? JOMO

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After spending some time now reflecting on what exactly has happened these last few months, I think this post will take on that kind of vibe – in particular, the JOMO sessions that myself, Auguste Oldham, Alberta Shearing, Anastasia Rybin, as well as others, performing together in an old life drawing hut. Though I love there From a personal perspective, they haven’t had the level of thought that I feel they are due. These meet up’s for lake of a better name, harbour a certain energy thats difficult to work with yet fruitful and full of potential. Its very easy to become paralysed by the act of performing, which I think the group has suffered. Breaking habitual individualism, breaking out of our zones, our comfort stations. Often we’ve set up and literally just performed what we’ve been working on at the time, which can be an important first step, yet I’d argue that through a closer dialogue we could do more than that. I noticed that through a close listening me, goose and staz were able to form into one another quickly, a relationship seems to build almost immediately, which is think is easier when working with sound. Once air bound this aural montage of sounds exist together, much like the bodies in the room, but why does it feel different? Like I said perhaps it is the communication that is lacking in bodily presents. I left the event wanting more, sonically there was really something forming – still left curious as to what it might be like for the group to further integrate and merge together, for us to really tune into one another, both sonically as well as visually. Movement is what I think is necessary; as me and goose noticed in the studio, shifting objects, adjusting the formation of the room, moving ourselves around can shift a performance that becoming stagnant (Something that seems obvious but is easily forgotten).

The way we arranged the room, being clean and empty when we entered, by the time we were performing we had filled the room, set the whole room up as a conventional life drawing session. There was something about the weight and clutter of the easels that altered the dynamic of the space in a vary obviously physical sense, they stood like a lifeless audience, dead weights, which I think subconsciously we all had to navigate. As well as the heat and piercing red light from the industrial heaters that I sort of jokingly put on in amusement of just how ridiculous these objects sat within this small wooden room; all of which would produce way to much heat for drawing. This lead to questions of how we occupy this room, construction and adjustment, more than just exist – but how do we interact and move with the space. I think thats really the words to hold on to – so far what we’ve been doing is playing in a room, not with a room. Whether we are or not, the resonance of the room informs us, the objects, the materials inform us. Perhaps this is a case of listening? How do we heighten our levels of focus, like that of what me and goose do with listening?

Having Staz’s voice resonate along with our mashed up samples really stuck with me as I’m writing this almost a month after the last JOMO meet up. I think what it reminded me was that the are other actions out there other than what exist within the coding platform of the laptop – This is on odd kinda funny realisation thats really informed my thinking over the last few weeks. The realisation that this laptop is simply another tool in an arsenal of tools that we can use to construct a new soundscape. It really reminded me that I don’t want to become fixated with this tool, there are others.

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The performances that I’ve been watching recently visually really capture a certain direction I think I’d like to experiment with (link1,link2,link3)

To include the laptop in an array of instruments rather that it be the soul tool. Why? Well I think it comes from the developmental thoughts of JOMO, as an exercise of breaking habitual methods of making – how can we place objects around the room so that we might be able to move around and integrate? Instead of being fixated in one spot? I’m curious as to how this might differ? This formation, fits in with our developing thoughts on inconsistency, not becoming complacent or stuck in one zone, one zone of learning, one zone of existing. I don’t want to be a coder I just want to explore sound, listen and build. Having a wide range of potential direction through different objects could allow for a multitude of direction for the performance to go in, all the while building a rich soundscape. This I think could translate well into JOMO, such an attitude could be easily translated and evolved to accommodate a larger group of performers. A loose and experimental attitude that is absolutely not afraid to fail, willing to encounter new territory. Which I believe we all are, but something within these moments is paralysing -I think the key here is breaking down that fear. Excepting failure before we go forward; knowing you will fail to meet an orthodox idea of success, in this respect failure is artificial, yet important and helpful to some degree. Something to head toward if you will… We must ask then, what is the successful outcome of such a venture like this? Is it to transcend, to immerse? To entertain? I think that it is to give an audience a question,  directed inward or outward, that is a much richer success then any.

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I’m curious as to whether a moment to cleanse, to forget in a way, the world that we’ve just been in, while tuning into a new vibration of collective imagination. How to do this? A short mediative exercise could be a good way of us as a group tune out, while tuning in to a new headspace.

 

 

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