Archive

Silence on Loan


On Friday the 31st January 2020, I arrived at Winchester School of Art Library to find a table ‘reserved for activity’. It had been one year and one day since Silence on Loan was added to the Artists’ Book Collection at the WSA Library. Held without the protection of cover or sleeve the book (a single-sided 10” dubplate cut with a silent groove) is shelved at 741.64 HEG. Wedged between the hardbacks, this mute slither of vinyl is easily overlooked, but once a year it is taken from the shelf and placed on the platter of a portable turntable. [Re]turning at thirty-three and a third revolutions per minute the dubplate slowly pronounces the dust and harm that has come to its surface: the silence that has been lost. Once played the silence is put back on the shelf, where it is left un-sounding for another year.



As a performance, this annual audition is rather disappointing; nothing much happens for slightly more than nine-minutes. Those who are here to hear (and those library visitors who’s listening the silence loans) listen to silence being broken and unheard.  Perhaps the tables are turned, and it is the listeners who perform the silence rather than the record player’s stylus. For many of those who came, this is a return to silence, having been here last year when Silence on Loan was performed at the moment of its inclusion into library stock. Just as the dust collects in the groove, so silence returns and gathers in the ear of those who come to listen and remember listening again.
Everyone who is, and now was, there to hear, receives a souvenir in the form of a Silence on Loan 2020 pin-badge, whilst a paper wristband and UV hand-stamp, temporarily confirm admission and attendance.



I had been inclined to record each performance, so that I might document and measure the changes that time brings to the silence. But such calculating permanence would surely imprison that which does not sound, that which is fragile, fugitive and evasive. Silence, is more concerned with the potential for sound than its absence, most [in]audible when we imagine what we don’t hear. The analogue frailty of a physical recording can be used to augment this un-sounding potentiality. The performance on the 31st was documented using an old portable audio cassette recorder. Such obsolete media is characterised by a distinct lack of [hi] fidelity, recording its own imperfections and imposing its own magnetic patina upon the sound it records. This failure to create a faithful document is enhanced by the recording not being monitored – the tape can be seen slowly winding from left to right, but no lights or needles visibly meter the units of volume.


The quantity of tape used measures the duration of silence recorded, transcribing [no] sound into a spatial length, but the cassette is never played, and the silence remains unheard. Paused at this distance, the silence waits next year’s anniversary, when it will be re-wound and next year’s silence recorded over this. An [un] sounding and unfaithful record, this audio document, simultaneously returns and erases the silence of another year.

The next performance of Silence on Loan will be in January 2021

As the publisher of the artists book Silence on Loan, I have been asked to supply the five Legal Deposit copies of the publication to The Agency for the Legal Deposit Libraries in Edinburgh. The original Legal Deposit copy has already been deposited with the British Library and these five additional copies are for the remaining Deposit Libraries: The Bodleian Libraries of the University of Oxford (BLO), The National Library of Scotland (NLS), Cambridge University Library (CUL), Trinity College Library, Dublin(TCD), and the National Library of Wales (NLW).
Each hand-stamped copy is identified with the initials of a specified library and accompanied by a typed letter providing details of the publication. As with all prints of Silence on Loan, the Legal Deposit copies are published without the protection of a sleeve or cover. The deposits were sent recorded delivery and signed for by The Agency for the Legal Deposit Libraries. 



Together with the original copy of Silence on Loan in the Artists’ Book Collection at Winchester School of Art Library (University of Southampton), these Legal Deposits create a form of silent archive,  quietly gathering dust and harm in the ‘closed stacks’ of the libraries’ catalogue.

Searching for the publication via SOLO ( Search Oxford Libraries Online), I discover Silence on Loan is stored ‘off site’ with a status of  ‘closed stack’:  part of a collective silence, held, forgotten and perhaps never heard, but always being written. 

 

%d bloggers like this: