In convocation with Goose the other day, We shared a mutual feeling of detachment (if thats the word) from what we were making. A lack of direction maybe, or lack of knowing why we were even doing what we were doing. We’d spend so much time by ourselves or in the studio trying to learn and understand SuperCollider and Tidals that all of our creative energy was just drained away. At least for me, I’d lost track of why I was putting myself through this stress. Perhaps thats just the nature of learning/ working within abstract methods or making.
Neither the less through all this failure, and things breaking or not working. We’d both learned a tremendous amount about the software – which is easy to forget when it feels as though time is being wasted
Goose put it really well in a blog post he made the other day;
“we spoke about the aesthetic of the sound and how what we’re creating was too ‘nice’ and wasn’t challenging perceptions Asking ourselves why this was. Have we been letting the aesthetic of the sound become too prominent in what we do? Speaking over coffee we came to the conclusion that a way for us to reconnect what we’re producing is to develop a narrative to each piece. Even if this narrative is not clear in the final product/completely lost amongst it that’s okay, but have some narrative to work from to provide a focus to the work. This feeling that what we have been producing currently has lots a sense of what we’re trying to achieve is possible because over the past few months/weeks we have spent a lot of time researching/finding/learning how to use a verity of different software’s to implement in our work. And a product from this is that while we were learning these things we lose a creative freedom, we are learning and it isn’t until we get to a point with that specific piece of software that we are then able to have complete creative freedom with it. For me, the relationship between documentation and manipulation is the most powerful, to make this correspondence meaningful we need to focus on both aspects of this relationship. The source martial or documentation needs to have sustenance, by which I mean bring its own set of questions into the relationship with its manipulation counterpart. It must have a contextual backbone for it to stand upon its own feet, before there being any manipulation.”
Regaining narrative. I sort of see narrative as a score or plan, entry point into the work. As I said to Goose, I think its good to have a plan even if you don’t stick to it, or if the plans fades and merges a bit, its an initial direction, and a way into the process + Its a much more effective way of learning a piece of software when you go into it with an aim, or something you want from it.
Language for me personally has become a potential way to speculate ideas or environments. I’d recently stumbled across a yet to be released collaboration between Liverpool based sound artist Jon Davies, aka Kepla, and New York resident music writer and curator, DeForrest Brown Jr. – I’m unfamiliar with either of the two artists past work, But this particular piece really captivated my imagination – As it reads as a broken narrative of fragmented exchanged sentences, I found myself trying to read it as a story of linear trajectory, thinking that I’d got it, but then being lost in a background noise Or distracted by a particular sentence. To later find out that the language used was cut up fragments of Skype and phonemail messages was very interesting to me. I’d been following and understand what was being said almost as a description, that I was making up in my head, constructing an environment in my head / from the pieces of language. Sections of convocation broken up
Speaking about how the pair worked together, and their starting points, Davies says: “Absent Personae was a culmination of conversations DeForrest and I had over timezones, where we’d catch each other on work breaks, first thing in the morning or last thing at night. We began by talking about the ecology of ephemera, or what we consider ‘cloud’ substances, so gestures, words, data, but rather than these things being fleeting, we thought about the congestion and physicality becoming indelible to our psyche.”)
To understand language in nonlinear form, to understand language as restriction or without restriction, as broken parts of a machine. To place then in different areas of a room is not dissimilar to how I was describing sound in a previous post about building sound.
So I’ve been kinda speculating ideas through language, in this kind of sort concise sentence structure my self. Thinking about how This could work as a method of realising direction for us, while other thinking about how this could be received by an audience, if this narrative where to play a prominent role in what we were doing.
Now I understand a lot of the sounds we’ve made can convey a message or an environment but what if they where to work in harmony, informing one another?? Heavily Aesthetic driven language that almost creates the work..?
Description before the actually event