Sound Perspectives of a Pluralistic World a Dissertation
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UNIVERSITY OF CALIFORNIA SAN DIEGO Resonance & Resemblance: Sound Perspectives of a Pluralistic World A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Suzanne Thorpe Committee in charge: Professor David Borgo, Chair Professor Amy Cimini Professor Tom Erbe Professor Nancy Guy Professor Victoria Petrovich Professor Kalindi Vora 2020 Copyright Suzanne Thorpe, 2020 All rights reserved. The Dissertation of Suzanne Thorpe is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California San Diego 2020 iii TABLE OF CONTENTS SIGNATURE PAGE………………………………………………………………………iii TABLE OF CONTENTS…………………………………………………………………iv LIST OF FIGURES ................................................................................................ vii ACKNOWLEDGEMENTS ..................................................................................... viiii VITA ......................................................................................................................... x ABSTRACT OF THE DISSERTATION .................................................................. xv Chapter One: Perceived Resemblances .................................................................. 1 Catalysts ............................................................................................................... 1 Resonance ........................................................................................................... 7 Creative Practice as Methodology ...................................................................... 10 Differences and Similarities in Literature ............................................................ 13 [Sonic Materialism] ......................................................................................... 18 [New Materialism] ........................................................................................... 24 [Perspectives of Cognition] ............................................................................. 32 Listening ............................................................................................................. 37 Methods .............................................................................................................. 38 Chapter Outline .................................................................................................. 40 Chapter Two .......................................................................................................... 43 Eco-logical Musicking: A Method for an Environmentally Inclusive Practice ...... 43 A Performing Inquiry ........................................................................................... 50 Eco-logical Musicking: A Method for Environmental Inclusiveness .................... 51 Logics of Ecology ............................................................................................... 53 Improvisation as Eco-logical Practice: How and Why ........................................ 60 Listening as Eco-logical Practice: How and Why ............................................... 63 The Structure for Resonance & Resemblance’s Eco-logical Musicking ............. 76 [Listening] ....................................................................................................... 76 [Notation] ........................................................................................................ 79 [Improvised flexibility and listening] ................................................................ 83 Conclusion .......................................................................................................... 85 iv Chapter Three ........................................................................................................ 86 Listening Outward to Resonant Perspective ...................................................... 87 Maryanne Amacher: Joining Bodies Through Sound ......................................... 90 From Sound Joined Places to Sound Joined Bodies ......................................... 92 Things and Spaces Speaking Together ........................................................... 105 Listening Outward ............................................................................................ 112 Resemblances to Living Sound and Resonances of Place .............................. 118 Listening Out Towards Granite ......................................................................... 123 Situated Frequencies and Speakers ................................................................ 126 Conclusion ........................................................................................................ 129 Chapter Four ........................................................................................................ 131 Resemblances Through Resonance ................................................................ 131 Artisan’s and Resonating Perspectives ............................................................ 140 Agent-environment Cognition ........................................................................... 142 [A Little Bit of History] ................................................................................... 143 Enacting Enactivism ......................................................................................... 148 Resonant Spines .............................................................................................. 150 Towards Resemblance ..................................................................................... 155 Knowing Manitoga in Resonance and Resemblance ....................................... 160 Conclusion ........................................................................................................ 169 Conclusion: Resonant Resemblances in a Material Milieu .................................. 171 Appendix A: Resonance & Resemblance Questionnaire ..................................... 179 Bibliography ......................................................................................................... 181 v LIST OF FIGURES Figure 2.1: Resonance & Resemblance performers at Manitoga’s quarry pool, September 30, 2017……………………………………………………………………43 Figure 2.2: What was once known as King’s quarry, and is now known as Manitoga…………………………………………………………………………………46 Figure 2.3: Russle Wright’s Dragon Rock House……………………………………47 Figure 2.4: A map of Manitoga’s trails for guests……………………………………49 Figure 2.5: The program cover for Resonance & Resemblance by Alexis Negron……………………………………………………………………………………50 Figure 2.6: Eco-logical Musicking……………………………………………………..59 Figure 2.7: Page 1 of the score for Primordial Lift by Pauline Oliveros……………71 Figure 2.8: Page 2 of the score for Primordial Lift by Pauline Oliveros……………72 Figure 2.9: Example of distributed meditations for Resonance & Resemblance, 2017………………………………………………………………………………………78 Figure 2.10: Sample of score for Resonance & Resemblance, 2017……………..84 Figure 3.1: Images of growing crystals from the sound installation Myco-crystaline Improvisation, November 30, 2018……………………………………………………87 Figure 3.2: Storyboards from Amacher’s Living Sound, Patent Pending (Traveling Musicians Being Prepared) from the SUPREME CONNECTIONS LABORATORY READER………………………………………………………………………………..100 Figure 3.3: Pauline Oliveros in the Dan Harpole Cistern………………………….109 Figure 3.4: A close-up of Manitoga’s granite……………………………………….124 Figure 3.5: One of five speakers suspended from a tree………………………….128 Figure 4.1: Jacqueline Kiyomi Gordon’s 9 channel inflatable sound installation Not Exactly B Flat (Empty Gallery, Hong Kong 2017). Pictured are the inflatable walls……………………………………………………………………………………..135 vi Figure 4.2: Jacqueline Kiyomi Gordon’s 15.1 surround sound installation It Only Happens All the Time (Yerba Buena Center for the Arts, CA 2014), featuring two of three listening environments………………………………………………………136 Figure 4.3: Jacqueline Kiyomi Gordon’s Noise Blankets, Luckman Center for the Arts, 2017……………………………………………………………………………….137 Figure 4.4: Jacqueline Kiyomi Gordon’s Cold World Cycles Warm, Frieze NY Art Fair, NY 2018…………………………………………………………………………..139 Figure 4.5: Resonant frequency ranges of bodies when standing. From “Fundamentals of Mechanical Vibrations,” by M. Hussey, 1983………………….151 Figure 4.6: Listening in Manitoga’s forest…………………………………….……..163 Figure 4.8: Granite boulders at Manitoga…………………………………………...166 Figure C.1: Listening bodies in Resonance & Resemblance……………………..176 vii ACKNOWLEDGEMENTS I am deeply grateful to my committee, David Borgo, Amy Cimini, Tom Erbe, Nancy Guy, Victoria Petrovich and Kalindi Vora for their expertise and support. Their guidance and encouragement have helped me shape a critical and creative project that I look forward to maturing as my career progresses. I am particularly grateful to David Borgo and Amy Cimini for their detailed feedback and humor. They have both taught me that research is a personal process and have consistently cultivated my unique progression. I have a beautiful group of loving friends without whom I could not have achieved this goal. They include Julie Evanoff, Alex Zucker, Susan Nathan, Carrie Dashow, Kjell Nordeson, Amit Sen, Stephanie Loveless, Christina Zafiris, and Irene Frank. A special note of gratitude to my partner in all things TECHNE, Bonnie Jones. With her support and commitment our shared vision has continued to grow and for that I am impressed and grateful. Lastly, I want to thank my family: