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Misinterpretation
I love the late Dr. Larry Bakke’s statement about viewing objects in the Ames room: “It’s easier for us to believe that a person is impossibly sized than it is for us to believe that the room isn’t made of regular rectangles”.
The Ames room was old when I went to school, it is older now. But it still works: even when we know that we know we are caught in the illusion of our own presuppositions.
It takes travel, experimentation and creativity to break our preconceptions. And sometimes it is necessary for us to be willing to withhold our judgements based on them. Why is it in our society that blind action is considered so compelling? If a president and his cabinet purchase the good will of Americans through misguided action, what does that mean for the rest of our society? Certainly actions are important, but once a gun is aimed, the action of pulling a trigger renders any later consideration irrelevant. If your judgement is wrong, and your judgement destroys another person, you are not worthy of the responsibility that comes with your position.
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Life presents mis-en-scene after mis-en-scene. We can approach them like a speed reader, interpreting and acting as fast as we can run through them. But such an approach will not get one closer to reality. What is speed reading to a poem? And what aspect of life is less like a poem, and more like a newspaper headline?
This is why society so often destroys its artists and poets: because it does not perceive their difficult images and words except within its own context, except as misinterpreted by its own perspective. It reduces artists and poets to misfits. This is the conceptual map of the newspaper headline, of the rush through judgement, of the end of justice.
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The Thing at the Edge
I remember that when I was back in college, Steve Reich made the statement that it wasn’t how you made the music, what was important was whether it was good music or not. And the statement puzzled me, because more than anyone Reich had introduced process into composition, process that led to unintended sonic textures. Well, maybe more than anyone except Cage. But what values did Reich use to determine what was good music?
I’d listened to as wide a range of music as I possibly could, from every inch of the globe, from every electronic and music concrete blurt, and from the very oldest to the current. And what I loved most to hear was something that I absolutely hadn’t ever thought existed.
If something is really foreign, your reaction is not usually intense. If something well known is played badly, you have an intense reaction. But if it’s truly unlike the art you make, you will not recognize the art in it on first blush. It will take repeated exposures, and learning about how it is made, and what rules are followed, and what came before it, and what the instrument that generates it is like to play etc. After a while, you’ll start to feel the inner parts, and you’ll perceive the play it has.
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But at the edge of Vygotsky’s zone of proximal development, you do have a reaction. This is again intense, because your mind and senses are rushing into the experience to get a solid taste of it, to map it and perceive it. To perceive its beauty.
And for me, this is what I’ve come to believe is the “good music” that Reich refers to. I know it isn’t a definition that is pan-cultural, but I could imagine someone following that thread and making sense of it. Someone might argue that beautiful music is music that conforms to certain architectural ratios. I can agree, but the beauty needs a person who is ready to resonate with it.
And so I’ve come to value the beautiful over the new. Not because I think it is more important. But because I know it’s a healthy place for a person to have a nest. And because I know that as one perceives, the locus of that nest must change, as percept becomes concept. The thing, then, is always a balance among self, object, and sensory perspective.
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Anaesthesia
Anaesthesia, the lack of all aesthetics. The problem isn’t having bad taste. It’s having no feeling. I look over my life, and my biggest mistakes were when I just didn’t feel enough to correctly guide my actions.
My Father an electrical engineer, once told me that he considered metaphor basically a mistake. He was an analyst (and an excellent one I believe), but didn’t like feeling things very much unless he’d had a drink. But feelings rising in him were almost always smothered by a rush of anger. For him anger was a circuit breaker for feelings.
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I think my seeing this as a trait/strategy led me to want to find an alternative in metaphor. For this purpose, for me, metaphor works because it comprises a meaning that no longer exists when the components are split. The division kills the phenomenon. Metaphors, symbols and meaning float for me above their component atoms, like the cloud of percussion attack sounds float in the air above the pitches of Steve Reich’s Music for Mallet Instruments. And while analysis may stop the meaning, it does not prove that the meaning doesn’t exist.
Once I understood this, I could make peace with my dad’s analysis, and place it in relation to my Mother’s art. And I made the choice to create meaning wherever and whenever I could, because it was as important as creating anything else in this real world.
Photo by Neal Margolis
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Collect Edit Project
When I regularly made films and videos, I saw a three-part sequence to most compositional strategies:
1. Collecting the elements to use
2. Editing/modulating the elements
3. Projecting/presenting the piece.
The problem I saw was to make each stage creative, so that none was assumed or just mechanical. So collection for me was to always have a camera with me, shooting what appeared between me and the world, and the real finds were exposures that had an existence and received meaning only as it was captured through a set f-stop, shutter speed and lens length.
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The projection could involve many aspects: what you projected onto, the relationship between projection speed and previous collection speed, image against image and sounds, words against image, and all those Eisensteinian montage strategies.
The music I was making offered itself in the same way: capture or generate sounds, modulate and mix them through electronic modules, and when presenting again do a live mix through electronic modules. Today the heightened interest in electronic/acoustic performances underlines the power of creative integration of these three steps during performance.
Today, working with Premiere, with Sonar, and with The Mister Edgars, questions of strategy come up again for me. How each step of the creative process can be kept from being mechanized, and instead can speak to us as we engage it. And again: to have the engagement reveal the possibilities of beauty that we have always previously missed, so that we’re more aware of it as we kick through the world.
After the parabola of a lifetime, I now reinterpret Duchamp and Cage for the central importance that beauty has in their work and writing. They needed to get away from using the word, Duchamp hated the concept of taste because, I believe, it represented how enculturation stopped perception. But now I understand beauty to be positioned as a pair of lights at the edge of what one understands, registering action at the present position of Vygotsky’s zone of proximal development. It is that cliche’d culture only if one doesn’t attend to it, try to make it speak, smear yourself in its sensuality so that you can through experience come to perception, and through perception bump those lights and the zone outside as you claim your site. Like a baby that laughs when it learns, we’re charged with beauty when we perceive. Nothing to be ashamed of here, nothing to hide from. And the question’s not “Why bother?”.
Initiation
Almost twenty years after producing Memory Theatre One, I’m still involved in its central problem: how do you comprehend your life, your experience. I understand art to be that gesture of comprehension: inventive, documentive, inciting, reflective, and (if done correctly), both desperate and beautiful.
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