project one - video mixer

Artist Statement:

RECOLLECTION

Syllabification: (rec·ol·lec·tion)

Pronunciation: /ˌrekəˈlekSHən/

noun:
      the action or faculty of remembering something:

We all hold the ability to leave a lasting impression on the strangers, acquaintances, and loved ones we interact with on a day to day basis, but there's something unique about the first interaction; it lingers into the crevices of each and every encounter thereafter, almost like a strong fragrance that cannot be mistakened. Recollection is designed on the principles of repetition and explores the different depths of impressions that have been left upon ones self. The sequence is governed by three tiers, each reaching a new surface:

• tier three: consistent comments made towards ones self on a first impression basis; videos appear thrice
• tier two: aesthetic and fact driven knowledge towards ones self that are developed through observation and time; videos appear twice
• tier one: single interactions that are often reflected upon that touch beneath the surface; videos appear once

These are minute components that have become a sense of identification for ones self. Each individual tile is kept veiled to protect its content, in the same sense that during a single interaction, one cannot accurately depict the experience that has yet to occur.

reading one - key points

one, Sound in Art by Caleb Kelly

• "Critics from a visual art background often have trouble describing sound' their lexicon does not include an ongoing dialogue with audio concepts. Thus mainstream writing on art of recent decade has tended for the most part to avoid critical discussion of sound" (Kelly, pg. 13).
• "It is already there, because all audiences, except  for those who cannot hear, attend to artworks with not only their eyes but their ears as receptors; often they may not be open or attentive, but every audience members is continually processing information gather through the sense of hearing. It has often been remarked that we cannot close our ears," (Kelly, pg. 13-14).
• "However,  rather than a movement or genre, 'sound art' simply describes a medium, much like 'oil painting'... they simply describe what it was created from," (Kelly, pg. 14).

two, The Art of Noises by Luigi Russolo (1913)

• "In antiquity, life was nothing but silence. Noise was really not born before the nineteenth century, with the advent of machinery," (Russolo, pg. 22).
• "...machines create today such a large number of varied noises that pure sound, with its littleness and its monotony, now fails to arouse any emotion," (Russolo, pg. 22).

three, The Future of Music: Credo by John Cage (1937)

• "Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating," (Cage, pg. 23).
• "If this word 'music' is sacred... we can substitute a more meaningful term: organization of sound," (Cage, pg. 23).
• "...Thereministes act as censors, giving the public those sounds they think the public will like. We are shielded from new sound experiences," (Cage, pg. 23).
• "The composer (organizer of sound) will be faced not only with the entire field of sound but also with the entire field of time... no rhythm will be beyond the composer's reach," (Cage, pg. 24).
• "THE PRINCIPLE OF FORM WILL BE OUR ONLY CONSTANT CONNECTION WITH THE PAST," (Cage, pg. 24).