mind map

Photo on 2016-01-29 at 6.10 PM #2

Making the mind map was extremely helpful and during the week I dissected one or two of the branches.

The Recording Event

Why is it important? what is it? what are the implications of my presence?

There is a connection between the artist and the “subject”. Something I am interested in, similar to the connection between the artist and the participant in the last piece through the listening event. By going on these adventures making recordings I am forming memories. These memories amplify the sense that I am collaging moments and atmospheres of different geographic places into one soundscape. The chronology of the recordings is reduced to the simultaneous when they are brought together to form one work. Time is condensed or warped or perhaps in it’s right place I don’t know.

The recording event is an interaction even if I am silent. The other option of recording is to get the subject to record themselves and send me the file. I have done this once with someone abroad and Bea has offered to do the same for me yet somehow I am resistant. My process, when instigating a recording, becomes about finding out how to pull from someone the speech/content I am after. However I have no specific content of interest. It is more the attitude or mindset of the speech, catching genuine glimpses of introspection/reflection/story telling. I want to collect the different perspectives seen from different vantage points. It is very hard for me to know what to say and often I say very little becomes I am more curious about what kind of tangent a person will take when given the opportunity then how they will answer a question.

The Role Of The Narrator 

The narrator is subjective. We are all narrators and that is the basis of perspective and bias. It is also this perspective, the identification of self and the gaze, that creates the other. By defining the self and drawing its contours, separation occurs. In my last sound piece I was interested in writing out “standing at the wall” with “you” as the subject instead of “I”. I imagined it would put the listener in my experience which was actually the experience of being the voyeur of someone else’s experience which triggered a memory. The listener becomes the voyeur of a voyeur. We are all stories millions of stories with slight variations.

How can I manipulate/play with the role of the narrator and why? to what effect?

All the voices I have recorded thus far are my other. Mostly older male foreign accented voices. At first I was concerned by the overly masculine voice. However it does establish a sense of the other. If my voice were to be included this would polarize the voices between artist/self and other, creating a dynamic an interaction. Although this dynamic would reform between the participant viewer and the work as a whole, as even my voice becomes an other and the subject/narrator becomes the viewer.

If my voice is not included the “otherness” of the voices informs the idea of the negative image as a self portrait. the picture without the subject.. reminding me of Brain Eno’s “Music for Film” (hypothetical film). Music that is all context without action.



mind map

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