When Things That Happen, Don’t.

I took a day-trip to London to see Wood and Harrison’s Things That Happen at the Carroll / Fletcher Gallery and hear Graham Dunning’s talk at SoundFjord.
It rained and my navigation skills proved themselves to be suspect once more. But I was justly rewarded for my endurance.
Having had the immense pleasure of teaching with Mr. Harrison at Wolverhampton University, I have some knowledge of the video works that Wood and Harrison have created over the years. Things That Happen brings together, new pieces (I have never seen), alongside earlier works, which I have only seen on old, defunct televisions in various badly lit seminar rooms. The show is an eloquently curated retrospective, presented within an appropriately minimalist space: Carroll / Fletcher is a beautiful gallery with a very satisfying gray concrete staircase.

At the back of the gallery a familiar black dot provided me with a mnemonic focal point. I have watched the video Blind/Spot on DVD many times. In my mind I had imagined it to be exhibited full size at the end of a gray minimalist corridor.  I find it however, unassumingly projected onto a free-standing projection screen, similar to those once set up in schools and homes throughout the 1970’s, enabling us to watch educational films on childbirth, and Super 8 films of holidays in Rhyl or unprofessional family pets. Of course, this is the perfect situation for the work: a screen upon a screen: a projected space upon a space for projection. The video holds a black dot in the middle of a white rectangle, before abruptly snapping up to reveal another black dot on the white rectangle of another screen, which snaps up again to reveal another dot on another screen further down a corridor of other screens. The dot remains the same size, although in fact it is increasing in size as it recedes down the corridor: the circle filling a larger area of the rectangle in order to remain unchanged to the eye. This simple experiment seems to rent a hole in my perception of the space I am seeing: a visual diagram undermining my frail understanding of the laws of physics. The tear is accompanied by the audible snap of the screen rolling up, however, the sound is not dramatically amplified, but carefully left to descend from the tinny speaker of the projector above our heads.

Next to Blind/Spot, in the corner of the gallery, a TV monitor sits abandoned on the floor. In front of this hang a pair of headphones, quietly awaiting the unification of sound and image. On the TV screen a microphone swings from side to side in front of a small amp. I am of course reminded of Reich’s Pendulum Music, to whom Wood and Harrison offer their ‘Apologies’, but here there are no performers and the repetitive un-touched initiation and cessation of movement, adds futility to the dull tock of the looped swing. The visually mute chronometric pendulum of MIC/Amp remains silent until I put on the headphones. At this moment an intermittent feedback, swings through my ears, slowly approaching an exquisite full stop, in the form of a constant standing tone humming intimately, right between my eyes. Wood and Harrison’s use of sound is adroit and understated, the work Shelf   (2007) ( (not in this show) is in many ways as much a sound piece as it is a video installation.

In 10 x 10 (2011) a cyclical almost autonomic gush of breath, reminiscent of a David Lynch soundtrack, seems to repeatedly drag down image after image projected onto a large wall.  The regular rhythm of this noise implies continuity, a mechanical descent, which distances us from the space we are observing.  The closed-circuit of these images provides a voyeuristic glimpse into the windowless rooms of a bizarre office block, inhabited occasionally by a bored man (Harrison) whose behavior seems simultaneously mundane and bizarre: throwing paper planes into a bin; blowing up balloons, which never increase in size; dropping office furniture onto randomly arranged strip lights. The monotonous descent of images proceeds like a visual paternoster, allowing us to join or leave the threads of narrative that a full ride reveals.   Sometimes Harrison appears adorned in a line-up of fancy dress costumes, which reminds me of Village People: a police officer, a cowboy, a Red Indian (sadly no macho man). Harrison seems to be waiting for an office party that no one else could be bothered to attend. The dull dejection of such overdue moments pervades many of the works that make up Things That happen. The actions performed seem to result from a lack of purpose, time suspended in that idle never ending empty moment when things that happen, don’t.

Soliloquy #3: sebastiane hegarty (2008)

Later that afternoon I clumsily orienteered through increasingly unfamiliar regions of Tottenham, in search of SoundFjord, where Graham Dunning was giving a fascinating talk as part of his exhibition For Posterity. The talk concerned his attempt to reunite a found reel-to-reel tape with the owners of the voices left upon it.

At a car boot sale, Graham had bought a flat-bed tape recorder together with a spool of audio tape. Upon this he found waiting the voices of a family who had recorded themselves ‘for posterity’: for the listening attention of unknown ears. Diligently Graham had located the survivors of these voices and corresponded to discuss a safe return. But the narrative had continued whilst voice remained still: one of the children heard singing had died in a motorbike accident and his father had also died some years after the tape had been recorded. The surviving relative of the voices could not bear to hear them speak: to have them happen again.  She did not want them returned, but preferred them left where they were: unspoken and unheard.

Found tapes have featured in my own sound work and I have boxes full of discarded voices that others have left to disintegrate on forgotten audiocassettes, reel to reels and answerphone tapes. There is something fatal in the act of recording voice.  Edison of course, considered the phonograph a portal for conversations with the deceased, whilst, in Ulysses, James Joyce imagined a gramophone would one day be placed in the headstones of all our dearly departed.
Having made numerous covert recordings of people talking on trains or in the delayed spaces of transport waiting rooms, I am aware of the fatality that occurs when we attempt to keep that which is fleeting. When listening back to these voices whilst still in the present company of their author, I was struck by a dull but absolute sense of loss. The layering of the past upon the present generated a distinct lack in time, a lack that made ghosts of those whose voice I had confiscated.

I see a darkness: light and its lack.

A Journey up to London to see Gerhard Richter at the Tate and Building the Revolution at the Royal Academy. I had forgotten that Tacita Dean’s piece Film, was the latest Installation for The Turbine Hall, and as such I was unprepared for the dark shadow that the installation casts into the hall. As you walk into the building you are met by a distinct lack of light, Film’s distant gloaming summoning you down, deeper into the darkness. Like the secular light of an avant-garde Cathedral window the strip of enlarged Film hangs in the night which lurks at the end of the Turbine Hall.

As I watched the eleven-minute loop, looping, I felt myself succumb to its soporific lull, staring through the images into my own thinking. The echo of intermittent footsteps as people approached and moved away became a soundtrack assisting my drift. Although slightly disturbed by the stationary sprockets, which add a frame of pretense to the reality of the film, I sat here silently watching time passing me by: ‘waiting without waiting for’.

I must confess that I am partial to watching nothing happen, especially when it doesn’t happen very slowly. In 2001 Dean’s show at Tate Britain allowed me to sit on the melancholic carousal of Berlin’s Fernsehturm television tower: I sat there for several rotations, listening to the ticking chronometer of the 16mm projector with occasional accompaniment from the man on the Fernsehturm’s organ (this all does sound unintentionally seaside).

The grey melancholy of Gerhard Richter’s Baader Meinhof room added to the gloomy pall falling over the day (in an act of unintentional irony, every room in the Richter exhibition had  a sign saying Photography is strictly forbidden) . At the RA’s Building the Revolution I discovered Gustav Klutsis’s Design for Loudspeaker No. 7 and the sublime squares, lines and circles of Rodchenko, Malevich, and Lisitsky (forms also found in Tacita Dean’s Film). But even these transcendent ‘archetonics’ had a shadow cast over them, when seen in the photographic company of the architecture they inspired. Beautiful forms, flowing with function, left to crumble and rot; one of the remaining ‘palaces’ now with its insides ripped out as it was transformed into the foyer of a bank.

Today I found comfort in the discovery of Arthur Zajonc’s book Catching the Light, which was waiting for me on the Oxfam shelf. A ‘multi-levelled history’ of light, the first few pages reveal light itself to be darkness. Zajonc conducted an experiment in which he created a ‘region of space’ (a box) filled only with light: a space in which ‘light does not illuminate any interior objects or surfaces’. What does he see when he looks into light alone: “Absolute darkness! I see nothing but the blackness of empty space […] The space is clearly not empty but filled with light. Yet without an object on which the light can fall, one sees only darkness.’ Following a discussion with the Apollo astronaut Rusty Schweickart, Zajonc realised that even the outer space in which our planet floats, the darkness of light is omnipotent: ‘The sun’s light, although present everywhere, fell on nothing and so nothing was seen. Only darkness.’

I see a darkness indeed.

one of ten: unpredicted duets and the company of rivers

On the 31^st October, artists, musicians, dancers, writers and other creatively inclined individuals and groups from the Winchester district occupied the stage and architecture of the Royal Theatre, Winchester. Unlike the worldwide occupy movement, this occupation was curated by Trisha Bould at the invitation of the theatre and was part of an opening event for the Ten Days Across the City, arts festival. Beginning at six and ending at the stroke of midnight, Map, Plot, Plunder and Possession led its audience behind the scenes of the theatre, into the normally concealed backstage areas of the building.
As part of the event, I composed a cycle of three soundscapes for the auditorium and a sonic river for the public address system. The cycle included soundscapes from the winnall moors sound walk project and Winchester Cathedral, that had been specifically re-composed for the site of the auditorium. In between the two soundscapes, I inserted a percussive interval created by evoking sounds from the lighting and scenery rig of the stage; swinging the descended rigging and occasionally hitting it with a toy xylophone mallet.
The soundscapes were intended to inhabit the acoustics of the theatre and act as a consistent cycle of sound spaces that would come into contact with other acoustic events taking place during the evening. This included; a rehearsal of a song by the Winchester Community Choir from the theatre circle; and the indeterminate composition Copy Rite by Hossein Hadisi and other members of ACE (Avant-garde Composer’s Ensemble).
The choir began their rehearsal in the percussive Interval, before being acoustically repositioned into the soundscape of Winchester Cathedral, the opening of the Cathedral gates, the organist at practice. Perhaps most pleasurable was the choreographed pile up of rehearsal as the community choir’s preparations collided with the Pilgrim school rehearsing in the Cathedral.
In Copy Rite, Hossein Hadisi and the other members of ACE (Sam Cave/Guitar; Tom Green/Piano & Ignacio Agrimbau/Gyil & Hulusi) moved around the theatre between pre-arranged sites within and without the auditorium: a piano in a stairwell, a guitar on the first floor of the atrium. The sounds of the auditorium were fed back into these satellite positions, all the musicians responding to the sounds, acoustics and other visual events occurring around them. Both the choir and Copy-Rite, created some rather unrehearsed collisions with the continuous cycle of soundscapes.

The peripatetic music of ACE, mingled not only with its disparate musical parts, but also the acoustics of the theatre and the patterns and dynamics of the entire recorded and existing soundscape. The sonic river, composed entirely from the sounds of water from winnall moors, leaked, flowed and dripped into the acoustics of the architecture. In the front of house speakers the water generated small wet, but distinct pockets of sound. In the non-space of the corridors the speakers created a ventriloquial soundscape, the echoic drips evading location. In the atrium, the dripping of water echoed the pluck of guitar strings, the river seeming to rain down from the heavens, although the speakers were actually located. A fragment from this unpredicted duet appears on the winnall moors sound walk blog, along with a section of the unaccompanied sonic river.
All photographs by kind permission of David Gibbons.

three landscapes and a river: a graphic score

Yesterday I tested three soundscapes for an event at the Theatre Royal Winchester. The event called Map Plot Plunder Possession will form the centerpiece for the 10 Days Across the City art festival.

My three soundscapes are extended versions from the winnall moors sound walk project; Winchester Cathedral; and an abstract ‘interval’ composed from sounds evoked by ‘playing’ the hanging rods of the lighting/screen system. The interval maintains the sequence and rhythm of the original ‘live’ recording, but the sounds have been layered and manipulated slightly, to create three variations on a theme, each interval separating the moors and Cathedral soundscapes. I also composed a sonic river, which will be running through the theatre public address system. The public address system provides a strange form of acousmatics, locating the sound whilst simultaneously suggesting a space beyond the visible.  The system disperses the origin of the sound and creates different architectural pools and tributaries as the sound interacts with the acoustics of the space. The towering atrium space creates an immense reverberation chamber, which again hides the source of the sound, whilst in spite of the speakers actually being located at head height, suggests a waterfall of invisible rain pouring down upon our ears.
As with many of my other sound works I am interested in the problem of drawing from the sounds visually, in the form of a graphic score. As with my score for Yvon Bonenfant, the drawings are not intended to represent the sound as much as conjure up a method of translating sound into visual form, which allow others to reinterpret back into sound. Not being a musician and working with field-recording & phonography, I am using sounds that are not normally notated. However, I am interested in the synaesthetic dialogue between visual and aural material and the handing over of compositional control.
The graphic score for three soundscapes and a river, uses old Letraset and the process of tracing and following the mapped lines of rivers, which run through the moors and around the Cathedral.  The compositional drawing unintentionally mimics the digital waveform pattern of the sounds.
If any musicians would be interested in interpreting these graphic scores, please get in touch.

Movements in Light: Guy Sherwin at Siobhan Davies Studios

I first saw Guy Sherwins’ 16mm films when I was a student of his, studying Fine Art at Wolverhampton Polytechnic in the 1980’s. These were the last days of a liberal, experimental, non-modular, art curriculum: imagine an education without feedback forms or customer (nee student) surveys. The long list of visiting lecturers at Wolverhampton included artists from all disciplines, alongside writers, musicians and simply unclassifiable performance groups. To mention just a few from the impressive cast list that corrupted my formative years: Max Eastley; Ivor Cutler; Jo Spence; Fast Forward; David Critchley; Roger McGough (who marked my dissertation, generously granting it a first).
I consider myself fortunate to study at this time and to subsequently teach alongside Guy (and Paul Harrison of Wood & Harrison) at the University of Wolverhampton. Guy’s films and poetic investigation of time, film and perception, remain a vital influence on the development of my own practice.
The installations at Siobhan Davies Studios continue to question and impress. I was particularly interested in the Staircase projections, which reveal the choreography of stairs whilst disrupting the tacit anticipation of movement: the distinction between previous and present movement becoming less distinct, as people now ascending and descending the staircase make shadowy journeys through a layer of projected space covering the present situation. Such ghostlike presence is reflected in the architecture of the building, the flight of previous stairs remaining as visible scars upon the tiled walls intersecting the new staircase.

Tree Reflection #2 passes a single loop of film through two 16mm projectors: one running forward and one reverse. Guy had engineered a ‘common drive-shaft’ between the two projectors to ensure the speed of both projectors remains constant.
Having seen the film as part of Guy’s Short Film Series, I ashamedly ignored the projectors and stood fixated on the slow reflected progression of a coot moving across the surface of a canal and the simultaneous inverting of the film, which exchanges the landscape and its reflection. The flip, which echoes the visual inversion of eye & brain, occurs at such a slow rate, that it seems to sneak beneath the boundary of visual perception.
Guy watched me whilst I watched the film, when he pointed out that I was ignoring the projectors, I turned around and only then noticed the mirrored second projection on the wall behind me.
Beautiful films that simultaneously soak up my attention and make my head ache with thinking.

You can see one of Guy Sherwin’s films, with links to others and his perfomative collaborations with Lynn Loo here: Man With Mirror

I wrote an essay to accompany Guy’s first DVD Optical Sound Films 1971-2007. This can be bought from Lux, where a biography of Guy and video interview are also available.

richard serra can draw

Richard Serra drawings and notebooks in the catalogue of Richard Serra Drawing: A Retrospective. Wonderful thick black slabs of weight and mass that alter space. In the book he talks about an early memory of walking around a Californian shipyard, where his father worked:

‘”I remember walking the arc of the hull with my father”, the image is of movement experienced directly, bodily [...] movement drawn along an impending mass [...] movement directed by the weight of an environment. [Serra] recalled how the tanker “bounced into the sea, half submerged, to then raise and lift itself and find it’s balance…Not only had the tanker collected itself, but the witnessing crowd collected itself as the ship went through a transformation from an obdurate weight to a buoyant structure, free, afloat, and adrift.”‘