A space for conversations in a time of global disruption
out of hard-drive keeping, the fingers thinking that this multi-tasking way, in digital dusting and cleaning, some blogging might bloody well, now actually start issuing . . .
" . . . story-simultaneity frequency,
aural-sight mind . . ."
notes on a sonic installation
in a visual exhibition
documents in the files
This place sucks
These people suck
They think they’re it!
out here, far away from it all
. . . but they suck
Hush said that
all must never fear.
- we’re off.
It’s got nothing to do with storytellers
saying what needs be said
Nothing to do with the luminary
seeing what’s inside her head
Pull-lines fraught with colours thick on a screen
The light and the dark shape the fingers of dream
a scene to be heard in the mural
visual gone rigorous aural
Aiya was Ka
The right to my own consciousness
herbs o' green
I own what I will mean
Psycho Acoustic Visual Reel
Aural Tapestry, Aural Palette, through which to see, to travel, sonic stimulus, synaesthesia, merging of the senses, stimulating the stimulation of the inner world.
~ ~ ~
One of the most real responses to a mixed-media art form : a participant walked into the exhibit in an installation and spontaneously accepted the redolent invitation to lie down in the aural and tactile crackle of the bed-like cushioning of leaves that had been spread across the floor; fully reclined, long legs crossed, arms folded behind his head, eyes closed, it was forgone, matter of fact, an uninhibited, natural interact.
dramatic lyric in music - floor of stone and mud
~ ~ ~
But this is now years later. Much older. Many lies later rent asunder.
Experimenting, still, living the artiste momentary:
it’s not a music concert or recital or ritual or, gig!
it’s . . .a site-specific sonic installation performance - entitled
colours being heard, (for example)
the challenge is for it to cohere; working towards something that may contain musical element, though to propose that this is supposed to be music, is to limit the essence of creating sonic art;
another challenge: for presentation of the sound installation to translate into potentials -
meaning, pleasantness, entertainment, travel, experience, sensation, stimulation for the listener, as individual, where there may then be community effect.
The environment of sound is the context -
it’s not a concert,
the performer is not the focus,
the performer is the facilitator,
it is the listener that is central, individually; it is how the listener suspends, accommodates, allows self during the non-time-time and inter-space that is the product.
Sensorially the listener becomes painter, sculptor, sketch pad, pencil, brush, rolling cam, viewer . . .
For newcomers to the art form, the genre, the modality, a suggestion is to let go, breathe, close the eyes, go inside. For the old hatter in cross-cultural forays, in inter-medium hybrid . . . perhaps a new approach in clearing for internal receptivity - like, kneel on the floor in a fetal position. You know. whatever
Journey - don’t have to concentrate, pay attention, glean, comprehend, appreciate, enjoy -
just, the what, who, where, why and how to be still, externally silent, and go, mentally, emotionally, perhaps even spiritually (say whaaat?), or intelligently, intellectually even, processing the process, inner exploratory . . .
Portal Auricular. There is so much for the eyes, too much, an overwhelm of visual stimulus in these eras and, with everything loud. The ability of ears to perceive is decibel’d out. So it’s to bring back to the ears their chance to see, their chance to lead perhaps, the blinded, more insightedly.
. . . - a process of preparatory creation at eco music factory?
Backtracks are coalesced from the live-take, studio audio library.
There is determination not to acquire precision knowledge of a backtrack so that there may be fundulation (fresh undulation), surprising the performers’ moment in a compatibility with the listener’s suspension; in presentation it’s live, improvisational composition essentially. It’s play, with rhythms, tonalities, a toying with them, teasing them, countering them, cajoling them, honouring their infinite possibility to evade persuasion, coercion and seduction.
Lyric lateralisation too, with word-muse intervention on apparitional cue at dress rehearsal, daring a recitative of song-sounding scenario.
Four Walls lyric - an 08/08/10
to the music
Agua music - tn 30/03/10
Where oh Where will my soul sing
What is my soul
Where is the spring that was my
Where will I go ?
Where will I know
Where will I show that I have
found where home is?
The foreign stranger’s ways
who know not kindness
nor welcome to the one who
wanders long with hope to find
some familiar reckoning
Is it so necessary
to reach so gregariously
and find but treachery
that says you are trespass
on a territory
that will not yield to those
- not of our own
The traits of human tide
that stand high as fortress wide against
such fair and heartfelt songmaker
who sings alone
I have to go
eco music factory
site-specific sonic installation performance
in a visual exhibition
In a site-specific sound installation, eco music factory cajoles samples, hi-tech electronics, voices, instruments and diverse musical styles, creating a sonic environment event to complement visual art - a compositional improv, 'exploratory, ambient, melodious, modern' - with noelle, numin, d.p.w.t. - a naw'O'emf product
mid 2010 P.C.E.
wilds of far western europa
a naw'O'emf product
Five-Act Psychoacoustic Theatre Sensation
(above all make a noise above all)
(oorals maak geraas oorals)
for noelle of http://ecomusicfactory.org, extracts compiled by :
Penelope Aíne Noblé, ChiefSweep, genral’s brOomroom, WOoden family publishing
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