Grappling with the Angel

Jacob Wrestling with the Angel: Jacob Epstein, alabaster (in Tate Britain)

 

The Jacob of Genesis wrestled with the angel, some say with God, taming a vengeful angry deity and forging a new relationship between humankind and divinity. I see this divinity as the all encompassing material universe made flesh in a dream as Malakh. 

After completing the Mid Point Review I woke to a new realisation, that of grappling with a multitude of ideas trying to reduce them to a single point with a focused coherence of some sort. It did go through my mind to do the Tantra thing and make a painting symbolic of this synthesis into a whole: a point for meditation. However, my nature would not allow me to settle on such a solution. You see, I view the world as a continuum panning vertically from the infinite to the infinitesimal and horizontally across the fastness of time and space. The world is a whole simple single entity and it is a complex of interrelated elements divisible and united. Reality is smooth and simultaneous, granular and causal. This duality is not a matter of indecision but of phenomenological understanding. 

So the problem I was wrestling with can be summed up as, do I present a single work that tries to represent a multitude, issues, subjects, material solutions and approaches, a symbolic sign or do I present, what I call in the MPR, a compendium of interrelated works, each able to stand on its own? The former requires a silencing-out of ideas, the latter risking to appear disordered and confused. If I am to be honest, the minimalist approach does not satisfy my nature however elegant it might appear. I am a mongrel of ideas and influences, philosophically and genetically heterozygous .

In an attempt to resolve this problem I am lead to ask of myself, what is the glue that would bind the works if I were to take the second path? I have already gone over this in a much earlier post. I also hinted at the answer in the MPR where I have written, words are the labels of my thoughts. This is at least partially true. I am not a good speaker but I enjoy the act of putting ideas into words the semantics of language and their syntax. Much of my understanding of the world is worked out with labels, shuffled and shunted in my mind until they fall into place only to be moved again and again. I am talking semiotics here; touched on in the previous post Significance and Meaning.

Having settled on my general direction and that is not to have to create a single work, however holistic it might be, and that words are the narrative glue that binds their content, I start to think about the relationships between the works. In so doing, they start to take shape in my mind, decisions have a rational and an intuitive element: working with Dionysian impulse and Apollonian restraint towards a balancing and rebalancing a weaving of interrelations, invisible lines of tension that burgeon into some physical form in each part.

But do I explain these relationship in words or should they be left to be uncovered, discovered, debated and vulnerable to misunderstanding. I must leave this to the receiver but the trick is to leave sufficient breadcrumbs for way into the wood to be made accesible. A catalogue or a statement, a performance or poetry, for now that question can be left unanswered, there is time for that to develop and mature.

Now for some content. The very provisional titles with which I refer to each principle work, yes there are also small morsels I plan to sow in the interstices, are significant as monikers for the links being forged. Hermaphroditus deals with gender, language and religion through the channel of myth. Logos/Oracle again inspired by the myths deals, as logos alludes, with the disruption of language and understanding through biological and geological metaphors of the gut and the cavern: the devouring of reason and dissemination of ambiguity and ambivalence. Language links these two works but the third installation is unspoken, the absence of word. Shadowland translates the three-dimensional world into two dimensions, constantly reiterating in analogue and digital means the simplification of form, altering its meaning. Whereas Hermaphroditus unfolds and Logos confounds, Shadowlands simplifies and in so doing creates another narrative. 

The trilogy of unfolding, confounding and simplification represents in some way how I see this project. An attempt to simplify and synthesise entanglements through unfolding. The nature of interpretation and mutation of meaning links the works and suggest further works. Is this not the essence of myth? As I write I start to draw together the elements I outlined in the project proposal and as I do so other considerations start to fall in place, considerations such as the aesthetics of each piece. This starts to look less important and somewhat superficial. However, it is still important as a means of conveying a sense defined by the thoughts that go into the work. 

Finally, there is the fourth element, the antecedent to all three which for now must remain undisclosed lest I should abandon its making and disappoint myself. It is a relic of times past and gives context within my own practice, what you might make of it is not for me to say. 

I now feel renewed, on the threshold of a dawn having wrestled the angel. Like in a dream I did not realise I was in quite such a struggle. This realisation has come with the Low Residency and the MPR. There is much planning and preparation, experimentation and workings out. The projects are ambitious in meaning and in making and I cannot afford to leave things to sort themselves out. I cleared a path but it is yet to be trodden and tested. It is now time to take the next step… and keep writing. 

Skype Chat 2.6 – Sound with Edward Kelly

The focus of the session was on different approaches to sound as a medium. What Ed means by this is the abstract conceptual manner of seeing sound.

He started with Walter Murch’s categorisation of sound, relating it to colour.

 

 

 

I always find it interesting how sound, music and colour are often correlated. Kodaly is another example of this idea as in his pedagogical work. I would leave the colour aspect out of this discussion and concentrate simply on the semiotic aspect which seems what this diagram tries to convey. There are so many ways of classifying sounds. I have to bear in mind that Murch is a film sound editor. However, the point is to think about sound in terms of its affect and the information it encodes: emotive, descriptive, semantic, associative, allusive, illusive and how these modes are conveyed. Fore example, are they conveyed through rhythm or pitch, distinctive or chaotic? There are so many ways of looking at the matter but in the end I feel the important thing is thinking about sound in terms of its affect, the reason for that affect, how the sound is made, and the context in which or for which it is created.

We looked at musique concrete, starting with Pierre Schaeffer and his first work Etude aux Chemins de Fer1948, who attempted to categorise sound in his Traité des Objects Musicaux. Michel Chion wrote a guide in English PDF where he lists sounds and their qualities as experienced.

Musique concrete treats sound as abstract objects each with its own qualities. Particularly intriguing was Bernard Parmegiani’s De Natura Sonorum from 1973 composed using the altered sounds of rubber bands using analogue tape, filters, real echo chambers, delays and altering the tape speed. 

Diagetic sound is almost the opposite of this. It is associated with a visual cue as though the situation portrayed is the source of the sound. Musique concrete decouples the corporeality of the sound for it to become the corpus of sensation itself. In a conceptual sense, it has no source other than its own sound. The way it is made may be a curiosity or of methodological interest but in its truest essence only a vehicle. It is as an Acousmatic experience in which the cause and origins of the sound are removed so one can concentrate on its sensations and qualities. 

Ed introduced the idea of copyright as a ‘spanner in the work’ and then goes on to give some examples of postmodernist sound collages where recording are appropriated to create mixes. Whereas in the case of John Cage’s 1953 mix, in which each situational element is recorded in his own house over a period of time, here we are talking about taking pre-existing recording and butting them either as live performance or recordings. The copyright situation is complex here depending on duration of play, recognisability of the segments taken and in the case of live performance, proof of actual appropriation. Perhaps that is why one of the people doing this uses discs. Ed describes each discrete segment as the ‘cultural grain’ of the whole rather than musique concrete’s sonic texture. It is interesting to look at it in those terms. 

Below are a list of Ed’s links 

Musique Concrete
John Cage: Williams Mix

Williams Mix used sounds recorded by Louis and Bebe Barron (of Forbidden Planet fame) in 6 categories, organised according to the I-Ching using a 193 page score.

 
Acousmatic Music

Note: see the notes below the Youtube clip for the track listings, as these are entire albums of work!

Culture Jamming / Appropriation of Recorded Media
Software

 

Skpye Chat: 2.2 – Interaction, Narrative and Play

What I take from today’s session is that, seeing an artwork in terms of its behaviour helps to consider its impact in terms of interaction. Its behaviour engenders a response in the receiver which sets up a dialogue. This dialogue can then engender a response in the artist which can inform future work. If the artist considers this relationship when thinking of their practice it can lead to a broadening of possibilities and deepening of significance. 

It is part of process philosophy, of the idea of becoming, of dynamic semiotics. 

Questions to ask:

  • how does the receiver interact with the work
  • what is the nature that interaction
  • what meaning is conveyed in interaction
  • how does it resonate in the after experience
  • how does what arises affect future work
  • is the level of interaction excessive, insufficient or about right for meaningfulness 
  • is the level interaction appropriate for the aims set out or could it be improved