SOUND INITAL THOUGHTS - EXPERIMENTAL MEDIA

Specifics:
48KHz Sample Rate 24-bit Bit Depth Stereo WAV Mixed to -3dB (peak level) 30-60s duration.

•A Journey
•A Narrative
•A Space
•A Passage of Time

If you develop an ear for sounds that are musical, it is like developing an ego. 

- John Cage

Initially I am drawn to discussing Time or Space working alongside my concepts for video as they are the most difficult points to fathom. Time and space seem to go hand in hand when looking at time as it really is as when removing the new physical view of time, all you're left with is space. So although my research will pertain to concepts of time, or absence of, the resulting actuality will be strongly in reference to space.

I think there's a massive unnecessary focus on the definition of music or lack thereof. All forms of creative practice don't end when the paint brush is put down or when the file is exported but rather its true meaning lies within each unique relationship with a viewer, consumer or reader of the text and this reaction only exists in the moments of its occurrence. Not only will each person form different readings, but alike the same person will form different readings each time they come into contact with the creation. Context, or every happening up to that point of meeting, will determine what relationship materialises and will ultimately decide whether the sound is viewed as soundscape or music. If a listener plays the file through headphones on their phone while they're walking to work, it is then automatically music. If the file is played in a gallery, it is a soundscape. And if there is no receiver of the file, it ceases to exist at all as the loop of meaning is not entirely exhausted. We give the noise a purpose when we change its context and it can be interchanged with others we expect to hear in these situations.

In correlation to the initial experiments for experimental video, I am going to trial using sound from time with 'no value'. The piece in the Boom For Real exhibition that was given the least power by it's positioning in the space was Nicholas Taylor's Jean Michel Basquiat Dancing At The Mudd Club (1979), a venue whose sound system was set up by Brian Eno. This video was presented alongside the behind the scenes and blooper footage from Glenn O'Brien's TV Party. All of this content was unwanted in some way but due to the status of the gallery it reformed some cultural significance. In essence, I am going to use redundant sounds and give them new purpose. The contents of Obnoxious Liberals, regardless of contextual meaning, indicates a lot of movement and it seems natural for my thoughts to wonder from movement to dance to music. Yet, standard music defeats the point of the project but with music, comes live music, and with live music, comes rehearsals and soundchecks -both of which are the unwanted parts of the final live performance or studio recording. It is clear that my next steps should include recording some friends' bands and capturing their unwanted sounds.

There's a universal hum, there's a universal scream.

Note to self: Who and How? - Gigs coming up The Hexagon? Can I bag myself a press pass? Can I just walk in for soundchecks? What if it's unwanted because it's unreleased? Where does everyone rehearse and how often? KT, Valeras, Amazons, Lucky Punks, Bloxx - Who's still left in the RG? What's happing at Turtle? Although not to my taste, isn't there always people on at Facebar? Readipop staff seem nice, easy contact for miscellaneous rehearsals? Where are the Newbury bands at? Go through old interviews and check George for more contacts. If all else fails, sample seconds from outros, bridges and breaths. Have I got enough voice notes from Honey jam sesh and old gigs?