Archive for sound

Images of Sound

Posted in Art, Art and Philosophy, Art Exhibits, Body and Affect, Deleuze, Film, Theater and Performance with tags , , , , , on May 16, 2012 by immanentterrain2

Applying Deleuze theories on temporarily to sound and music is very interesting. First it is a reminder that image is not only the visual image but any fluctuation within the fabric of the environment that affects our (or any organism’s) perceptual sensors. More importantly the temporal characteristics of sound is different from the moving image. Sound necessarily unfolds through time and a still or snap shot of sound is not imaginable. Music has also been created for thousands of years with primitive tools and without a technological apparatus mediating between creator and the images. One of the first mediation affecting the temporarily of music, at least in terms of its production, was the invention of systems of musical notation. Recording technologies pushed this separation further but at the same time created a reaction to emphasize on the zone of indeterminacy in improvisational music.

Roulette was hosting an opening concert for the 3 day event on ‘Improvisation and Technology’ in conjunction with Department of Music at Colombia University and NYU. The interesting irony about that event was that unlike most of the times that technology, as mentioned above, is being used to decreases virtuality, in this events, it was used to intervene into the regular flow of music to make unexpected happen.

The setup of the stage, with more than 30 computers and different conventional and experimental instruments on the stage, was promising failure to some extent from what had been planned. In many pieces improvising machines were being used to create effects based on what the musician was playing and forcing the musician to change what she was playing, creating a loop of reactions to make the result of the piece completely out of control of the musician. In some other pieces looping machines were recording and looping parts of the performance based on some algorithms creating overlaying and juxtapositions of time.

In overall there were very interesting and state of the art experiments in pushing improvisational music into the extreme to allow the most unexpected to happen. This is also in relation to Deleuze’s idea of desert island that something bold and novel does not happen as a continuation of what had been but as an eruption.

Deleuze, Gilles. Desert islands and other texts, 1953-1974. Los Angeles, CA: Semiotext(e) ;, 2004. pp. 9-14

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