RELATIONSHIP AND THE DEMISE OF THE OBJECT
May 3rd 2011 04:23
Link: exitrip.org/
"the role of artworks is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real, whatever scale chosen by the artist" Nicolas BourriaudRelational Art theorist.--------My sound-based arts practice is currently concerned with the shift of focus from the sonic art object, to the act of relationship as aesthetic. Upcoming documentation will outline and connect both my practice and the broader frame within which it should be understood. Over the last few decades we have seen the emergence of the genres Transmission and Telematic Art - the methodology of both often being informed by 1: concepts of space - engagement from any distance both immediate and far simultaneously, and 2: redefining concepts of author and audience; all who participate are involved in authorship creating a form that is impossible to mediate to a passive audience. By contrast, traditional Western art music practice places the identity and intention of author and performance of the end product as primary[1]. Literary theorist Roland Barthes foresaw the shifting role of 21st century artist to "curator" - the author is no longer the creator - he/she is a medium of creation and we are now seeing the accessible and malleable nature of new media facilitating this. [2] Interactive installation use of hybrid media sets the stage for the liberation of an audience from anchored passive recipient to the active engagement of community. During the late 1970's and early 1980's pioneering communication technologies saw experimental projects such as “La Plissure du Texte“. This piece involved multiple "stations" around the globe engaging in a networked event. Nobody knew exactly how many individuals were involved and no one individual was able to know the entirety of the piece. Each participant could only experience his or her version [3]. The orientation shifts from immediate sensory experience, associated with physically proximate art practices, to the perception of the distal and disembodied as well as the relational, all of which are core to transmission based mediums; in other words, the act of composition lies within participant interaction and their implicit relationships.My current work explores how this situation and the aesthetics deriving from it inform me as a practitioner within the medium of sound. The generative and emergent behaviour that arises from community relationship as a form of "composition" and of particular interest the desire to shift focus from the traditional role of aurality as an object of aesthetic expression to an exploration of the biological function of the audible environment as a means of mapping navigating and entering into dialogue with habitat.[1] Moira Roth & Jonathan D Katz: Difference/Indifference: Musings on Postmodernism, Marcel Duchamp and John Cage [2] Lev Manovich : The Language of New Media [3] Heidi Grundmann: interview Really Long Link
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