4th april 2006
(collection of various bits of writing..organized)
Sound Art is continually questioned [is it art/is it music]. These questions seem to be institutionally based more so within visual arts academies, which ask to a certain extent if visually arts based programs have the capacity to quantify and or house art that is being created out-with the visual.
What parameters need to be established [or created] in order to quantify and measure ineffable experiences?
What components need to present or inherent to work which is created for phenomenological experiences?
Who or what deems experiential artwork ineffable?
Various acts such as listening to music, meditating, drug taking, can produce ineffable experiences. What is to be learned from those experiences? Art making tends to blur the lines between practices and often tries to establish a different platform from which to look at such experiences. How can the results of such acts be more closely explored to fully realize and understand the scope of ineffable experiences? Can such experiences be considered transferable, or rather can such experiences be viewed as dormant within the viewer; and the artwork, the drugs, the meditating are all just different access routes or triggers to phenomenological/spiritual/ineffable experiences.
Phenomenological experience is a much bandied about term: what exactly is a phenomenological experience in respect to contemporary post-war art?
Just thinking about the phenomenological experience-performance art, installation art to some extent is theatrically based, but for many people the only interaction they have is through the document. For example Aileen Campbell’s work As Jane Edwards and Geoffrey Rush watching it is not particularly phenomenological because I am constantly aware in a sense that I am seeing a document-so then the question arises what if the process is the phenomenological part? How do you even begin to convey aspects of the private?
Is the idea and the concept of installation art in itself not a phenomenological construct? To enter into a space and make one more aware of the chosen construct. Installation art inherently is already phenomenological. Whilst mediums such as photography and painting have a certain spatial quality, their two dimensionality limits the viewer’s physical body experience to one of object and viewer. To phrase the train of though in a more existential dynamic, the art may and can as a mirror from which the viewers can view themselves. Rosiland Krauss spoke of the grid to the same effect saying it served both as a window and a portal to the unreal. Regardless the painting/photograph etc. remains work that is to be viewed with the eyes. Installation art however allows the possibility for the entirety of the viewer to experience the work, and is quite often constructed on being an complete immersive experience within which the viewer is asked to question how they relate to the new environment within which they are placed. Using Krauss’s grid description as a foundation installation can be though of in similar light. The white cube of the gallery is the grid-the platform for transformation-the work which is installed within it is the new space, the new reality. Whilst I have provided two completely realistic scenarios-the pursuit of phenomenological experiences through sound dictates that the work is installation based.
(collection of various bits of writing..organized)
Sound Art is continually questioned [is it art/is it music]. These questions seem to be institutionally based more so within visual arts academies, which ask to a certain extent if visually arts based programs have the capacity to quantify and or house art that is being created out-with the visual.
What parameters need to be established [or created] in order to quantify and measure ineffable experiences?
What components need to present or inherent to work which is created for phenomenological experiences?
Who or what deems experiential artwork ineffable?
Various acts such as listening to music, meditating, drug taking, can produce ineffable experiences. What is to be learned from those experiences? Art making tends to blur the lines between practices and often tries to establish a different platform from which to look at such experiences. How can the results of such acts be more closely explored to fully realize and understand the scope of ineffable experiences? Can such experiences be considered transferable, or rather can such experiences be viewed as dormant within the viewer; and the artwork, the drugs, the meditating are all just different access routes or triggers to phenomenological/spiritual/ineffable experiences.
Phenomenological experience is a much bandied about term: what exactly is a phenomenological experience in respect to contemporary post-war art?
Just thinking about the phenomenological experience-performance art, installation art to some extent is theatrically based, but for many people the only interaction they have is through the document. For example Aileen Campbell’s work As Jane Edwards and Geoffrey Rush watching it is not particularly phenomenological because I am constantly aware in a sense that I am seeing a document-so then the question arises what if the process is the phenomenological part? How do you even begin to convey aspects of the private?
Is the idea and the concept of installation art in itself not a phenomenological construct? To enter into a space and make one more aware of the chosen construct. Installation art inherently is already phenomenological. Whilst mediums such as photography and painting have a certain spatial quality, their two dimensionality limits the viewer’s physical body experience to one of object and viewer. To phrase the train of though in a more existential dynamic, the art may and can as a mirror from which the viewers can view themselves. Rosiland Krauss spoke of the grid to the same effect saying it served both as a window and a portal to the unreal. Regardless the painting/photograph etc. remains work that is to be viewed with the eyes. Installation art however allows the possibility for the entirety of the viewer to experience the work, and is quite often constructed on being an complete immersive experience within which the viewer is asked to question how they relate to the new environment within which they are placed. Using Krauss’s grid description as a foundation installation can be though of in similar light. The white cube of the gallery is the grid-the platform for transformation-the work which is installed within it is the new space, the new reality. Whilst I have provided two completely realistic scenarios-the pursuit of phenomenological experiences through sound dictates that the work is installation based.
posted by Alexandra P. Spaulding at 6:15 AM
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