This Page

has moved to a new address:


Sorry for the inconvenience…

Redirection provided by Blogger to WordPress Migration Service
----------------------------------------------- Blogger Template Style Name: Rounders 2 Designer: Douglas Bowman URL: www.stopdesign.com Date: 27 Feb 2004 ----------------------------------------------- */ body { background:#ccc; margin:0; padding:20px 10px; text-align:center; font:x-small/1.5em "Trebuchet MS",Verdana,Arial,Sans-serif; color:#333; font-size/* */:/**/small; font-size: /**/small; } /* Page Structure ----------------------------------------------- */ /* The images which help create rounded corners depend on the following widths and measurements. If you want to change these measurements, the images will also need to change. */ @media all { #content { width:740px; margin:0 auto; text-align:left; } #main { width:485px; float:left; background:#fff url("http://www.blogblog.com/rounders2/corners_main_bot.gif") no-repeat left bottom; margin:15px 0 0; padding:0 0 10px; color:#000; font-size:97%; line-height:1.5em; } #main2 { float:left; width:100%; background:url("http://www.blogblog.com/rounders2/corners_main_top.gif") no-repeat left top; padding:10px 0 0; } #main3 { background:url("http://www.blogblog.com/rounders2/rails_main.gif") repeat-y; padding:0; } #sidebar { width:240px; float:right; margin:15px 0 0; font-size:97%; line-height:1.5em; } } @media handheld { #content { width:90%; } #main { width:100%; float:none; background:#fff; } #main2 { float:none; background:none; } #main3 { background:none; } #sidebar { width:100%; float:none; } } /* Links ----------------------------------------------- */ a:link { color:red; } a:visited { color:grey; } a:hover { color:red; } a img { border-width:0; } /* Blog Header ----------------------------------------------- */ @media all { #header { background:red url("http://www.blogblog.com/rounders2/corners_cap_top.gif") no-repeat left top; margin:0 0 0; padding:8px 0 0; color:white; } #header div { background:url("http://www.blogblog.com/rounders2/corners_cap_bot.gif") no-repeat left bottom; padding:0 15px 8px; } } @media handheld { #header { background:#710; } #header div { background:none; } } #blog-title { margin:0; padding:10px 30px 5px; font-size:200%; line-height:1.2em; } #blog-title a { text-decoration:none; color:#fff; } #description { margin:0; padding:5px 30px 10px; font-size:94%; line-height:1.5em; } /* Posts ----------------------------------------------- */ .date-header { margin:0 28px 0 43px; font-size:85%; line-height:2em; text-transform:uppercase; letter-spacing:.2em; color:#810; } .post { margin:.3em 0 25px; padding:0 13px; border:1px dotted #bbb; border-width:1px 0; } .post-title { margin:0; font-size:135%; line-height:1.5em; background:url("http://photos1.blogger.com/blogger/430/2743/1600/sheseesredcross.png") no-repeat 10px .5em; display:block; border:1px dotted #bbb; border-width:0 1px 1px; padding:2px 14px 2px 29px; color:#333; } a.title-link, .post-title strong { text-decoration:none; display:block; } a.title-link:hover { background-color:#eee; color:#000; } .post-body { border:1px dotted #bbb; border-width:0 1px 1px; border-bottom-color:#fff; padding:10px 14px 1px 29px; } html>body .post-body { border-bottom-width:0; } .post p { margin:0 0 .75em; } p.post-footer { background:#eee; margin:0; padding:2px 14px 2px 29px; border:1px dotted #bbb; border-width:1px; border-bottom:1px solid #eee; font-size:100%; line-height:1.5em; color:#666; text-align:right; } html>body p.post-footer { border-bottom-color:transparent; } p.post-footer em { display:block; float:left; text-align:left; font-style:normal; } a.comment-link { /* IE5.0/Win doesn't apply padding to inline elements, so we hide these two declarations from it */ background/* */:/**/url("http://www.blogblog.com/rounders2/icon_comment.gif") no-repeat 0 45%; padding-left:14px; } html>body a.comment-link { /* Respecified, for IE5/Mac's benefit */ background:url("http://www.blogblog.com/rounders2/icon_comment.gif") no-repeat 0 45%; padding-left:14px; } .post img { margin:0 0 5px 0; padding:4px; border:1px solid #ccc; } blockquote { margin:.75em 0; border:1px dotted #ccc; border-width:1px 0; padding:5px 15px; color:#666; } .post blockquote p { margin:.5em 0; } /* Comments ----------------------------------------------- */ #comments { margin:-25px 13px 0; border:1px dotted #ccc; border-width:0 1px 1px; padding:20px 0 15px 0; } #comments h4 { margin:0 0 10px; padding:0 14px 2px 29px; border-bottom:1px dotted #ccc; font-size:120%; line-height:1.4em; color:red } #comments-block { margin:0 15px 0 9px; } .comment-data { background:url("http://www.blogblog.com/rounders2/icon_comment.gif") no-repeat 2px .3em; margin:.5em 0; padding:0 0 0 20px; color:#666; } .comment-poster { font-weight:bold; } .comment-body { margin:0 0 1.25em; padding:0 0 0 20px; } .comment-body p { margin:0 0 .5em; } .comment-timestamp { margin:0 0 .5em; padding:0 0 .75em 20px; color:#666; } .comment-timestamp a:link { color:#666; } .deleted-comment { font-style:italic; color:gray; } /* Profile ----------------------------------------------- */ @media all { #profile-container { background:#999 url("http://www.blogblog.com/rounders2/corners_prof_bot.gif") no-repeat left bottom; margin:0 0 15px; padding:0 0 10px; color:#fff; } #profile-container h2 { background:url("http://www.blogblog.com/rounders2/corners_prof_top.gif") no-repeat left top; padding:10px 15px .2em; margin:0; border-width:0; font-size:115%; line-height:1.5em; color:#fff; } } @media handheld { #profile-container { background:#999; } #profile-container h2 { background:none; } } .profile-datablock { margin:0 15px .5em; border-top:1px dotted #ccc; padding-top:8px; } .profile-img {display:inline;} .profile-img img { float:left; margin:0 10px 5px 0; border:4px solid #ccc; } .profile-data strong { display:block; } #profile-container p { margin:0 15px .5em; } #profile-container .profile-textblock { clear:left; } #profile-container a { color:#fff; } .profile-link a { background:url("http://www.blogblog.com/rounders2/icon_profile.gif") no-repeat 0 .1em; padding-left:15px; font-weight:bold; } ul.profile-datablock { list-style-type:none; } /* Sidebar Boxes ----------------------------------------------- */ @media all { .box { background:#fff url("http://www.blogblog.com/rounders2/corners_side_top.gif") no-repeat left top; margin:0 0 15px; padding:10px 0 0; color:#666; } .box2 { background:url("http://www.blogblog.com/rounders2/corners_side_bot.gif") no-repeat left bottom; padding:0 13px 8px; } } @media handheld { .box { background:#fff; } .box2 { background:none; } } .sidebar-title { margin:0; padding:0 0 .2em; border-bottom:1px dotted #fa0; font-size:115%; line-height:1.5em; color:#333; } .box ul { margin:.5em 0 1.25em; padding:0 0px; list-style:none; } .box ul li { background:url("http://www.blogblog.com/rounders2/icon_arrow_sm.gif") no-repeat 2px .25em; margin:0; padding:0 0 3px 16px; margin-bottom:3px; border-bottom:1px dotted #eee; line-height:1.4em; } .box p { margin:0 0 .6em; } /* Footer ----------------------------------------------- */ #footer { clear:both; margin:0; padding:15px 0 0; } @media all { #footer div { background:red url("http://www.blogblog.com/rounders2/corners_cap_top.gif") no-repeat left top; padding:8px 0 0; color:#fff; } #footer div div { background:url("http://www.blogblog.com/rounders2/corners_cap_bot.gif") no-repeat left bottom; padding:0 15px 8px; } } @media handheld { #footer div { background:#710; } #footer div div { background:none; } } #footer hr {display:none;} #footer p {margin:0;} #footer a {color:#fff;}


listening to others' works

over the years i have done a little bit of this - intervening in others' works to do my own listening version of it.

it's quite interesting to me to 'enliven' others' work through this subtle performance. perhaps people don't get it, but as part of my practice, it's a way that i can interact with the ideas in others works that reflect my own. and as an audience member, i am also participating in a way that i choose.

the two previous works i've done in this way have been to 'negate' the listening experience in their work - to listen to something else instead (in the case of a Jean Luc Guionnet work at West Space) and to sleep in to an alarm playing music over the gallery (in the case of the Perfect Day to Chase Tornadoes work at Kunstraum Quartier).

i recently did the same as part of Amalia Pica's work at chisenhale gallery. although it was less and intervention, more of a response to an opening for volunteers to listen. And, rather than a negation, this was specifically an activation of a work - a listening trumpet in the middle of the gallery.

Sitting for 3.5 hours, it gave me a chance to think about my own similar work in a concentrated way. Some thoughts i had at the time:

listening is deemed to be activated when there is a response to the sound. 
as i sat and listened, a young boy and his dad came up and  because my role was to be a human listening object, i couldn't respond in any way to the spoken/given sounds. the boy whispered hello, and his dad asked whether i though spain or france would win the football on the weekend. i heard them loud and clear, but because i didn't 'respond' in an expected way, they believed the work was 'broken'. interestingly, they didn't try to 'fix it', or try a hundred times (like you do when headphones are broken, or the computer won't turn on, or the DVD stops playing) but it was interesting to note that 'working' meant 'responding'. that someone is 'listening' when they actually respond to what you've said.

of course, part of that is true. in communication and from a psychoanalytical point of view, one proves the action by another responsive action. but from an experiential point of view, it's not necessarily the case. I was listening. intently.

I also thought about what this means for us all wearing headphones. the idea that we can be 'not listening' still works, becuase we don't respond (or we have a delayed response) when someone talks to us. nice.

the performance of listening really is a subtractive device.
i've spoken about this before - when i was doing my listening and being works. i wondered whether it was just that particular installation (covered in mirrors), or just my perception, but when i performed this work for amalia, a similar thing happened: people would be chatting as they come into the gallery and then, as they see me, they immediately shut the hell up. it happened twice and it was amazing - i wish i had been able to record it. voice levels became low and subdued and they crept around the work. seeing that one is listening, it seems one becomes self-conscious. and perhaps with that, one stops 'expressing' oneself.

this has to become a new area of research for me - it's too good!

What is the pose of a listener?
I’ve been interested in the ‘poses’ of listeners for a while, but participating in this work had me questioning to best convey, through form, that I’m really listening? Is there a best ‘pose’ for listening? Should I move slightly from a ‘passive’ to an ‘active’ pose with the move of my head? Should I look up, or down? Should I act as if I’m concentrating, or is the lack of eye contact enough? I previously made some silhouette works of people ‘listening’ and some feedback I got was that they ‘didn’t really look like they were listening’. Which I thought was hilarious and definitely impetus for a body of work. The presence of the cone/trumpet negated some of the ambiguity, but it was an interesting experiment to see whether I could convey that action of listening, should the trumpet not be there. If that makes sense. It’s all about ‘codes’.

I’ve previously had to ask myself ‘What is the uniform of a listener?’ - which came up again in this work when I got ‘busted’ getting up from the cone to go to the toilet. I wondered if the audience wondered if I was meant to be there, or just another audience member who had decided to sit on the floor and listen. One day I’d like to work with a fashion designer to come up with such a ‘uniform’, but it may have to wait.

The accoustics of Chisenhale gallery itself are amazing. Incredibly resonant, all conversations become garbled very quickly and people speaking becomes a bubble of sounds that pop and diappear very quickly. At some points in the afternoon, there was a beautiful soundtrack which i could have magnetically recorded - combining the hard rhythm of someone walking in heels, with the activity of a spoken conversation, plus the faint echo of traffic from outside and then this beautiful 'space' in between all the sounds, from the acoutic shape of the gallery.

It was such a gift to be able to experience and think about all of these things for myself and for another's work. Having done something like this, now for the third time, i may have to make it a regular part of my practice.

the exhibition is on until the 15th july at chisenhale in london (a gallery i always make a point of visiting when i'm in town) - you should check it out and there's a panel discussion this thursday too!

image credits: 
What Makes A Sense of Place, Installation view. Photo Andy Keate, from chisenhale.org.uk
she sees red listening from claire selby on instagram


At 07 July, 2012 17:57, Blogger lucazoid said...

i agree that listening is subtractive. maybe you could say that it is a keen form of paying attention, and by definition, attention involves selection from the array of possible things that surround us.

i am always surprised at the cognitive power of listening - how the mind "reaches out" to choose particular soundstreams from the acoustic environment.

speaking of activating others' work by listening - that's apparently what john cage did, when he first encountered robert morris' "box with the sound of it's own making" - he listened to the whole thing, which ran for about three hours:

"As its title indicates, Morris's Box with the Sound of Its Own Making consists of an unadorned wooden cube, accompanied by a recording of the sounds produced during its construction. Lasting for three-and-a-half hours, the audio component of the piece denies the air of romantic mystery surrounding the creation of the art object, presenting it as a time-consuming and perhaps even tedious endeavor. In so doing, the piece also combines the resulting artwork with the process of artmaking, transferring the focus from one to the other. Fittingly, the first person in New York Morris invited to see the piece was John Cage-whose silent 1952 composition 4'33" is famously composed of the sounds heard in the background while it is being performed. Cage was reportedly transfixed by Box with the Sound of Its Own Making, as Morris later recalled: "When Cage came, I turned it on... and he wouldn't listen to me. He sat and listened to it for three hours and that was really impressive to me. He just sat there."
[from http://www.theartstory.org/artist-morris-robert.htm]

At 08 July, 2012 22:00, Blogger lauren said...

i don't care if it's what you intended, you just compared me to john cage. i am taking that as a mahoosive compliment!!

i'm glad you think listening is subtractive. i was talking with ms gothe-snape the other day and she suggested that a performer in a space also produces a similar response and to be careful attributing it just to the listening act. consider that a challenge accepted.

that cognitive power is called the synecdoche effect - a development in discernment. it's fascinating to me how resilient that cognitive power is too - given the scale in noise that has happened in the last 200 years and we haven't had to evolve drastically or go vastly mad.

thanks for that link, lucas - v. interesting.

At 09 July, 2012 11:37, Blogger lucazoid said...

i wonder, what does ags mean by 'a performer in a space' - does that relate to other senses besides hearing?

i think you can do similar things with attention in relation to touch, sight, hearing etc.

it's a kind of mindfulness activity. maybe that's what agatha was referring to?

At 10 July, 2012 17:01, Blogger lauren said...

well, it was actually more to do with the dynamic/phenomenon of how people's behaviour changes when they walk into a space and there is a performer there. no matter what they're doing.

i don't think i agree so much - if the performer is doing something quite active, the audience stops, but also gets swept up in the energy of that action and doesn't necessarily shut down or retreat.

but it is an interesting point to research: how much is 'performer' and how much is it the action they're undertaking. it's also probably like asking 'what is art'. yes, well.


Post a Comment

<< Home