-continuous drone (sound compositions) and lighting work (provocative & synthetic)
-filtered light (un-naturalistic, indulgent) & accompanying sculpture (blending of mediums
-‘new media’ : blending of mediums and/or worlds. placing one’s artwork within an unfamiliar, but choreographed setting. careful analysis of how to achieve said blend as precisely as possible.
-humanistic, spontaneous interference. blending the natural with the superficial (the idea of superficiality and indulgence as positive)
-“Dream Houses [that] will allow music which, after a year, ten years, a hundred years of constant sound, would not only be a real living organism with a life and tradition of its own, but one with a capacity to propel itself by its own momentum” (La Monte Young, 1964)- art as something that can become. something that can evolve and take form (enhancement, growth, rise). something that can live. exist as an organism within itself, not as something to be inherently viewed upon/separate or above those who view it.
–immersion. “all the sensory information is unusual and outside your normal frame of reference” (Marian Zazeela, 1966). complete transportation.
-many different forms, stretching from 1969-2020.
-a space set aside for personal exercise, both mental and physical (dreaming, stretching). excursion inducing (both self and outer).
within works/practice- how you practice is based on one’s idiosyncratic nature/makeup. derivative? what/how you derive from works (conscious/subconscious) to feed into your own; is in its own nature, idiosyncratic.
(necessity) sensitivity– sensitise yourself to your practice(s), research, and the world around you. this is spared when approaching something generally. sensing. making sense. the sensorial.
epistemic continuum (Shultz) of knowledge. (facts/quotes/interpretations changing meaning/perception [to you] over time). never settling on answers (ever changing). we are part of a knowledge flow. never alone in research. entering into the multi-directional stream of knowledge.
‘the cosmology of only one narrative’- denying that knowledge is universal – we are discovering truth constantly (colonial) – our knowledge is the right knowledge. undermines research.
urge to assert truths/ideas/observations onto one another. these work only within the individual. stop working when translated/imposed into rules. knowledge always renewing.
knowledge is open to interpretation (any way you want).
sonic fiction (Shultz) – changing knowledge/fact using self/worldly constructedfiction. what returns is often ‘fuller‘. its not about finding truth, but extractingthought/logic and alternative perception from what you absorb. discoveries/ideology often entail a leap of faith/imagination. taking fact as light-hearted, not as authority, so that you can play/mould with it. sometimes shows (too much) respect to what is initially said (could be problematic). performance of making a case/arguing for. place knowledge in a your own world, where it makes sense. you have authority on this, over yourself. use texts flexibly. you have your own arena for working. self autonomy.
10 listens/readings of an (audio paper) will offer 10 different interpretations. there is an intention to write/record, but there is a vagueness. using said vagueness to communicate (vacuum).
(sensitise yourself to your own from of) note taking– identify definition(s). articulation of theory/approach. seek argument(s) to support position. address viewpoints (contrasting). note-taking as scaffolding. engage with texts – come forward with your own words (anti copy & paste).
everything in one’s writing (abstract or not) stems or should stem from some sort of knowledge. passes knowledge on, which then can be interpreted by others however they choose (formingnew knowledge, renewing – full circle). research (what is behind your interests/ideas) places you in the position of where you come from (position within writing). sources/notes help to take your personal opinion into something that taps into knowledge. about stepping into your area of knowledge & interest and communicating with those who are there. being part of your own conversation.
what type of researcher am I?
epistemic situationism – (Bayo Akomolafe) one’s surroundings influencing one’s thought (complexity of agency).
embodying/immersion in the chosen work(s), in order to fully understand and analyse it.
‘but the way we imagine space has an effect…’ (Doreen Massey, For Space, 2005), example(s) (Cauleen Smith, Give It or Leave It, 2021) – ideal/favourite space for research/knowledge?. what are you inhabiting/embodying? contamination/incomprehension of phenomenon provokes/motivates one’s earnest inquiry.
‘when children ask me, “How does one make a film?” I always say that you have to have freedom to make a film, and to have freedom, you need confidence. I tell them to close their eyes, to look at the stars, and look into their hearts, and then to open their eyes and see if the film they want to make is there, in front of their eyes.’ (The Hyena’s last laugh: A conversation with Djibril Diop Mambety by N. Frank Ukadike, from TRANSITION 78 1999)
some evening, goalless explorative practice between me & my three housemates
my first introduction and usage of a ‘touch sensitive’ microphone/receptor. Is able to be patched into any synth or instrument for that matter, as well as producing its own sonic information upon physical contact. I plan to use this for my upcoming portfolio & audio paper work
