Submitted by nathalie miebach on Sat, 11/01/2008 - 23:57
general info about graphic scores: http://en.wikipedia.org/wiki/Graphic_notation
"In the late forties and early fifties it became clear that there is a correspondence between time and space. And music is not isolated from [space], because one second of sound is so many inches on tape. That means that the old meters of two, three, and four are no longer necessary, that space on a page is equivalent to time. Therefore, I began doing graphic notations, and those graphic notations led other people to invite me to make graphic works apart from music. And those led me in turn to make musical scores that were very graphic."
and 'eye music': http://en.wikipedia.org/wiki/Eye_music
Submitted by nathalie miebach on Fri, 10/31/2008 - 23:46
(from email correspondence 10/12/08)
Hello Bonnie & Nova,
In all the enthusiasm to finally have a chance to begin sharing with you what's been ticking in my head, I forgot the most important part - the observation journal I have started for this project. I have also started building a sculpture, based on the data I have already collected here. I'll bring all that on Tuesday. IF Bonnie's studio situation works out (did you get my last email?), I might make that my Berwick studio for the residency.
My reading list of late has included:
Emergence - Stephen Johnson (about complexity theory)
Also love the following books:
Einstein's Dreams - Alan Lightman (non-fiction / fiction)
I also have a weakness for detective novels, which replace TV for me.
I have this list of people I carry in my mind with whom, if I could, would like to have a beer with. Obviously this isn't realistic, since some of them are already dead. But, nonetheless, they intrigue me for one reason or another and would love to hear them speak. Many of them are not artists and even those who are, don't necessarily make art I like. It's more their thinking that I find interesting:
Agnes Denes - her drawings on thoughts and equating the evolution of thoughts to the ways crystals grow.
On Tuesday, I will bring you both copies of Steve Reich music as well as the article I mentioned by Peter Galison called "Data Scatter into Images, Images Scatter into Data". I'll also set up some stuff in my studio area for folks to look at - notebooks, sculptures, things in progress.
See you Tuesday,
Submitted by nathalie miebach on Fri, 10/31/2008 - 23:38
The analogy to music became an almost immediate realization. What I was looking for was a vocabulary that would allow me to dig deeper in exploring these nuances and idiosyncratic way of understanding weather. Two aspects of music, in particular struck me as having qualities worthy to explore and integrate into sculpture. First, there is the physicality of musical performances of large orchestras. The peripherals awareness a musician has to perform is very akin to the peripheral reading you do while you record weather data. When a musician plays his notes, he/she is also looking at the conductor for tempo as well as being aware of his/her neighbors. When I am using my instruments to collect temperature and barometric pressure, I am also looking for clues within the physical environment that would indicate some visual evidence of that relationship. In addition to the physical awareness of the players on stage, there is also a temporal awareness. Each player enters and exists the orchestral piece at different parts and even in different tempos. Rather than one instrument (or one sculpture, to draw the analogy back to sculpture) playing the entire piece, the musical composition comes together through this interplay of different instruments.