The following audio-visual materials connect to chapter 9.0, Third Space Bass, in the artistic doctoral thesis.
This chapter is intended as a brief overview to document and analyse the custom-designed double bass buzzers, kalimbas, preparations, other attachments, and emerging new techniques that I have developed during the course of this project, and which serve as one of the tangible research outcomes. Although the augmentation of the sonic palette of the double bass was not intended as a focus in this research, this aspect surfaced naturally as a direct result of the artistic research process and has generated important personal discoveries.
The physical attachments for the double bass were created in collaboration with Finnish instrument maker Juhana Nyrhinen, a partnership that has been crucial in the exploration of what I have called third space bass.I use the term third space bass in reference to the third space concept outlined earlier (Bhabha, as cited in Rutherford, 1990), as a way to describe the new elements, sounds, and approaches that surface in the liminal space created by subjecting the double bass to augmented elements, be they acoustic buzzers, preparations, electronic manipulation, or experimental new techniques. Through this process the double bass takes on a new character, which bears traces of the instrument’s original characteristics as well as the distinctive characteristics of the new elements, but it is neither one nor the other, taking its place in a new hybrid space.