In 2017 I wrote a piece called Constructed Objects. The piece was the first in an ongoing project of imagining composing or making music as a sort of non-linear sculptural/conceptual project. I wanted to envision sounds as if they were material concepts (even found objects) in space that interrelate, resonate, and co-mingle in rooms. I have both ideas of assemblage or montage here as well as modular constructions.
I then revisited this idea in 2020 with Correspondences. In that project, I wrote a very simple text score based on the concepts I was thinking about in photographic assemblage sculptures I was creating. Each object type in my sculptures was imagined as a rough concept, and each concept would have a hypothetical/theoretical corresponding sound. I then sent the score out to some collaborators to create both sonic and visual realizations. Correspondences helped me realize that I needed all my visual works to have a corresponding sound world and vice versa.
This piece I’m now presenting is the continuation of that whole project. As this venue for sharing is a place for text and sound, I developed a simple text score similar to Correspondences and now have the opportunity to realize the concepts with words and sound rather than objects or images.
And so the stories here are the real objects. They are performative, a form of verbal art. Attention to their formal properties entails a kind of ethnopoetics—not in the usual sense of analyzing the poetics of a non-Western culture, but rather those of a strange mirror, reflecting and distorting the dominant discourses imploding inside an empire.
Once even a private memory circulates—as utterance, narrative, discourse—it becomes social. It escapes ownership and becomes a living, growing, changing thing. Then even those who didn’t have the original experience can still take in and “have” the memory, absorb it as a kind of inner speech—and can alter it, transform it, let it express new, latent meanings that outrun and distort the transparent sense of the original experience.
It is completely discouraging to hold a word in sight, and see it spin around, pair with others, join a constellation, like a string of beads; in fact it escapes you like a ball on a playground; others play with it cheerfully, but what are they playing at, what’s their game? It’s a mystery.
An implied space of permutation. To fashion a space out of lines of thread. Rotating the object time and again to reveal the same object in different orientation. Rolling the thread object like dice to see what results. If the cuboid is rendered via thread, it can even be folded to permit further permutations and renderings.
The Lushei, neighbors of the Mara, believe that earthquakes are caused by the people who live in the lower world shaking the ground to see if anyone is still alive up here. When an earthquake occurs, the Lushei run out of their houses and shout, “Alive! Alive!” so that those below will know, and stop the shaking.
Rivers of living water are to be poured out over the whole world, to ensure that people, like fishes caught in a net, can be restored to wholeness.
Noise has an inchoate shape like weather does – we may measure it but its movements extend beyond any identifiable cause. Noise exceeds its own identity. It is the extreme of difference. Noise is the non-knowledge of meaning, the by-product of economies.
a rock false mansion immediately evaporated in fog which imposed an edge to infinity IT WAS stemming from stellar IT WOULD BE the worst CHANCE Falls the feather rhythmically suspended from the accident to bury itself in original foams not long ago as far as his frenzy leapt to a top withered by the same neutrality of an abyss NOTHING of the memorable crisis or it was the event
There is a beach in Empire, Michigan; one of many. The sand of the beach has been eroded away in recent years by strange weather and different water levels. Now on the beach there is an exposed wall of pure gray clay. The erosion of these beach faces makes room for ‘wildly-out-of-place’ tree species like Mountain Ash or White Cedar.
Senga Nengudi’s Water Compositions.
In terms of image-repertoire, the Photograph (the one I intend) represents that very subtle moment when, to tell the truth, I am neither subject nor object but a subject who feels he is becoming an object: I then experience a micro-version of death (of parenthesis): I am truly becoming a specter.
In the plain weave, this intersecting of warp and weft takes place in the simplest possible manner. A weft thread moves alternately over and under each warp thread it meets on its horizontal course from one side of the warp to the other; returning, it reverses the order and crosses over those threads under which it moved before and under those over which it crossed. This is the quintessence of weaving.
Tarkovsky’s concept of time-pressure is like a meteorological time-front that propagates from shot-to-shot and throughout the film, or a cardiopulmonary time-pulse that thrust against the arterial walls of the scenes, bringing temporal oxygenation to the shots and overall meaning to the film-form.
For his book, The Americans, Robert Frank took over 20,000 photographs. 83 were published for the book.
The Robert Venturi designed house known as the Vanna Venturi house (built for his mother) was built between 1962-1964 in the Chestnut Hill neighborhood of Philadelphia. The house is an early example of what would come to be known as post-modern architecture. Within the architecture is housed a sort of ‘unity of duality’. Venturi writes: “I like elements which are hybrid rather than “pure,” compromising rather than “clear,” distorted rather than “straightforward.”… I am for messy vitality over obvious unity. I include the non sequitur and proclaim duality.”
The lithium mines in the Atacama desert in Chile provide a quarter of the world’s lithium market. The stark mines provide an image of both grid and gradient amongst an arid landscape. The reason of so-called human ‘needs’ are juxtaposed upon an irregular pattern of pools of changing color. The extraction process uses immense amounts of water which lead to a shortage amongst indigenous communities as well as significant biodiversity loss.
Fernand Deligny created a commune for and spent a good deal of his life working with autistic children. He developed a practice of tracing their movements through their lived environments. These tracings were recorded by members of the commune and were eventually dubbed ‘wander lines’.
Due to our visual orientation toward the solid, we often forget, neglect, or dismiss the fact that the eye has a profound biological, historical, and cultural relationship with the liquid. The eye is, like the rest of the human body, made up primarily of water. The mechanics of sight depend on two liquid humors: the aqueous humor and the vitreous humor, which, respectively, nourish the eye and help it maintain its shape.