Pop Fields
Posted by admin on January 24th, 2008 filed in I and I, musicFour short pieces. These are excerpts from improvised performances that seem to make sense on their own. Often short excerpts like these would end up as parts of a larger pieces. I found them in some of the darker corners of an external drive while trying to find examples of work for a project. I’m doing less recording these days, perhaps as a result of this I’ve grown to like these miniatures, short snippets of a performance documented only when I remember to hit the record button, left to rot for a while and then unearthed further down the line.
click to download:
(c)Inns + Full Field + crl + Cutter
January 25th, 2008 at 8:40 pm
I like these alot, especially cutter, but all are ggggreat, I’m really interested in the cross-overs of theory and creative work, do you see that your creative work is directly impacted on by your reading?I’m really interested in hearing how. I think I can see the general direction but I’m getting interested in the details of work and theory at the moment, any thoughts? thankyou
January 26th, 2008 at 4:17 pm
Hi Majena,
Thanks for the feedback, and the questions. I’ve been trying to think about this myself as I was recently discussing how my PhD is going to be submitted (way down the line) and to what degree the theoretical and practical aspects should be explicitly related or resemble one another with my supervisor. This is a bit of a rambling reply as these points are in no way clear in my own mind:
The reading definitely feeds into the creative work. I find that the ideas that a text forces you to grapple with have an impact upon the perception of the material being tackled in practice. Deleuze’s notion of the problematic field and his account of individuation in Difference and Repetition provides a way of thinking about sound in a spatio-temporal and theatrical sense. I find the work of the Swedish artist Ann Rosén (see links to her and shhh in the side bar) quite fascinating, she’s doing a lot of work on the impact of sound upon movement and behaviour; I’ve found that her work, when considered alongside Deleuze’s paper ‘The Method of Dramatization’ to be incredibly useful in consolidating and empowering an approach to sound that focuses on its creation of performative spaces, as one describes the intensive dramatization or ‘activation’ of complex fields and the other performs experiments that put these ideas into practice. I’m not sure whether Rosén thinks about here work along these theoretical lines, or needs to, but I’m hoping to be able to pick her up on a few points in the near future. I’m currently working on a short paper that deals with some of these ideas in more detail so I’ll not go on too much as I’ll post the paper up on the blog in some form or another once it’s a little more coherent.
Recently I’ve been noticing more reciprocity with regard to the influence of my theoretical studies upon more practical or concrete work. This is almost certainly due to the fact that I don’t have to teach in primary schools anymore and have time to develop this work. The creative work should in no way be thought of as an attempt to put into practice a concept or idea in any literal sense but, the work is never ‘about’ or representational of something I’ve read, the theory generally provides seeds or starting points. I’m more inclined to think of the movement from theory into practice along the lines of Deleuzean actualization, that the actualized or differenciated thing does not resemble it’s virtual or differential origin or counterpart and that these two elements are intertwined within a thing. The flow of ideas found in text into concrete practice is a more obvious and observable one, I suspect that the practice has a more ambiguous influence in conditioning my reading of texts in one way or another, preparing the way for a reading in some sense and therefore creating a feedback loop between the two.
Hope that helps in some way…