Thanks for asking how the painting’s coming along. The answer is, “not that great” but that’s because I’m not that great at painting. Some thoughts so far:
I can’t put it off any longer. I’m going to talk a bit about the Collected Collaborations exhibition at MUMA last year.
My part of the show was an eight-page newspaper, compiled along with similar contributions by the rest of the Redrawing collective. This was the follow-up show to the original Redrawing exhibition back in 2008.
Redrawing included the audio-visual installation version of my String Quartet No. 2 (Canon in Beta). For the Collected Collaborations show I went into greater details discussing aspects of the piece’s creation, and the consequences of making the piece which had arisen from participating in the show.
At the end of my newspaper segment, I wrote a brief article about my future plans for works art and music which build on the lessons I learned from the exhibition. It’s a bit of a blur now, so let’s see what I wrote:
Besides the projected series of visual works based upon the spectrogram of String Quartet No. 2, two more musical compositions are planned in a similar vein. In one, following the principle of technical and conceptual distortion, an attempt will be made to reverse the process used to render the sound as a spectrogram. By producing a computer-synthesised soundfile that reproduces the frequency profile of the spectrogram as closely as possible, it is expected that the resulting music will diverge significantly from the original music on which the spectrogram is based. What this music may sound like is open to speculation.
Speculate no more! Here it is, with accompanying video.
The other composition is one which gets closer to the original conception to some aspects of the piece, and yet further away from others. The work in progress, titled Symphony, is based on a single pitch but uses a large array of different instruments. The sounds used will be subjected to the exact same processes as those used in String Quartet No. 2. This new piece will therefore have less harmony (and become closer to my original understanding of Niblock’s music) but greater timbral diversity (unlike Niblock’s pieces for multiples of the same instrument). For me, the interest in making this piece is to discover what is lost and gained in the trade-off between timbre and harmony, and to find out which of these two unfaithful copies is closer to the model they seek to imitate.
I just finished this piece on the weekend, and I’m pretty excited about it. I think I’m a bit tight on server space but will try to upload some more about this asap.
Both of these works are planned for completion in late 2011.
I intend them to form part of an ongoing series of compositions made with the aim of producing two or more works which are all but indistinguishable from each other, whether in relation to the music of another composer or not. Again, although this is an accepted practice in the visual arts, in music it has been confined to questions of execution and interpretation, and not of composition.
I first posted this many years ago. I’ve now started a new painting, for the first time since this last effort described below. The new painting will be a copy of the old painting, as I kind of miss it now. Someone in Melbourne has it, I think.
My last attempt to make a painting was not entirely happy. Having promised to paint something for an exhibition due the next day, I found an old box of cheap Chinese foil tubes of oil paints. Most of them had partly or completely dried out, and split open when I tried to squeeze some paint out of them. At least I got blue and yellow, two thirds of the primary colours. Also, I found a brush, which was useful. It was sufficiently frayed at both ends to make me spend a few seconds figuring out which was designed for applying paint. When I started painting I remembered that (a) oil paint needs thinner and (b) I don’t have any thinner. It was a very thickly-textured painting, and may still be drying to this day. The next revelation was that when you need to change colours, the brush has to be rinsed out (cf. points a and b, above). A solution of Sard Wonder Soap does the job nicely, but don’t expect it to improve the consistency of your paint.
I hadn’t made a video for a while, so please enjoy The Night We Burned Down Bimbo Deluxe. The entire thing was made out of cheesy digital video effects on the movie making program on my computer, subjected to multiple chance operations.
Not that it matters right now, but I got the date wrong. The music was actually made in 2006 (seems longer than that.) It was made from one of those “temporary” files that Windows creates and then never, ever deletes. The unedited file was played through a sound editor as though it were audio data, and then subjected to four types of randomised filtering through parametric equalisers in Ross Bencina’s fine program AudioMulch, and then mixed by rapid, randomised crossfading between each of the four outputs. What you hear is take four.
So what does all this playing with 21st century technology get me? Maybe it’s the low quality of the sound from the original data file, or maybe it’s because I’m fifty years behind the times, but the piece sounds uncannily like the sort of tape music coming out of the Westdeutscher Rundfunk studios in Cologne in the 1950s. In keeping with this sound, and the appropriately grey and grainy video, the title refers to the human phenomenon of futile longing for a vanished world.