October 3, 2015

8.10 am. Oh, miserable and dreadful world! Contact with the server that hosts my website had been lost:

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I filled the time — that would otherwise have been set apart for dairy updating on my site — by finalising a number of postgraduate references. 8.45 am. Wondrous joy, with thanksgiving!; the website server was resurrected. I was told that it had crashed overnight, and the automatic monitoring tools weren’t able to restart it. 9.45 am. I pushed outwards towards the School to post the references. There, Tali, one of our MA Fine Art retirees, was performing an act of wanton iconoclasm in order to ready her studio space for the next occupant. Then, on to town to do battle with Boots the chemists over delayed prescriptions, and to harvest fresh vegetables at the Farmers’ Market:

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10.20 am. Back to the Dialogues3 descriptor, and to the construction of my website’s account of the event. 12.00 pm. I fired up the sound studio’s console in readiness for a review of the recordings made on Thursday evening. An equipment check indicated a break in the triple pedalboard circuit that required some attention. 12.30 pm. Fixed!

2.00 pm.  I began a two-fold review, first, of the new ‘Image and Inscription’ files and, secondly, of the ‘Suspension/Strictly No Admittance’ recordings.  In respect to the former, there are files that, while not being suitable for the intended composition, have merit and could be developed as an independent track. 3.30 pm. I explored a new (to me) method of recording through the mixer directly to the MacBook’s DAW via the USB. Then, I reprocessed some of the S/SNA files through effectors in order to tease out some of the higher frequencies:

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I’m aware that I need to build the sound layers in exactly the same way as Sandra constructed the paintings: from the bottom layer to the top. What, then, is the sound analogue for unprimed canvas, for primed canvas, and for the base layer of the painting, and so forth? Should the sound work reveal the process of incremental painting, or the sum of those layers only? In the exhibited works, Sandra presents a summation — the final product — of that process. Sound is time based and linear; sound artworks have the capacity to present both the process of accretion and the product, and, indeed, to present the process as the product.

5.30 pm. Press ‘Esc’. 6.30 pm. An evening to myself.

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October 5, 2015