Tutorial Report 24

Date: 18th March 2013 Tutor:  Caroline Wright
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Reflection on outcomes since last tutorial 

Discussed current beginning of Reflective Practice unit, and the 24 Hour Sibelius project which has developed from the previous The Future Past Tense piece. It’s the structure that allows me to work and solve the equations. What is happening to me now is gaining freedom from my musical training. I have talked before about being inhibited in using music because I know so many smatterings of what is behind it. Having studied musical theory and a bit of acoustics and so on, I know what is behind music – but not exactly – I don’t recall enough. At last I feel free to, as Caroline so brilliantly put it, ruthlessly exploit my past. I like that.

I need to discover in myself what it is about music and art for me. I have to say it’s a joyous pursuit, and I like the idea of continuing to integrate sound/music with moving image, drawing and exhibiting.  I like getting my teeth into a big complex problem, and believing there is a solution and a revelation for me to discover.
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Current projected aims and outcomes

Usually I am resistant to suggestions in my work – perhaps a bit overly sensitive – I think it’s about where ideas are generated from. Anyway, Caroline made what I now see it a rather logical connection between 24hour Sibelius, and wanting to get going on another moving image/drawing project. Of course! They are a linked, integrated project. Of course.

Isolating the moments of music, the emotional effect, the harmonic modulations. These musical phrases moving through into sentences. The sound retains itself but has to be manipulated to retain qualities. It’s a process which is complex and intuitive, and although based on knowledge, is a series of judgements. Working with sound, drawing, moving image, intrinsically connected, and allowing a special way of treating sound and images. I feel they all evolve together, creating and following an internal structure.

Different matter – we discussed seminar plans with Amelia and Jennifer. Somehow with wires crossed I end up totally baffled and immobilised. I’m sure there is a straightforward solution and a simple format.
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Discussion and recommendations

Caroline reminded not to get too distracted by byways in this project, but I feel that’s a small danger. It’s an apt reminder, though, to set up an actual reflective tool I will consistently use and refer to for this year and this project. I’ve probably done enough reading and thinking through that by now to choose a simple mechanism. Have a sharp process of reflection, especially for this piece.

Develop a good efficient method of making and recording tests.

Look at Wellcome Trust research project, conversations with art and science, infrasound.

Reflection

There are fascinating and delicious possibilities with 24 Hour Sibelius – to score it, to make the accompanying film, to have a live performance with an orchestra. Deciding how it all works I already realise through experiment will not be a universal solution throughout all symphonies – eg, it is ineffective simply to stretch it all out about 6 ½ times to fit 24 hours – it must be audible, do I fill silences, do I retain pitch, do I strobe the sound, and so on.

There is much to think of and plan, and forge ahead, but there’s nothing like doing, and making something take the transition from idea into form.

Note to self – continue and develop the research in the way I did it last project – effective system for me, and for recall and connections.

20th March 2013