The Expectation of an Archive
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Syracuse University SURFACE Theses - ALL May 2019 Leaving Without Leaving: The Expectation Of An Archive Adam Michael Hutchinson Syracuse University Follow this and additional works at: https://surface.syr.edu/thesis Recommended Citation Hutchinson, Adam Michael, "Leaving Without Leaving: The Expectation Of An Archive" (2019). Theses - ALL. 307. https://surface.syr.edu/thesis/307 This Thesis is brought to you for free and open access by SURFACE. It has been accepted for inclusion in Theses - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract In this writing I intend to connect my current studio practice and personal background by conceptually relating artworks through the idea of the vessel. Using project examples and outside sources I investigate the physical presence of sound through deejay culture, curated archives, and aural collage. Transitional quotations are placed between larger sections of my own writing, meant to act as samples, breaks, or segues in the same way a deejay would shift between records on a turntable. Contained within this document are motivational anecdotes, methods of execution, and historical references that support the exhibition portion of this thesis as well as provide guidance for continued study. Leaving Without Leaving: The Expectation Of An Archive by Adam Hutchinson BFA, Minneapolis College of Art & Design, 2010 A thesis submitted in partial fulfillment for the Degree of Master of Fine Arts in Studio Arts, Syracuse University May 2019 Copyright © Adam Michael Hutchinson, 2019 All rights reserved TABLE OF CONTENTS Page LIST OF ILLUSTRATED MATERIALS…………………………………………………. v THESIS BODY……………………………………………………………………………. 1 BIBLIOGRAPHY ………………………………………………………………………… 21 LISTENING SHEET …………………………………………………………………….. 23 VITA ……………………………………………………………………………………… 25 !iv LIST OF ILLUSTRATED MATERIALS Page FIGURE 1………………………………………………………………………………… 2 FIGURE 2………………………………………………………………………………… 3 FIGURE 3………………………………………………………………………………… 5 FIGURE 4………………………………………………………………………………… 7 FIGURE 5………………………………………………………………………………… 9 FIGURE 6………………………………………………………………………………… 10 FIGURE 7………………………………………………………………………………… 12 FIGURE 8………………………………………………………………………………… 15 FIGURE 9………………………………………………………………………………… 17 FIGURE 10……………………………………………………………………………….. 18 FIGURE 11……………………………………………………………………………….. 19 !v Leaving Without Leaving: The Expectation Of An Archive For those of you that come in late We are now having a little cooking session for Blue Note Right here on the scene Putting the pot on in here And we'd like for you to join in with us And have a ball1 Tuning out allows for tuning in. I wear ear plugs in my studio to turn the external volume down. Sounds drone on dampened. My breathing slows as I hear my lungs fill inside my head; my heart beats rhythm maintains a steady flow. Thoughts become universes. I implode. Paul D. Miller, a.k.a. DJ Spooky that Subliminal Kid, is an artist, philosopher, writer, and deejay. In his book Rhythm Science, he discusses sampling as a form of dematerialized sculpture that generates a psychological collage space through sound. Sampling is a term generally used in electronic music which means to take a portion of a prerecorded song or sound and use it to form a new composition. Different meaning of the original sample is formed when used in combination with other disparate components. Throughout this document, I utilize the idea of sampling to connect larger sections of writing. Quotations act as segues, breaks, and transitions the same way a deejay shifts between records in a set. Comparably, the Kuleshov Effect, is a film editing approach developed by Lev Kuleshov. His idea was that an image in 1The Jazz Messengers. At The Cafe Bohemia Volume 1. Blue Note Records, Cafe Bohemia, New York, New York, 1955. 1 sequence with another derives meaning from the viewer. People make connections between linked media and form some kind of relational explanation. Using samples and the Kuleshov Effect as techniques and conceptual motivations, I generate a weekly radio show in Syracuse, New York (Figure 1). The show is titled, “Cold Heat with DJ Mad A.” Sonic explorations are broadcast over the airwaves via the internet at www.werwradio.com and AM 1670. Each episode revolves around some sort of theme, ranging from the concept of home, how a season Figure 1. DJ Mad A broadcasting live from Syracuse University’s Jabberwocky Cafe on WERW, 2018. feels, or collective shared experiences. By using radio and the internet as a transmitting device I share reinterpretations of my current sonic environment. Every episode becomes autobiographical. Mood can be translated into music which generates a vibe. There’s a sense of release for me in each episode’s performance. I send vibrations out into the world with an !2 immediacy of the moment, tearing into the present with sound. Listenership is limited to those able to tune in via the internet or those near the minimal AM signal. During my sets I record a digital version to be archived and posted long term on my website and Bandcamp page. There participants are welcome to return to episodes at their leisure, activating sonic time capsules. To quote Jeru the Damaja, early 1990s hip-hop pioneer and conscious sage spitter, “That's why I compose these verses. Audible worlds, my thoughts are now universes.” Acting as a cultural reservoir, I utilize the platform of web based radio to transmit an alternative aural universe contained within sound waves. In doing so I attempt to affect listeners by providing a sonic experience that transcends daily life. The DJ spreads a memetic contagion, a thought storm brought about by annoyance and frustration with almost all the conventional forms of race, culture, and class hierarchies.2 Figure 2. Deejay setup used to perform “Fourteen way to interpret my history,” 2017. Kneeling on the floor, I perform “Fourteen ways to interpret my history.” Positioning myself in this humble, prayer-like posture, I engage with a digital dee jay mixer, Technics SL-1200 turntable, mixer, and laptop computer (Figure 2). The digital mixer provides manipulation of a pre-determined sonic catalog including my own field recordings, musical clips, 2Miller, Paul D., aka DJ Spooky That Subliminal Kid, and Peter Lunenfeld. Rhythm Science. MIT Press, 2004. !3 and audio captures from current events or popular culture. As the composition begins listeners hear vague conversation from my daily life. I use voice as a way to draw viewers in, and focus the listening experience. Blended and jump-cut sounds from restaurant conversation to rain falling off my apartment gutter, combine with altered audio samples. Listeners traverse through “Fourteen ways…,” encountering disparate auditory material in juxtaposition. Quickly participants confront a brief history of America, traveling though time. Starting in the 1960s, Dr. Martin Luther King Jr. delivers a brief message, “America is, essentially a dream,” from his “American Dream” speech which he presented in 1964 at Drew University. This transitions into the current President Donald Trump, where he states, “I’m very highly educated…but there’s no better word than stupid,” taken from a South Carolina presidential campaign stop in 2015. Connecting both of these discernible voices is a game show host asking, “How would you like to be Black for a day?” A narrative arc is generated over the pieces’ entirety; indistinct voices segue into a racially charged description of “the Negroes contributions to American society.” We attempt to “crossover” with a distorted encouraging voice to, “…get angry. Say I’m a human being damnit. My life has value,” bringing to mind a current social climate involving police targeting Black and Latinx people, and the #blacklivesmatter movement. Viewers are welcomed to violence following their call to action, and met with chest rattling bass from Flying Lotus’ “Spicy Sammich.” Drumming recorded in a Syracuse, New York dance studio, transforms from traditional Ivory Coast rhythms into ringing bells and ethereal ambient tones. “Fourteen ways to interpret my history” resolves with a musical track from Aloe Blacc, titled “What Now?” His lyrics posing the question, “Where do we go from here?” !4 My effort in “Fourteen ways…” is to act as facilitator, initiating a conversation from multiple perspectives, with the intention of altering racial prejudices in a generative manner. By using dee jay culture and the idea of sampling, I present a line of questioning regarding racial tensions in the United States. Tensions I am referring to include police targeting people of color, racial economic inequities, and white privilege. I offer no answers, only my subjective observations and confusion. I’m speaking to a generally misinformed, unexposed, uneducated, White America. My audience is where I grew up, predominantly White, ranging in age from 15-45, but can be transplanted into any scenario where racial bias Figure 3. Close up view of “Fourteen ways…” performance in occurs. I hope to engage a wider San Pedro, California, 2018. community than that which is described while having a clear understanding of my position, as a White, middle-class, cisgender male. My goal with this work is to expose the ignorance in racism, and breakdown prejudices on an individual basis. Different locations have been explored in performing “Fourteen ways….” An academic classroom gave feedback in a safe environment, promoting challenging dialogue, and discussion around my intentions. Subsequent performances