#directedpractice4

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Immaterial Processes and Elements

[screechingcaffeinatedstuden-blog]

Immaterial processes and Elements  Title Composition 1:20 Performance Speaker, Accordion, Redlight, cellphone, Stool,  November 2017  When thinking of a piece that is “immaterial” the first thing that came to mind was sound, I wanted to create a piece that the audience could understand audibly. Although there is a performance aspect to it I went with an approach of a sort of anti-performance to deter focus on the performer. There are many details throughout the piece that signify different ideas or thoughts but they all make sense in the grand theme. The duration of the piece was important, i wanted to use the number three because its references to a beginning, middle and end and more philosophically put, a life cycle. Additionally I chose 1:20 because it is a way to hint at 3; I thought of it like 1+2 is 3 or seeing it like a regular number sequence, zero isn’t truly a number so 3 would be the next number. To me the bells are a childish instrument, they are one of the first instruments I learned in elementary; I associate them with the “beginning”. As the piece progresses the sound of the accordion “breathing” is being produced in a steady pace until the end where it dies out. Throughout the “middle” of the piece there is a loop of signs of life, chitter chatter and overall human noises before it ends with notes F, A, D, E on grand piano and a piece from Pavarotti’s version of Pagliacci. I played those specific notes because when we die we fade away with time and the clip from Pagliacci was to signify the drama we see in death. The setting of the piece was in a closet and illuminated with a red light; this made me think of the body almost like a heart and red can signify blood, which makes me think of the body too. For a while now I’ve been interested in lyricless music and certain instruments that I collect for their sound. With that interest and influences of artists we looked at for reference this piece was conceptualized. 

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Works of Conrad Shawcross

Limit of Everything (5:4) [2011] Metal, oak, mechanical system, light

Slow Arc Inside a Cube IV [2009] Steel mesh, mechanical system, light 1.2m x 1.2m x 1.8m

Chord [2009] Metal, string, mechanical system    

Counterpoint (Piano) [2005] Ply, oak, mechanical system 3m x 3m x 1.2m

Time Rule 221 Minutes [2009] Wool, Wood 221 x 8 x 10 cm

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Works of James Turrell

Raethro II, Magenta (Corner Shallow Space), 1970 Collection of Myffanwy Anderson

Aten Reign (2013)

Penumbra, 1992

Fumarole Spaces

Deuce Coup, 1992

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Works of Susan Philipsz

Study for Strings. 2012

Eight-channel sound work.

Installation at Kassel Hauptbahnhof, Documenta 13, 2012

Courtesy the artist, Tanya Bonakdar Gallery, and Isabella Bortolozzi Galerie 

Photo: Eoghan McTigue

Study for Strings, 2013 AT Soundings, MoMA, NY

The Lost Reflection. 2007 Two-channel sound work. Installation at Torminbrücke, Münster Skulptur Projekte, Münster, 2007.  Courtesy the artist, Tanya Bonakdar Gallery, and Isabella Bortolozzi Galerie. Photo: Eoghan McTigue “Pathetic Fallacy," 2008 At the Folkestone Triennale, Folkestone, UK.  Photo Martin Wills "Long Gone," as part of Unknown Pleasures, Aspen Art Museum, Aspen, 2008

[maarusan-blog]

Works of Janet Cardiff and George Miller From upside

Kathmandu 

Materials: Single Channel Video

Duration: 5 min. loop

Experiment in F# Minor, 2013  

Materials: Interactive mixed media installation with audio and speakers

Dimensions: 2.44 x 1.83m

Ship o' Fools, 2010 Materials: Mixed media installation Dimensions: 30 x 9.5 x12' Duration: 6 minute loop

The Marionette Maker, 2014 Materials: Mixed media installation including caravan, marionettes, robotics, audio, and lighting Dimensions: 184" (height) x 222" (width), x 130" (length) Duration: Approximately 14 minutes, looped The Killing Machine, 2007 Materials: Mixed media, sound, pneumatics, robotics Duration: approx. 5 min