elephants & narwhal
Composition methods & synaesthesia in .haul / s

Conclusion

Ryan’s description of synaesthesia as being “about sensation, not narrative” (Ryan, 2014), is an apt and conveniently succinct tagline for the rationale behind .haul / S. My responses to sound and image are immediate, visceral, and involuntary. My hope is that simply presenting the materials as they are, with no justification or supplementary information, will allow an audience member to absorb the work, finding some detail in the sound, image, or both, that will ‘prick’ them, that they can meditate on, and free-associate with their own memories and experiences. In this sense, the stream-form method of composition mentioned in the opening of this paper continues through to the audience.

The critic creates the finished work by his reading of it, and does not remain simply the inter consumer of a ‘ready-made’ product. Thus the critic need not humbly efface himself before the work and submit to its demands: on the contrary, he actively constructs its meaning: he makes the work exist…

Hawkes, 1977, p. 157 Image2

Reference List:

Adkins, M. & dEscriván, J. (2013). Stream-Form and the loss of traditional virtuosity; thoughts and a method. MONO Journal. Retrieved from http://montyadkins.wordpress.com../ (Accessed 14th February 2014).

Art Actuel, (2013). Daido Moriyama - View from the Laboratory - Platinum Prints. Retrieved from http://www.artactuel.com/galerie-art/polka-galerie-494/evenement/daido-moriyama-view-from-the-laboratory-platinum-prints-8995.html (Accessed 29th September 2014).

Barthes, R. (1981). Camera Lucida (Howard, R., Trans.). London: Vintage. (Original work published 1980).

Cytowic, R. E., (2013). What Color is Tuesday? Exploring Synesthesia. TED-Ed. Retrieved from http://ed.ted.com/lessons/what-color-is-tuesday-exploring-synesthesia-richard-e-cytowic (Accessed 14th September 2014).

Gilbert-Rolf, J., Higgs, M., & Lee, P. M. (2004). Uta Barth. London: Phaidon Press Inc.

Halihoun, K. Camera Lucida (annotation). Retrieved from http://csmt.uchicago.edu/annotations/barthescamera.htm (Accessed 24th May 2014).

Harper, D. (2002). Talking about pictures: a case for photo elicitation. Visual Studies, 17 (1) 13-23.

Hawkes, T. (1977). Structuralism and Semiotics. London: Methuen.

Lane, C. (2013). Francisco Lopez. In Lane, C. & Carlyle, A. (Eds.) In the Field: The Art of Field Recording (pp. 99-106). Axminster: Uniformbooks.

Levy, L. (2009) The Question Of Photographic Meaning In Roland Barthes’ “Camera Lucida”. Philosophy Today; Winter 2009; 53, 4; pg. 395-406

Martinez, A. (2010). The Improvisational Brain. Seed Magazine. Retrieved from http://seedmagazine.com/content/article/the_improvisational_brain (Accessed 18th April 2014)

Moriyama, D. (2012), Labyrinth. New York: Aperture.

Moriyama, D. (2012), Tales of Tono. London: Tate Publishing.

Ryan, N. (2014)  personal communication, 8 September 2014

Sontag, S. (1979). On Photography. London: Penguin.

Tagg, P. (2012). Music’s Meanings. New York & Huddersfield: The Mass Media Music Scholar’s Press.

Tate [Tate]. (2012, 18 Oct). Daido Moriyama: In Pictures (Komatsubara, R. & Soga, E., Trans.). Retrieved from https://www.youtube.com/watch?v=foWAs3V_lkg (Accessed 31st May 2014).