TransCommunicator (Social Model) 2018

Transcommunicator (Cultural Model) 2018

Two ‘faux’ projection/sound instruments are mounted on individual frames on the wall. By puncturing holes in a paper score, a ‘negative’ braille transcript is transformed into modes of sound, vibration and visualization with the use of a music box, ‘punchable’ music score strips, LED lights and magnifiers. A wooden object in the form of a hand accompanies each piece. Small transducers are mounted on the fingertips of each hand and the viewer is encouraged to place their hand on the wooden hand thus experiencing the sound as vibration through their fingertips thus referencing the traditional means of ‘reading’ braille.

The use of codified languages, the bridging of technological devices and the emphasis on the multi-sensory becomes the framework for how the work engages with the audience in a more inclusive way. In exploring the transformation of language and communication from one modality to another the intention is to prompt the reconsideration of all the senses as channels of communication and exchange.

The viewer is invited to approach each piece, activate the music boxes and experience the sound through the auditory, visual and tactile. The original text for the braille transcript script that makes up the sound score is mounted on the wall. The content of the text explores some aspect of the Deaf and disabled communities.

David Bobier is a media artist whose creative practice is researching and developing vibrotactile technology as a creative medium. This work led to his establishment of VibraFusionLab (VFL) in London, Ontario, a creative multi-media, multi-sensory centre that has gained a reputation as a leader in accessibility for the Deaf and Disability Arts movement in Canada and abroad. As a prac­tic­ing artist his exhi­bi­tion career includes 18 solo and over 30 group exhi­bi­tion projects across Canada, in the United States and the UK.

Bobier’s independent work as an artist and as Director of VibraFusionLab has received funding from Canada Council for the Arts, Ontario Arts Council, Social Sciences and Humanities Research Council of Canada, Ontario Centres of Excellence, Grand NCE (National Centres of Excellence), Province of Quebec and British Council Canada.