Tutorial 6

19th of November 2018 – Tutorial with Jonathan Kearney

Jonathan (JK) and I (RW) had an energising exchange during this inspiring tutorial. JK probed me with fascinating questions about my installation The Sound of Indifference (TSOI). This tutorial should be titled ‘Deconstructing TSOI‘, in which JK assisted me in comprehending how to further mine the essences of this layered work.

My next work, I thought, should be about an interactive work that also would fetch participants’ feedback as built in the interactive work itself. I started with a lose two-compartments plan.

JK pointed me at another ‘train of thoughts’ towards a worthwhile set of practice-based questions by going more in depth in the details and elements of the existing TSOI installation. I like this a lot.

We talked about what the essence of this specific artwork was. How motion and interaction belong together as an oscillating pair for me, and that the motion is the primary key question that drives it all forward. In the documentation video I work already with time differences, shifts and subtractions, which is also conceptually important and I need to put that forward too.

(Maybe my new film with the working title ‘what is motion anyway’ is born by this thinking?)

Further on TSOI: whether the richness of the installation comes from the walk to find objects that may carry all their narratives… or from the sound scape and its complexity… or from the interactive role the audience may play, by influencing, changing, sometimes understanding, sometimes not understanding, being drawn in or seduced by it, repulsed by it, but then maybe coming back again…? There are many layers to investigate here. By stripping away some of the other elements, I can more deeply explore to see what each layer does, the sound, the movement, the mere interaction, the video projection and get a thorough understanding of each behaviour.

Many suggestions how to test and experiment these behaviours were discussed. Those will initiate a new phase of developing work now. I can draw more out of a detail analysis of elements and therewith get clearer insight what and how parts will work in a multi-layered installation later. This gives me further agency over my work.

To do:

  • a series of experiments (to be defined) with the tin can as the constant factor (sound, movement, projection, interaction, narrative, object walks)
  • drawing up a scheme with potential test configurations
  • make a film plan based on the working title ‘what is motion anyway’
  • writing a post about the Smart Culture Working Conference, that I attended last week and where I noticed how my scientific and art-crossover can be of great value

I can’t wait to get started, which is luckily tomorrow morning.