October 28, 2014

8.00 am. At the School, duck-tape to hand, I was on my knees making safe cables in readiness for the morning’s reconstruction of Duchamp’s Sculpture Musicale (1913) by members of the Art/Sound module. 9.00 am. The composer/audients arrived and, after a brief introduction, entered into the spirit of the exercise — walking from room to room, through the corridors, along landings, and down staircases, adjusting the parameters of the oscillators, and articulating their response on a worksheet:

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We recaptured the industrialism of last night’s ‘rehearsal’ with avengence. The exercise lasted thirty-five minutes. I suspect that some students had fun, others, a genuinely new and enriching experience, and yet others, no doubt, found the noise oppressive and unsettling. The second part of the workshop was held in Holy Trinity Church, close by … in silence. The students adapted very well to the project’s expectations and the unfamiliar environment. There’s much I need to consider in relation to both parts of the morning’s proceedings in relation to the participants and myself. A more extensive and considered blog is in order:

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1.30 pm. I set about sifting through documentation generated by the workshop, and disseminating it to the contributors, principally, while editing and remastering the sound material for Sculpture Musicale (a poor token of the real experience, and uploading it to my Studium website.

7.30 pm. A treat. I attended Music Theatre Wales’ production of Philip Glass’ The Trail (based on Kafka’s novel). Tight, clean ensemble playing, austere stage design and lighting (appropriate to the music), good acting and choreography, and some exceptional voices. It wasn’t always possible to maintain a balance between the orchestra and some of the solo singing. Microphones would have helped matters:

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10.15 pm. ‘The nightwatch’. I completed updating my diary page for the day and my website ‘news’ and ‘project’ fields.

 

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