Tuesday, July 23, 2013
Art Grant awarded: Dun Laoghaire Rathdown County council
Judith Ring and Seoidín O'Sullivan have received a Dun Laoghaire Arts Council Grant to further develop this Project. http://www.dlrcoco.ie/arts/Arts_Grant_Recipients_2013.pdf.
We aim to develop new work exploring the link between drawing and contemporary music. We had applied for funding to include other artists and musicians in this project but unfortunately only received a quarter of what we had asked for.
Our proposal "Music composer Judith Ring and visual artist Seoidín O' Sullivan would like to curate an event for the Dun Laoghaire Rathdown area. We both have a proven track record as artists and project curators. We would like to bring together contemporary artists and musicians from the Dun Laoghaire Rathdown area to create new work for this event.
It seems to us that visual artists and contemporary musicians very rarely converse in Dublin and this Summer we would like to create a space/ platform for this(conversation/ performance/ exhibition). Drawing has an interesting relationship to music so we would like to invite local contemporary artists and contemporary musicians to workshop their ideas and respond through exhibition by examining the relationship between drawing and sound."
We will use this initial funding to explore and research the project further, linking into specific sites in Dun Laoghaire. Hopefully next year we will receive a budget that might make a bigger event possible.
We aim to develop new work exploring the link between drawing and contemporary music. We had applied for funding to include other artists and musicians in this project but unfortunately only received a quarter of what we had asked for.
Our proposal "Music composer Judith Ring and visual artist Seoidín O' Sullivan would like to curate an event for the Dun Laoghaire Rathdown area. We both have a proven track record as artists and project curators. We would like to bring together contemporary artists and musicians from the Dun Laoghaire Rathdown area to create new work for this event.
It seems to us that visual artists and contemporary musicians very rarely converse in Dublin and this Summer we would like to create a space/ platform for this(conversation/ performance/ exhibition). Drawing has an interesting relationship to music so we would like to invite local contemporary artists and contemporary musicians to workshop their ideas and respond through exhibition by examining the relationship between drawing and sound."
We will use this initial funding to explore and research the project further, linking into specific sites in Dun Laoghaire. Hopefully next year we will receive a budget that might make a bigger event possible.
Tuesday, July 16, 2013
20 January 2013
REPITITION: Seoidín, Judith, Dylan.
Pattern
Mantra
Vexations Eric Satie 1893
Pattern
Mantra
Dylan plays his Buddha Box Machine :
MC Esher's graphic works
TONOSCOPE
Tuesday, December 18, 2012
LIGHT
With the soltice and xmas approaching this week, we decided to discuss the topic 'Light' in our final session of 2012. We had mulled wine and mince pies and a lively sharing of works and ideas insued
Judith: A colour organ by a French Jesuit monk from 1742
The earliest instrument to attempt a creative synthesis of color and music was created in the early eighteenth century by the French Jesuit scientist, Louis-Bertrand Castel. In 1725, Castel conceived of a clavecin oculaire, or ocular harpsichord, which he hoped would illuminate the hidden harmonic order thought to exist in the universe. Castel thought of color-music as akin to the lost language of paradise, where all men spoke alike, and he claimed that thanks to his instrument’s capacity to paint sounds, even a deaf listener could enjoy music.
Music( Listen) : Prometheus: The Poem of Fire, Op. 60 (1910), is a symphonic work by the Russian composer Alexander Scriabin http://en.wikipedia.org/wiki/Prometheus:_The_Poem_of_Fire
'The part for color organ is notated on a staff of its own, in treble clef at the top of the score, and consists of two parts: one changes with the harmony, and always goes to the root note of the prevailing harmony, and thus produces the color Scriabin associated with each key; the other consists of much longer notes sustained through many bars, and does not appear to be related to the harmony (or therefore to the first part), but for the most part slowly rises up the scale a whole-tone at a time, the changes being several pages of score apart, or a minute or two apart. It is not clear what relationship this part has to the first part, or to the music as a whole. '
Maura McDonnell's Website: http://visualmusic.blogspot.ie/p/about-this-blog.html
Dylan: The Crystal Baschet, played in Solaris by CLiff Martinez
Guitar Oscillations captured with i phone 4:
Seoidín: Stan Brackhage Silent experimental film maker Moth Light and Dog Star, Man
Theater's by Hiroshi Sugimoto: Photographer
"As soon as the movie started, I fixed the shutter at a wide-open aperture, and two hours later when the movie finished, I clicked the shutter closed. That evening, I developed the film, and the vision exploded behind my eyes."
Kian: Plays us part of his own Requiem dedicated to his father
He sees colour in two of the notes used in this piece (earth colours)
F major: Green
B flat: Brown
Inspired directly by The Wanderer which forms the main text in the opera
Judith: A colour organ by a French Jesuit monk from 1742
The earliest instrument to attempt a creative synthesis of color and music was created in the early eighteenth century by the French Jesuit scientist, Louis-Bertrand Castel. In 1725, Castel conceived of a clavecin oculaire, or ocular harpsichord, which he hoped would illuminate the hidden harmonic order thought to exist in the universe. Castel thought of color-music as akin to the lost language of paradise, where all men spoke alike, and he claimed that thanks to his instrument’s capacity to paint sounds, even a deaf listener could enjoy music.
Music( Listen) : Prometheus: The Poem of Fire, Op. 60 (1910), is a symphonic work by the Russian composer Alexander Scriabin http://en.wikipedia.org/wiki/Prometheus:_The_Poem_of_Fire
'The part for color organ is notated on a staff of its own, in treble clef at the top of the score, and consists of two parts: one changes with the harmony, and always goes to the root note of the prevailing harmony, and thus produces the color Scriabin associated with each key; the other consists of much longer notes sustained through many bars, and does not appear to be related to the harmony (or therefore to the first part), but for the most part slowly rises up the scale a whole-tone at a time, the changes being several pages of score apart, or a minute or two apart. It is not clear what relationship this part has to the first part, or to the music as a whole. '
Maura McDonnell's Website: http://visualmusic.blogspot.ie/p/about-this-blog.html
Dylan: The Crystal Baschet, played in Solaris by CLiff Martinez
Guitar Oscillations captured with i phone 4:
Seoidín: Stan Brackhage Silent experimental film maker Moth Light and Dog Star, Man
Theater's by Hiroshi Sugimoto: Photographer
"As soon as the movie started, I fixed the shutter at a wide-open aperture, and two hours later when the movie finished, I clicked the shutter closed. That evening, I developed the film, and the vision exploded behind my eyes."
Kian: Plays us part of his own Requiem dedicated to his father
He sees colour in two of the notes used in this piece (earth colours)
F major: Green
B flat: Brown
Inspired directly by The Wanderer which forms the main text in the opera
Friday, December 14, 2012
Time and Memory
Olesya: Andy Goldsworthy - how his art is effected by time.
Ashes and Snow - Gregory Colbert has used both still and movie cameras to explore extraordinary interactions between humans and animals.
Man with a movie camera - 1929 silent documentary film, "Man with a Movie Camera" from Russian director Dziga Vertov.
In Spring -
Rivers and Tides - Goldsworthy - Riedelsheimer. Documentary on Andy Goldsworthy's work.
Laura: Ancient caves paintings that have survived through time. Cave of forgotten dreams
Tuesday, December 11, 2012
MEMORY
Judith: Man In Nursing Home Reacts To Hearing Music From His Era
Brian: Borges Labrinth
Lena: Discussion: mnemosyne the Greek Goddess of memory and mother of the muses.
Labrinths and links to alchemy
Labrinths and links to alchemy
"Funes the Memorious"
Premise: I wish I could remember everything.
The narrator recalls his encounters in the 1880s with Ireneo Funes, an Uruguayan whose fall from a horse has left him paralyzed; but "when he came to, the present was almost intolerable in its richness and sharpness, as were his most distant and trivial memories" (63). "In fact, Funes remembered not only every leaf of every tree of every wood, but also every one of the times he had perceived or imagined it" . This gift becomes a curse of multiplicity, as Funes is unable to ignore precise differences between entities and thus is "incapable of ideas of a general Platonic sort" . The narrator realizes that "To think is to forget differences, generalize, make abstractions. In the teeming world of Funes, there were only details, almost immediate in their presence" (66). "He thought that by the hour of his death he would not even have finished classifying all the memories of his childhood" .
Funes, the narrator reports, died of a "congestion" .
Book: 'The Future of Nostalgia': Boym: Svetlana Boym explores the spaces of collective nostalgia that connect
national biography and personal self-fashioning in the twenty-first
century. She guides us through the ruins and construction sites of
post-communist cities-St. Petersburg, Moscow, Berlin, and Prague-and the
imagined homelands of exiles-Benjamin, Nabokov, Mandelstahm, and
Brodsky. From Jurassic Park to the Totalitarian Sculpture Garden, Boym
unravels the threads of this global epidemic of longing and its
antidotes.
https://www.youtube.com/watch?v=_-JfYjmo5OA
Seoidín: Film clip (6 mins) from La jettee by Chris Marker (1962)
Brian: Third Memory Film clip from Dog Day Afternoon Pierre Huyghe:
A mode of perception that lies in the interstices between reality and
its representation is the subject of his two-channel video, The Third Memory (2000), which reenacts the 1972 hold-up of a Brooklyn bank immortalized in Sidney Lumet's acclaimed film Dog Day Afternoon
(1975). Almost 30 years later, Huyghe provides a platform for the
heist's charismatic mastermind, John Wojtowicz, to relate his version of
that infamous day in a reconstructed set of the bank. However, rather
than clarify the personal history that Hollywood wrested from him,
Wojtowicz appears to have been heavily influenced by the film, a
testament to the inextricable merging of real events, the distortions of
memory, and the mediating power of popular culture.
Teresa: Reads her own writing from her MA Thesis
talks of influence from Bergson
Matter and Memory: "Bergson distinguishes two different forms of memory. On the one hand memories concerning habitude, replaying and repeating past action, not strictly recognized as representing the past, but utilizing it for the purpose of present action. This kind of memory is automatic, inscribed within the body, and serving a utilitarian purpose. Bergson takes as an example the learning of a verse by rote: Recitation tending toward non-reflective and mechanical repetition. The duration of the habitual recitation tends toward the regular and one may compare this kind of memory to a practical knowledge or habit. "It is habitude clarified by memory, more than memory itself strictly speaking." Pure memory, on the other hand, registers the past in the form of "image-remembrance", representing the past, recognized as such. It is of a contemplative and fundamentally spiritual kind, and it is free. This is true memory. Bergson takes as his example the remembrance of the lesson of learning the same verse, a dated fact that cannot be recreated. Pure memory or remembrance permits the acknowledgment that the lesson has been learned in the past, cannot be repeated, and is not internal to the body."
Judith: Music and memory - How music effects the minds of alzheimers patients:
Man in a nursing home
Teresa: Reads her own writing from her MA Thesis
talks of influence from Bergson
Matter and Memory: "Bergson distinguishes two different forms of memory. On the one hand memories concerning habitude, replaying and repeating past action, not strictly recognized as representing the past, but utilizing it for the purpose of present action. This kind of memory is automatic, inscribed within the body, and serving a utilitarian purpose. Bergson takes as an example the learning of a verse by rote: Recitation tending toward non-reflective and mechanical repetition. The duration of the habitual recitation tends toward the regular and one may compare this kind of memory to a practical knowledge or habit. "It is habitude clarified by memory, more than memory itself strictly speaking." Pure memory, on the other hand, registers the past in the form of "image-remembrance", representing the past, recognized as such. It is of a contemplative and fundamentally spiritual kind, and it is free. This is true memory. Bergson takes as his example the remembrance of the lesson of learning the same verse, a dated fact that cannot be recreated. Pure memory or remembrance permits the acknowledgment that the lesson has been learned in the past, cannot be repeated, and is not internal to the body."
Judith: Music and memory - How music effects the minds of alzheimers patients:
Man in a nursing home
Monday, November 26, 2012
Monday 26 November 2012
TIME AND TEMPORALITY
Solaris by Cliff Martinez
Link to a great documentary about his Sky Spaces "That which we behold is something that we actually create" http://vimeo.com/20098884http://vimeo.com/20098884
Book: Chasing the Sun: A Flower garden that acts like a clock with Sundial (Richard Cohen)
Reads Chapter from: Einstein's Dream by Alan Lightman (Time and Relativity)
Judith: La Monte Young (minimalist composer)
Drone to alter perception of time:
Seoidín: Tarkovsky's film 'Stalker' entering the Zone, talks of Entropy (Robert Smithson)
"the zone is a
zone, its life, and as he makes his way across it a man may break down
or he may come through. Whether he comes through or not depends on his
own self-respect, and his capacity to distinguish between what matters
and what is merely passing. " Andrei Tarkovsky
Introduces current project The Manhattan Rising, shows plant pressings from the derelict site.
Kian plays Piece on piano Samuel Frauder Staul
and plays us his Choral piece "He wishes his beloved were dead" 2011 Inspired by Yeats.
HE WISHES HIS BELOVED WERE DEAD
by: William Butler Yeats (1865-1939)
ERE you but lying cold and dead,
- And lights were paling out of the West,
- You would come hither, and bend your head,
- And I would lay my head on your breast;
- And you would murmur tender words,
- Forgiving me, because you were dead:
- Nor would you rise and hasten away,
- Though you have the will of wild birds,
- But know your hair was bound and wound
- About the stars and moon and sun:
- O would, beloved, that you lay
- Under the dock-leaves in the ground,
- While lights were paling one by one.
Next Week: Memory
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