procedures —
see notes and recollections, 9 for schedule of who presents what, when.
confession : I/we have been somewhat loose on what is seen, when. Mea culpa.
—
on graffiti, Madison shared this —
Clement Gelly, “Graffiti, Through Grief and Discovery” —
“There was the glimmer of possibility in stories of bolt cutters and train yards and spray cans—possibilities of disruption and liberation.”
Hazlitt (October 5, 2022) : hazlitt.net/longreads/graffiti-through-grief-and-discovery
some background to that essay —
“Tributes paid to three graffiti artists killed by train in south London” (The Guardian (19 June 2018))
link
in progress.
Thea led (for the most part!) a discussion on diaries, “journaling,” that finally brought us to Joan Didion, her essay “On Keeping A Notebook” : link
Some of us showed our different forms of note-taking, diary-making, recording — and also talked about their utility (e., “self-care,” raw material for future, etc., etc. JM went on (and on) about the several overlapping layers of his practice, raw notes (anything goes, including blood pressure readings, pixel dimensions of images he is processing, snippets of code, transcriptions from his readings, thoughts about seminar, thoughts about anything. Georg Christoph Lichtenberg (1742-1799, physicist, philosopher, demonstrator, aphorist) came up, in terms of his own journaling practice — his sudelbücher (waste books) as method... the superiority of curves over straights...
slate scribble of curves vs straights, above.
waste book : wikipedia
Lichtenberg : wikipedia
He proposed the standardized paper size system used globally today except in Canada and the US defined by ISO 216, which has A4 as the most commonly used size.— wikipedia
A5 : 148 × 210 mm, 5.8 × 8.3 inches
Katie showed two book variations (same typographical look); some discussion of cover designs (get away from “fussy”); also, suggested more typographic approaches. For the latter, this might include bold for different elements, but also, inclusion of other textual material. Also, try serif font.
The project seems to be not about color — or rather is so, but ostensibly — and more about Katie’s interior life (in apartment, windows, etc.).
Josh presented Catalyst edits 4 and 5. Very quiet; some points of sound, little more. He explained that what he gets from this “erasure”-like process (involving the diminishing amount of bleed-through ink on successive sheets of paper) is awareness of discreet sound components, that might be rearranged. JM thought this was not quite fair to a process that also yielded variations of densities — what is left after taking out some of the oceanic/liquid thickness of the sound — moreover, these different iterations might be woven into a single piece, with passages of quiet and noise (forte and piano), or slow and fast (adagio and allegro), etc.
JM mentioned three composers/performers, including
- Yannis Kyrikides (see his Hands, at www.kyriakides.com/hands.html, listed among other compositions, many with sound excerpts)
- Éliane Radigue (known for “drone” sound, ARP 2500 and acoustic, ) / wikipedia / lots at youtube, for example Kyema
- Pauline Oliveros (1932-2016), “deep listening,” accordion / wikipedia / lots on youtube, e.g., deep listening
Patrick showed a video concept — link — which incorporated some of the psychedelic imagery style we have seen previously, and self-promotional “Patrick Mardy Presents” language, but also some pure digital manipulation/animation of a cube form (something like we have seen with the ear buds). JM thought that the abstract material should precede the promotional language: begin with mesmerizing mystery, then the “punch line” so to speak.
Screen grabs of the abstractions, below:
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