Posts Tagged ‘Rhythmanalysis’
The Intangible Archive is the project that I’ve been working on, with sound artist/composer Philip Reeder. I presented on it last week at the Association of Art Historians conference, and I’m on my way to San Diego to present at Museums and the Web 2012. Rather than a linear, temporal sound walk, it’s a spatial way of engaging with memory. It’s an extension of the archive, where I’ve re-archived memories according to their links with place. People can search the archive by walking around St Ives, looking for memories to listen to. It comes out of my practice, which asks people to articulate their memories and finds creative ways of sharing those memories with others. Sharing memories with others is a form of re-archiving; augmenting the memories others through encounter. This creates a multiple, distributed archive, where there are many different forms of remembered encounter, each one unique, connected to place, and archived in the memory of each person that searches for fragments of the archive to make their own story of place. Voices that don’t often get heard getting their say in history. Making archival silence into archival noise.
The Intangible Archive is an archive without walls. It’s a way of encountering memories from the archive, outside of the archive itself. Using mobile technology and headphones, participants can create their own history of place by walking around St Ives. A soundtrack composed by Philip Reeder, from field recordings of St Ives, plays while participants walk, and at certain points, voices from the Memory Bay oral history archive will speak. Instead of being told a particular history from a particular point of view, the direction of walking determines the narrative.
There are more video snippets at http://theintangiblearchive.wordpress.com
The cyclical originates in nature, and the linear from social practice and human activity.
Time and space, the cyclical and the linear, exert a reciprocal action: they measure themselves against one another; each one makes itself and is made a measuring measure; everything is cyclical repitition linear repetitions. A dialectical relation (unity in opposition) thus acquires meaning and import, which is to say generality. One reaches, by this road as by others, the depths of the dialectic.
Rhythm appears as regulated time, governed by rational laws, but in contact with what is least rational in human being: the lived, the carnal, the body.
Rhythms escape logic, and nevertheless contain logic,, a possible calculus of numbers and numerical relations.
One meaning of the research, a philosophical goal, is to be found here: the relation of the logical (logic) and the dialectical (dialectic), which is to say of the identical and the contradictory.
It was necessary to set up list of oppositions and dualities that enter into analysis by rejecting first the old comparison of dialogue (two voices) and dialectic (three terms).
Triadic nature of the dialectic, trinity etc. Lefebvre describes this tendency towards the dialectic in analysis of the relation or constitution of three terms which change according to circumstance, as mythomania, which ‘seeks to grasp a moving but determinate complexity (determination not entailing determinism).
The notion of rhythm brings with it or requires some complementary considerations: the implied but different notions of polyrhythmia, eurhythmia and arryhythmia. It elevates them to a theoretical level, starting from the lived. Polyrhythmia? It suffices to consult one’s body; thus the everyday reveals itself to be a polyrhythmia from the first listening. Eurythmia? Rhythms unite with one another in the state of health, in normal (which is to say normed!) everydayness; when they are discordant, there is suffering, a pathological state (of which arrhythmia is generally, at the same time, symptom, cause and effect). The discordance of rhythms brings previously eurhythmic organisations towards fatal disorder. Polyrhythmia analyses itself.