-Studio Visit- Ricardo del Pozo
Date: Monday, November 15th, 2010,
Location: North Williamsburg, Brooklyn NY
We see to what extent music is everywhere steeped in time: (a) time in the form of impalpable flux or (b) time in its frozen form, outside time, made possible by memory. Time is the blackboard on which are inscribed phenomena and their relations outside the time of the universe in which we live. -Iannis Xenakis
Ricardo Del Pozo is a multimedia artist from Norway. His studio visit took place during a residency at Point B, “a self-sustained, artist-run International Worklodge for art and science professionals” located in Williamsburg, Brooklyn. An excerpt from his artist statement:
Through digital real-time processes and spatialization techniques my work aims at addressing the formal aspects of sound and video, their inherent properties as artistic value. My work primarily concerns itself with the recorded material. It deals with the aspect of acousmatics and space and how these recordings gain new significance as art through constructed environments.
Ricardo’s in-progress “electro acoustic” installation featured a video projected on a wooden surface with an accompanying music sequence that were both mathematically created using algorithms. One did not generate the other, however. Instead, they existed as individual entities with unique codes that endlessly performed together in an ambient, layered progression. The music was created from a one second segment of audio and the video from two to three seconds of visual data. The fluxuation of output was made from a code that created a set of parameters—endless possibilities within a set of rules. Each set contained information that altered feedback, position and movement, mapping sounds through fragmentation to explore a sense of timelessness.
Ricardo described the audio as music rather than sound and explained his interest in the materials themselves as a sculptural experience. He talked about the technical aspect of feedback, reverb, and perceiving echo through understanding the formal construction of a room. Comments from the group included suggestions for experimenting with other projection surfaces (screen, plastic or other translucent materials) and questions as to how the video projected on natural wood or brick might exist as a form of temporary graffiti. Comments arose about incorporating a seating area (see Pipilotti Rist at MoMA) and the usage of support structures and stages as integrated elements in an installation (see Banks Violette).
Other comments included how the work provoked a meditative experience. Some viewers perceived a narrative element, a residual experience that conjured memories: passing cars, travel, a sense of longing. There were also comments about tension in the work—a sonic buildup occurred that did not materialize as a climactic moment but as a form of repetition, leaving the viewer in a slowed but anticipatory state. Through this perceived tension, a drama of the synch formed a temporal joining of the senses to elucidate a union between the realm of the ephemeral with the realm of the physical.
- Carlos Cruz Diez
- Ethan Greenbaum
- Rhizomatic Theory (Deleuze and Guattari)
- Radiolab (Episode 104: Time)
We examine the relativity of time — how time for You is different than time for Me — with physicist Brian Greene and neurologist Oliver Sacks. And we’ll hear a piece on the experience of listening to Beethoven’s 9th Symphony for 24 hours straight – but only hearing it once.
- Dream House by La Monte Young and Marian Zazeela
In The Brooklyn Rail (June 2003), Nick Stillman wrote: The Dream House can inspire sincere self-reflection—of how people physically move, of how little time there is for stillness, of how we’ve become trained to seek and to reward movement and action. To embrace the Dream House is to become entranced and lost in time. And with no permanent closing date established for Young and Zazeela’s collaborative installation, this could be the dream that never ends.
- “Iannis Xenakis: Composer, Architect, Visionary,” at The Drawing Center
Each of his creations represent a point of dialectical merger between, on the one hand, mathematical and scientific thought and, on the other hand, intuition: ‘I think intuition is something rational: it’s highly complex and at the same time something of which we’re unaware.’
- Art Fag City post by Paddy Johnson
I’m reminded of something Chrissie Iles said in an October roundtable, with regard to projection: If you bring the image down to the floor, you’re negating cinema on a certain level. You’re saying: “This is not meant for you to watch all the way through like a narrative film. This is part of the ‘going for a walk’ of museum and gallery viewing.”
– Audra Wolowiec