapy” by Eileen Day McKusick

1.6 “Music Medicine: The Science and Spirit of Healing Yourself with Sound” by Christine Stevens and Joan Borysenko

1.7 “Healing Through Frequency” by Ramon Emberto

1.8 The Medicine of Sound by Ash Kumar

1.9 The Singing Bowl Book by James Davis

1.10 “The Tibetan Art of Healing” by Romio Shesthra & Ian A. Baker

1.11 “The Singing Bowl” by Malcolm Guite

1.12 “Himalayan Sound Revelations: The Complete Singing Bowl Book” by Frank Perry

1.13 “How to Heal with Singing Bowls: Traditional Tibetan Healing Meth” by Suren Shrestha

1.14 “Ancient Language of Sacred Sound : The Acoustic Science of the Divine” by David Elkington

1.15 “Sound Medicine” by Kulreet Chaudhary

Could sound healing be the ancient answer to modern stress?

When I learned that we can actually heal our body using the right vibrations to tune with vibrations in our body, I was shocked. I knew that I want to resolve that topic and now it is the perfect time. Nowadays a lot of „New Age” practices become popular and practiced. Coming from a conservative country learning about spirituality and practices in this range is extremely fascinating. Back in 2020 during a trip to Bali, I had the opportunity to participate in sound therapy using Tibetan singing bowls, which inspired me to narrow the topic of the way sound can heal our body to healing our body specifically using singing bowls. I chose this specific question because unwraps perfectly what I want to study and talk about in my research. What’s more it gives spiritual energy straight away which is very important in my project.I have identified questions such as: What is sound healing using Tibetan bowls? Where do singing bowls come from and their primary history? Do they work and if how? Can they heal our physical bodies? I want to start by exploring how Tibetan bowls have been invented and what was its purpose. Secondly, I will resolve the way they work on us, maybe examples of people who were treated using singing bowls and how it worked for them and can they treat us only on a mental level or if they treat injuries too. And lastly, I have learned that there are different types of singing bowls and that each has different purposes. I want to expand on that and bring concrete examples and what it would work best for. I think it would be nice to include, at this stage, an interview with a specialist in this scope, who could explain the differences, and how to spot them. Basically instead of me just reading what I have found online, it would be more interesting to include someone who really knows singing bowls and can tell maybe aspects we wouldn’t find online.

” City is artificial creation. It is not meant to benefit people, it is supposed to benefit system”

Sephora Pietrzak

In yesterday’s class with Dawn Scarfe, we talked about our ideas for portfolios. We were suggested that its better if our research project and portfolio were connected, which made me worry as my idea for the portfolio is quite opposite to what I started creating for my audio paper last academic year. After thorough thinking, I have decided to perceive my initial idea, as It has a personal grasp to it. My idea will be about my journey in the UK that lasted for the past 4 years. I was always this person who spoke when others were afraid and said things others didn’t want to hear. It is my rebellious personality. I don’t know if my experience was actually that different from everyone else others don’t want to admit it, or simply London attracts specific kinds of personalities. These 4 years were the loneliest years of my entire life. It is not supposed to be an act of anger against London, it could be any big city with loads of people, and I would have the same experience. I don’t regret coming to the UK I started to understand myself and living on my own taught me a lot about my personality traits. My very first piece in UAL was about my thoughts on London just after I moved in and it would be really meaningful to me if my last piece in UAL, and the last before moving back to Poland was about my thoughts on London 4 years later.

On week 28th we had our final crates session with students and lecturers from BA Immersive. We met for the last time as a group in class and presented our project. Since the last cries, nothing has changed regarding our VR scenario, Doris and Miranda collected minor details so everything can be on the spot and we, sound art students, designed the last needed sounds to finish up the project, which in my case was “follow me” command for floating starfish and flower glowing SFX. I am very happy with our final product and the teacher’s feedback. We have been told that our group worked the most out of all 5 groups and our project is the most detailed. The only aspects that were brought to our attention were too peaceful space crashing at the end of the first scene and the need to add a crashing glass sound for the cage when mystical creatures are kept in scene three. In order to make space crashing a more intense and scary experience for the player, we are going to add more explosion sounds. Whereas for scene three, one of the sound art students has to design this particular sound effect. After both these details are corrected, I think we are completely ready for submission.

In this post I want to focus on my contribution to our collaboration project with students from BA Immersive. Therefore I will explain which sounds I have made and how I achieved them.

1. walking on grass SFX, I have recorded it in garden in my home in Poland using H4N recorder
2. buttons clicking SFX with Dean, Vlad and Rose, we have recorded them in foley studio at LCC using shotgun mic
3. footsteps SFX with Dean, Vlad and Rose, we have recorded them in foley studio at LCC using shotgun mic
4. spaceship ambience, I have designed it using synths plug ins available in Logic software and manipulated them in Cecilia( audio signal processing environment)
5. opening/ closing spaceship compartment door, I have designed it using Moog Grandmother analog synthesizer and mastered it/ manipulated in Logic software
6. mystical sound inside tunnel, I have designed it using synths plug ins available in Logic software and manipulated them in Cecilia( audio signal processing environment)
7. floating starfish SFX, I have designed it using synths available in the synth studio at LCC and manipulated them in Cecilia( audio signal processing environment)
8. voice-guideline “follow me”, I have recorded my voice using recorder available on iPhone and manipulated it using Logic software
9. flower glowing SFX, I have designed it using synths available in the synth studio at LCC and manipulated them in Cecilia( audio signal processing environment)

Scene 3 is going to start after player discovers hidden tunnel forks and goes inside. First of all, player will be able to hear ambience that is going to follow us through entire time inside the tunnel. At the beginning we were planning to create 3 routes that player can take: safe zone, dangerous zone and dead end. Right now we abolished this idea and focused on finding way to mystical creatures. Regarding sound, we are planning to add some texture sounds here like sound of touching wall or water dropping from the ceiling, which is inspiration from the movie “Stalker”(1979) by Andrei Tarkovsky. Aim of scene 3 and therefore last step of the player to complete, is finding mystical creatures and setting them free. This will allow player to comeback to spaceship and restart it so we can leave the unknown planet. Tunnel forks are quite complicated and can be confusing for the player to reach mystical creatures, therefore we are planning on recording voice clues, which will guide player like creatures asking for help.