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October 6, 2017 / Tamara Reynolds

World Shift

D. Pink

–   D. Pink

 

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August 20, 2017 / Tamara Reynolds

Upon the Threshold: Sounds of Schooling

For many of those who follow my work, it comes as no surprise that I have delved deeply into the pedagogical environment and those ripe, liminal spaces that bookend moments of directives, dialogue and experiences of doing.

While my attention is drawn in another direction presently, here is a bit of work to review before moving on to the bottom link, or perhaps it would best be viewed on the heels of the SO dialogues. Either way, I hope that you indulge in one or both and keep the conversation going here. How does this piece reflect your experiences and what are your own experiences in either K-12 or via university in regard to ‘in-between’ lifeworld  spaces?

http://tamarareynolds.us/sound-video-installation/dirt-creative-interventions/a-social-excavation/1

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Here’s a new dialogue from Sounding Out that specifically focuses on the K-12 space that you might enjoy:

https://wordpress.com/read/feeds/166825/posts/1551601526

 

July 19, 2017 / Tamara Reynolds

Activity Now

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January 16, 2017 / Tamara Reynolds

Lecture as Ephemeral Performance

I enjoy and appreciate lecturing about my practice and how it is situated in contemporary art for selfish reasons, although perhaps not for the reason that may initially come to mind.

I find it a precious opportunity to re-evaluate my work, ideas and theories regarding sound, performance, spatial aesthetics and authorship. It is indeed the very state that I am preoccupied with, a state of liminality present to an artist, individual, and experience constantly becoming.

One of my favorite theorists and sociologists, Arpad Szakolczai, discusses this liminal state as

‘…a restoration of meaning and the pouring of fresh wine into old bottles.’

I mention this concept in my book. It is this fermenting power, brought on by the pressure of a well-defined deadline or event, that allows a heightened process of examination and articulation of both the self and one’s work in the world which has the added benefit of revitalizing direction and enthusiasm in spades!

So, it was on such an occasion while preparing for a lecture at Parsons that I once again unpacked my work, its meaning, and relevance to not only impart knowledge, but to create an experience.

During grad school, a professor of mine once spoke of lecturing as a performance in the broadest sense, and I must agree.

Lecturing is, if done well, an engaging and ephemeral act that, one hopes, stretches far beyond the studio or lecture hall to take on further thought, discussion and experimentation from those present, in varied streams of time and place.

So I began to ask myself the question “How does the gesture of performance exist after it has been performed and documented?” I think if we go with Dr. Duclos’ interpretation of lecturing as performance, such an example illustrates the premise that performance exists as residue, traced in memory and reactivated, and what I find most exciting, morphed, through the act of individual recollection that surpasses all documentation. The ephemerality of the experience changes over time, whereas the archive, the documentation remains untouched, static.

I believe that it is this un-documentable aspect of experience within this transitory space-time where all of the juicy creative potentials reside.

This brings to mind a humorous and tragic performance of The Nutcracker in the scene where the Rat King battles the Nutracker Prince for power on Christmas Eve. The music builds in tempo, the Rat King lurches forward in a sparring match with his foe. However, in this particular performance, the Rat King, having miscalculated his momentum falls forward, catapulting himself in an uncontrolled, spasmodic tumble through space, bringing to mind Yves Klein’s Leap Into the Void (1960). Understandably, the residue held in the aftermath surpasses any notion of documentation, right?!

Ephemeral intervention in space is an anti-elitist gesture that has the power to alter social, political, and urban systems through experience. It is the fleeting, artistic enterprise that involves risk with unpredictable outcomes, much like our Rat King, existing outside the protected and controlled context of the white cube exhibition space, or stage for that matter, held up by collaboration and interaction that, I would argue, exists past any state of ‘having happened’ in the past or losing content due to the fact that it continues afterwards in an elongated space-time, superimposed upon the ‘present’ for those having witnessed and experienced it.

 

 

December 15, 2016 / Tamara Reynolds

Musings On The ‘Real’

“We no longer live addicted to speech; having lost our senses, now we are going to lose language too. We will be addicted to data, naturally. Not data that comes from the world, or from language, but encoded data. To know is to inform oneself. Information is becoming our primary and universal addiction.”  (Michael Serres, The Five Senses)

Okay, perhaps that is a bleak statement, but let’s seriously ponder our current trajectory.

Buckminster Fuller qualified the universe as a series of non-simultaneous apprehended events; the real, or our perception of it, under constant readjustment as new information is gathered.

“Alice:  How long is forever?
White Rabbit:  Sometimes, just one second.” 
― Lewis Carroll, Alice in Wonderland

This contemporary feature of existing constantly doped on knowledge ensures that the on-going rattle of data (a state of becoming) the real instantaneously, thereby cutting down all value of the previous. The further along the production of data, the further one gets from the original generating source, casting the real deeper into umbra, the simulacrum. Like a drug, the individual seeking a fix of this type is never made happy or satisfied, but the very act of not having access to it often creates a greater perceived misery.

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We are all guilty of going down the preverbal rabbit hole, (great article here), and sometimes it’s necessary in order to lead to the true nature of ‘reality’, particularly in this day and age of misinformation. However, what of the experience that one’s morning, day, or worse, the weekend, has been consumed by topic ‘research?’

“Why, sometimes I’ve believed as many as six impossible things before breakfast.” 
― Lewis Carroll, Alice in Wonderland

March 7, 2014 / Tamara Reynolds

Invocation

 

October 17, 2013 / Tamara Reynolds

Lost All of the Time

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VIDEO

I recently came across this gritty sensorial view of NYC through the lens of a blind resident.
Through this gentleman’s perspective, no preconceived notions of social, racial or economic boundaries exist for him; he states “I can penetrate neighborhoods.” All senses are piqued; smells, temperature and sound in particular, color his daily world, completely devoid of lightness or dark.

I had befriended a man in Portland, Maine, blind since birth, who navigated the city in a similar manner, avoiding new areas and choosing to adhere to familiar terrain and people. He had agreed to work on a project with me and we would meet and talk for a while at his favorite lunch spot. Just walking with him, each step calculated, each destination planned out well in advance, gave me an extreme insight into his capacity for true presence in the moment, how trust is always in question, and how the continual feelings of fear and vulnerability blanket each day’s activities.