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I Thought I Grew an Ear in My Stomach: the Phenomenological Experience of the Art Event As Sublime Encounter

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I Thought I Grew an Ear in My Stomach: the Phenomenological Experience of the Art Event As Sublime Encounter I Thought I Grew An Ear in My Stomach: The Phenomenological Experience of the Art Event as Sublime Encounter Kathrine Sandys Goldsmiths, University of London Submitted for the degree of PhD Music: Sonic Arts October 2012 1 Declaration The work presented in this thesis is the candidates own. No portion of the work in this thesis has been submitted in support of an application for another degree or qualification from this or any other university or other institution of learning. Signed _______________________________ Date _________________________________ Kathrine Sandys October 2012 2 Acknowledgements I wish to thank Dr. John Levack Drever and Professor Janis Jefferies for their supervision, knowledge and guidance through the process of this research. I would also like to thank Professor Christopher Townsend at Royal Holloway University of London and Jon Wood at the Henry Moore Institute for their supervision in the early stages of this research; thanks to Jon for directing me out of my blind spot. Hush House was made possible with the support of the University of London Central Research Fund, Meyer Sound, Sarah at Bentwaters Parks and Aldeburgh Music’s Faster Than Sound programme. Particular thanks go to Jonathan Reekie and Joana Seguro. The field research in Arizona and Nevada was possible with the contribution from the University of London Central Research Fund. Above all thanks to my husband, parents and brother for their continual patience, support and encouragement during the entire length of this research, for which I will always be grateful. 3 Abstract This research explores the potential for the sublime experience through encounter with the immersive, site-specific sound installation, in abandoned Cold War military sites. It defines the distinctiveness of sonic installation as a practice, its affinities with specific kinds of installation art, the particular somatic and visceral experience it affords, and its scope for engaging memory, feeling and imagination through the use of the abandoned site. The notion of the sublime is presented as a way of reading the visceral charge in the phenomenological experience of the encounter, as a yet unexplored narrative device in site-specific installations. The text unfolds the journey from initially encountering large scale Earthworks in the landscape of the Mid-West American desert, subsequently explored through existing discourse, to the development of two original works and exhibitions that employ the outcomes of the field research. The installations created for this research offer an alternative reading on current discourse and practice within the field of site-specific installation, with particular emphasis on acousmatic readings of the sites. The thesis proposes that tactile phenomenological, sonic experiences of acousmatic sound remain largely absent within discourse of the sublime but offer the ineffable moment consummate with the sublime encounter, therefore offering a new reading on the sublime experience of the participatory performance event. The role of the audience, spectatorship of the work and spatial identity of the sites serve as the historical, critical frame of context, explored through environmentally oriented art practice of Minimalist music and sculpture, Happenings and Intermedia. The installations explored within the research require considered journey to their location, which is questioned for its shifting property to frame the work or ‘encounter’, as an inherent attribute of the event. Finally, the problematic altered perception of the site-specific installation, through remediation in curated exhibitions, is explored through the last chapter. 4 Table of Contents Title Page 1 Acknowledgements 2 Declaration 3 Abstract 4 Contents 5 List of Illustrations 7 Introduction 8 Chapter Outline 22 Thesis Format 25 Chapter 1 - The Journey into the Desert 26 Newman and the Other 34 The Sublime in the Manmade Landscape 37 From Roden Crater and the Allocentric Encounter to Radioflash and the Autocentric Encounter 51 Roden Crater – The First Journey into the Desert 53 Double Negative – First Encounter 61 The Difficult Journey = The Sublime Encounter 63 Constructed Land of the Artist to Deconstructed Land of the Military 66 Chapter 2 - Radioflash: Spectatorship and Framing 69 Shifting the Listening Experience from The Concert Hall to the Everyday 72 Radioflash 76 Beyond the Purpose-Built Space, to an Everyday Landscape 85 “The Blurring of Art and Life” – the Importance of Journey as Frame 95 Text and Anticipation – Journey and Thresholds 97 5 The Threshold and Contrasting Journeys to Roden Crater, Radioflash and Double Negative 103 The Objecthood of Experience 106 The Unmatrixed Theatrical Construct: Illusion and Myth 112 Chapter 3 – Hush House: The Phenomenological Experience 120 Hush House 125 From Radioflash and Journey to Hush House and the Site 129 The Experience of Hush House 130 Decentring Within Hush House 137 The Cold War Aesthetic Fulfilled by Memory 142 The Nebulous Frame: The Potential Sublime 150 Return to the Framed Encounter in the Landscape 153 Chapter 4 - The Ineffable Moment: The Problematic Museology of the Site-Specific 156 Establishing the Potential for Hush House 166 Recalling and Evaluating Hush House 171 Institutionalised Remediation and Display 176 Remediation or New Work? 186 Conclusion 191 Bibliography 196 Appendices 209 Documentary DVD’s Back Cover 6 List of Illustrations 1. Mariele Neudecker I don’t know how I resisted the urge to run (1998) 28 2. Mariele Neudecker Final Fantasy (2009) 29 3. James Turrell Roden Crater (1977 – present) 54 4. Michael Heizer Double Negative (1969) 61 5. Kathrine Sandys Nevada Nuclear Test Site (2008) 66 6. Max Neuhaus Times Square (1977 and 2002) 74 7. Kathrine Sandys Club Pulse Fitness Centre (2009) 79 8. Kathrine Sandys Room 1, Radioflash (2009) 89 9. Kathrine Sandys Rooms 2 - 3, Radioflash (2009) 90 10. Kathrine Sandys Room 3, Radioflash (2009) 93 11. Kathrine Sandys Club Pulse –Entrance to Radioflash 96 12. Catherine Richards Curiosity Cabinet at the End of the Millenium (1995) 100 13. Kathrine Sandys Mormon Mesa (2008) 110 14. Kathrine Sandys Radioflash (2009) 114 15. Ryoji Ikeda spectra (for Terminal 5, JFK) (2004) 120 16. Eero Saarinen Terminal 5, JKF Airport, New York (1962) 122 17. Kathrine Sandys Hush House (2010) 125 18. Kathrine Sandys Bentwaters Parks, Suffolk (2010) 131 19. Kathrine Sandys Hush House (2010) 133 20. Kathrine Sandys Hush House (2010) 135 21. Kathrine Sandys Hush House (2010) 143 22. Christian P Muller Illegal Border Crossing (1993) 156 23. Joseph Beuys Coyote: I Like America and America Likes Me (1974) 160 24. Kathrine Sandys Transformation and Revelation 177 Exhibition, Cardiff (2011) 25. Kathrine Sandys From Gormley to Gaga 178 V&A Exhibition (2012) 26. Kathrine Sandys Prague Quadrennial 12 (2011) 179 27. Greer Crawley Prague Quadrennial 12 Award Ceremony 185 7 Introduction In these works I am not trying to build a sound image for its listeners to hear; I am building a sound to bring this imaginary place or moment of mine alive. Max Neuhaus – Notes on Place and Moment 19921 Over the last ten years, my practice has developed in format and media from predominantly light-based work in the purpose-built performance environment (theatre lighting design), to the increased integration of sound, as short-lived experiences or installations. My work has more recently revolved around the use of sound to animate abandoned spaces as sonic installations that engage memory, feeling and imagined narratives. This appears to sit within the discourse of sound art. As described by Max Neuhaus: 'Sound Art' seems to be a category which can include anything which has or makes sound and even, in some cases, things which don't.2 For the purpose of this body of research I am focusing on specific sites or spaces in which the sound is read as an extension of the purpose of the space. It is what Denis Smalley would refer to as a performed space3. My own reading of Smalley’s Performed Space in the context of this thesis is one where the dynamic of that space is reliant on the body enveloped in the space and sound, not listening as a distant observer outside of the space. He defines this as a space where: A human agent, […] applies energy to a sounding body, producing spectromorphologies4 1 Neuhaus, M (1992) Notes on Place and Moment (Online) P.1 URL:http://www.max- neuhaus.info/soundworks/vectors/place/notes/ (Accessed 12/8/2009) 2 Neuhaus, M (1992) Sound Art (Online) P.1 URL:http://www.max- neuhaus.info/bibliography (Accessed 20/7/2012) 3 Smalley, D (2007) “Space-form and the Acousmatic Image”. Organised Sound. Cambridge: Cambridge University Press. Vol 12, Issue 1. P.41. 4 ibid. P. 41. 8 Smalley defines spectromorphologies as: “the interaction between sound spectra (spectro-) and the way they change and are shaped in time (morphology).”5 It is the perception of the sounding space as a performed one in the Smalley definition, which has started to identify my work within this discourse of sound art. Positioning this range and shift of practice within a professional landscape has proved problematic in terms of the outward perception of my identity as a practitioner. For me, I identify the works within a performance context, considering the following: 1) the subject witnessing the work as an audience and sometime participant, 2) the focus of the media – both light and sound – as an experience of the interpretation of waves on and in our body, 3) the notion of animating the space and environment within the overall construction of the work. Above all, what defines all the work ultimately within the context of performance, rather than galleried installation art6, is the durational quality as narrative7 of the pieces. I therefore would consider my works in this thesis as performed installations. Where this is problematic in terms of identifying myself as a practitioner is also the basis for where it could be considered a new reading of the form and media I employ.
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