RichardCrow StudentNumber:M00029443 SONICARTS:MA MODULENUMBER:ELA4902(RESEARCHPROPOSTION) TUTOR:NYEPARRY

Speaker,stain, silence.

Introduction

In this essay I will be looking at a recent site-specific sound installation and performance (Speaker, stain, silence) that was created especially for Prefix gallerys audio room in Toronto, as part of SOUNDplay/AGM05 1.

The essay is structured around the three words that form the title and the "components" of the piece, which aims to respond to the theme (of AGM05) and the possible notions of silence in the context of sound art, noise music and radio art.
1

AGM (Annual General Meeting) is an initiative based in Copenhagen and Berlin by the two curators and artists Alfredo Cramerotti and Iben Bentzen). AGM 05 SILENCE (hosted by SOUNDplay festival) took place in Toronto, September 2005 and also presented work by Christof Migone (Montreal), Iben Bentzen (Copenhagen), Jacob Kierkegaard (Cologne), Emil Svendsen (Copenhagen), Toke Tietze Mortensen (Berlin), and Katarina Lfstrom (Stockholm).

In the first section, Confronting Silence (Speaker), I will look at the contextual critical material that informed this piece and how this is linked to previous works in which I explored the use of embodiment and its relationship with the performative voice.

In the second section, Confronting Space (Silence), I will describe the physical context for which the piece has been conceived and how I re-worked the idea of secret space in relation to silence and how this is a possible "condition" for the listener.

In the third section, Confronting Noise (Stain), I will analyse how the work responds above all technically to the notion of framing silence through noise.

In the following evaluative section I will finally look at the shift that occurred in my practice from performance to sound art and how this leads into the conclusion of the essay, to new ideas for the development of new projects and current field or research.

1. ConfrontingSilence(Speaker)

Every word is like an unnecessary stain on silence and nothingness. SamuelBeckett

In March 2005 I was invited to create a site-specific sound installation/performance for the project AGM 2005 Silence, where the theme and concept assumes an ambivalent notion of silence:

Silence has multi-layered meanings. Silence is not only to be seen as opposed to noise, or as a term used within experimental sound practice, but also as a tool in political discourse. Silence is not easy to explore these days. Where is total silence? Theres beautiful silence and theres frightening silence. Does silence exist in physical terms?2.

As is often the case with my work, what came first was the title, (Speaker, stain, silence) in this case directly inspired from a particularly poignant remark from Beckett (rather than the above concept) which has always stayed uneasily with me:

AGM05 - Silence, press release, 2005.

... nothing matters but the writing. There has been nothing else worthwhile. I couldnt have done it otherwise. Gone on, I mean. I could not have gone through the awful wretched mess of life without having left a stain upon on the silence. 3

What are we to make of this existential stain upon on the silence, this indelible image Beckett alludes to? I have taken it to mean an affirmation but also read into it a paradigmatic kind of provocation.

Its uneasiness lies perhaps between this affirmative desire of the author and the inadequacy (and grittiness) of the language; between, I would say, the urgency of writing and the paradox that lies somewhere between art and life. As Deidre Bair comments in her biography of Beckett it would be difficult to come upon another writer who has so lived through his art that it has become the substance of his life4.

How to be faithful then to this stain upon on the silence?

Bair, Deidre. 1990. Samuel Beckett A Biography. London: Vintage p.681. Curiously, it seems Beckett shifts the emphasis of this statement, as after 1986, and beginning to suffer from emphysema writing in bed his final work, the poem "What is the Word." He remarks that each word seemed to him "an unnecessary stain on silence and nothingness."
4

Ibid, p. 681

This image resonates visually and aurally a space in which the third hidden element is the author himself, the writer, the narrator, or for my understanding of the work in question the speaker.

Speaker, stain, silence, stands then as a kind of signature for myself, where the added element (speaker) becomes also a meta-persona. I embody the "speaker" (the persona) and the speaker is also the performer (myself). The speaker also refers to the medium (loudspeakers) through which we will hear this performative voice.

The important aspect to hold on to here is the use of embodiment and its relationship with the performative voice which has been investigated by Beckett but also by Artaud and contemporary sound artists such as Christof Migone.

With Beckett there is a kind of desolate familiarity and a bleak exhilaration that often returns in my work. I am thinking in particular of that singular sunless voice from his later works such as in A Piece of Monologue 5 that haunts and in which there is also a grim humour and strangely compassion too, that is often overlooked.
5

Birth was the death of him. Again. Words are few. Dying too. Birth was the death of him. Ghastly grinning ever since. Up at the lid to come. In cradle and crib. At suck first fiasco. With the first totters. From mammy to nanny and back. All the way. Bandied back and forth. So ghastly grinning on. From funeral to funeral. To now. This night. Two and a half billion seconds. Hard to believe so few. Beckett, Samuel A Piece of Monologue, in Three Occasional Pieces, 1982. London: Faber and Faber.

The influence (or effect) of Beckett is for instance clearly stated in my earlier sitespecific installations and performances for the itinerant exhibition Not I 6. For a series of durational performances that coincided with the opening of the exhibitions, found objects and autobiographical materials were activated slowly and obsessively over time. They operated as a kind of framing device for working with the theatrical limits of the installation space, extending and re-working its possibilities.

In another work titled Crow and Mamma (1999) 7,which also featured in the exhibition Not I, I used for example a tape recording of myself at the age of 4 made by my mother in which you can hear my childish voice speaking, singing songs and reciting prayers. In a scene reminiscent of Becketts Krapps Last Tape (1958), I played back sections of the original tape on the original reel to reel tape recorder thirty five years later along with all the accumulated dust, creating waves of noisy static and distortion.

Not I, Consortium, Amsterdam. Jan 24 -Feb 21, 1999. Ormeau Baths Gallery, Belfast. 18 May -17 June, 2000. Five Years, London. 1-3 Dec, 2000. Curator: Pieter Hensen. 7 Crow, Richard. Crow and Mamma (Early Works), 1999. CD, limited edition. Artists multiple for exhibition Multiples x 3 (1999) at Temple Bar Gallery, Dublin. Curator: Annie Fletcher.

To return to this idea of embodiment provoked by Beckett, in Speaker, stain, silence I was drawn more explicitly to the use of the voice (rather than objects) and its relationship to the constructed performance persona (e.g. Le Corbeau, Grengznger, Executor etc.) that I have inhabited in my previous work 8.

As in Becketts The Unnamable (1953), the voice (of the "Speaker") has here its own presence "not that of the author, nor is it exactly an intervening stage between the authors voice and those of earlier narrators or person narrated; it is linked as if other voices had been overheard, as a crossed line. 9

Where The Unnamable urgently expresses despair over the limitations of all language, here the "Speaker" confronts the "Silence". This obsessive inability to speak (the unspeakable) and the inability to be silent gives rise to the often cited, celebrated last line, "I can't go on, you must go on, I'll go on". 10

The performance persona is adopted (or assumed) to generate and inhabit a cycle of works (exhibitions, installations, performances etc) which take place in galleries and sometimes more importantly operate in offsite secret locations - works produced by performance personas often directly reference the histories real or imagined of the sites where they are based. Grenzgnger 1996. Artspace, Sydney. For example, was a border crossing figure, a performative figure activated to investigate the boundaries that separate things from people and people from other people but also to explore a boundary subjectivity and to question the perceived boundaries between seemingly disparate objects and past events revisited albeit in a rather obscure way, to somehow inhabit and identify with the world of a fragmentary subject and performed with what I might call, a consciousness of activity, which means essentially an autogenic and un-analysable experience. I described the objects and materials I utilized as an installation in progress. Grenzgnger could equally be called a subject in transit.
9

The third book of the Trilogy where Beckett found his ultimate voice in terms of his development up to that time, and where all the protagonists of the earlier novels are linked to a single voice, A Samuel Beckett Reader, 1983. ed. by John Calder, London: Picador, p. 177
10

Ibid. p.191.

Christof Migone and Alexander St-Onge (as Undo) on their CD Un sperme qui meurt de froid en agitant faiblement sa petite queque dans les draps dun gamin (2000)11 successfully embody and articulate this un-speakability (as inner sound) by inserting contact microphones directly into the mouth. As Brandon LaBelle observes:

the voice here is a kind of hissing shadow, submerged into and by lo-fi electronics .The mouth loses its way on the course of speech, diverging across its vocal grain, for it has no room to speak. Here, breath instead results in slurps, producing a kind of sonic topology of the mouth: scraping its surfaces to find the hidden textures, amplifying phlegm and spittle in infinitesimal detail, tongue and teeth sliding against each other. The work is a form of orality minus meaning, as embodied speech in whose performance language stutters. 12

11

Undo (Christof Migone and Alexander St-Onge) CD Un sperme qui meurt de froid en agitant faiblement sa petite queque dans les draps dun gamin (Montral:squintfucker press, 2000). The title of the CD (which translates as A sperm dying of cold while weakly wiggling its little tail between the sheets of a young boy) and all the track titles are taken from one page in Samuel Becketts The Unnamable.
12

LaBelle, Brandon. 2005. Christof Migones little manias in LaBelle, Brandon, Achim Wollscheid (Eds). 2005. Christof Migone - Sound Voice Perform (Critical Ear Series Vol 2), Los Angeles/Copenhagen: Errant Bodies Press and Museet for Samtikunst, Roskilde with Ground Fault Recordings.

The use of embodiment has a point of departure too in the late work by Antonin Artaud.

According to Allen S. Weiss, Antonin Artauds last work Pour en finir avec le judgement de dieu (1947)13 is his final attempt to void his interority, to transform psyche and suffering and body into art14. The piece, an ill-fated radiophonic sound play banned by the French radio authorities for being obscene and blasphemous, was silenced and finally broadcast 25 years later.

I came across Pour en finir avec le judgement de dieu in the late 80s, listening to a clandestine cassette copy of the piece. Its impact to my own acute sound explorations with Diastolic Murmurs15 was at that time significant in relation to my obsession with "medical noise"16.

13 14 15 16

Artaud, Antonin, Pour en finir avec le judgement de dieu (To Have Done with the Judgement of God), (1947) (with Maria Casars, Roger Blin, Paule Thvenin), Brussels: Sub Rosa (1999). Weiss, Allen, S. 1995. Phantasmic Radio, Durham and London: Duke University Press. p.6. Founded with Adam Bohman, the group Diastolic Murmurs was a sort of improvised noise outfit whose name was taken from a found recording of diseased heartbeats. For an account into Diastolic Murmurs and medical noise see my article "Towards an Imaginary Hospital Radio". in Sound Works For those that have Ears, 2005. In this article I drafted a short history of medical noise from the seminal piece Le Tableau de l'operation de la Taille by Marin Marais to Throbbing Gristle which informed the inner, visceral sound of Diastolic Murmurs.

Today the influence of Artaud has been clearly addressed by a literature on radio art, such as in Allen S Weiss's, Phantasmic Radio (1995) in which Pour en finir avec le judgement de dieu has been inscribed as a key contribution in the origin of modern radiophonic and electro-acoustic research and creativity.

As Weiss outlined in Phantasmic Radio, the year of Artaud's scheduled radio broadcast (1948), coincided with the moment that magnetic recording tape was perfected and began to become available for artistic purposes.

The technical innovation of recording tape permitted for the first time in history the experimental "aesthetic simulation and disarticulation of voice" to which Weiss dedicates his writings and to which contemporary experimental music seems to return today through the use of digital technology. (as in the work of Christof Migone for example)

There is a line of research I have opened up in which I confront silence in Beckett's terms but also I look at Artauds fragmented and physical language. A language, which in the words of Stephen Barber:

10

"is itself reduced and sharpened to express his need to cut into, destroy and reformulate the body ... simultaneously, the desire it carries for physical transmission and transformation sutures the pieces together again in the listener17.

Both crucial and constant points of reference, Beckett and Artauds work represent, however more than a mere example of the use of embodiment. Their work is not separated from their lives. They embody it, they carry it with them especially as in the case of Artaud who was, at the end of his life, the literal embodiment of the Theatre of Cruelty - its integral to there being and being in the world. 18

17 18

Barber, Stephen. 1993. Antonin Artaud - Blows and Bombs. London: Faber and Faber. pp.154-155.

Scheer, Edward. Richard Crow. 1998. Something from the black mirror, Institution of Rot Archive (unpublished interview).

11

2. Confrontingspace(Silence)

The language of awaiting - perhaps it is silent, but it does not separate speaking and silence; it makes of silence already a kind of speaking; already it says in silence the speaking that silence is. For mortal silence does not keep still. Maurice Blanchot The Writing of the Disaster19

With Speaker, stain, silence I wanted to make a work that would attempt to speak for silence. Where a listener might confront a profound silence or disquiet.20 Where silence as a physical situation could be addressed and made palpable. But what might it mean to hear and experience the presence of an other(s) silence?

19 20

Blanchot, Maurice. (1980, trans. Ann Smock, 1986). The Writing of the Disaster. Lincoln and London: University of Nebraska Press. p.59. Christof Migone conjures up some useful definitions in his essay as guest curator for Disquiet, Modern Fuel Artists Run Center, Kingston, 2005. Dis quiet, not another. The prefix dis-denotes difference, separation, defect-dis-orient, quiet, arm, ease, comfort, agreement. Plus conoctions conjured for the occasion: discode, discipher, dissarange and disambulate. Disturbances in the quietude of accepted notions. This quiet is far from silent, but close to silence. It points towards that infinite line where we make but a brief appearance. Out in, in out, we are here for now.

12

With this question and proposition in mind I started working on the piece aware that only a visit to the site would give me certain answers.

Prefix Gallery has a small audio room in their gallery that is like a recording booth but not entirely isolated from external sound.

It is intended to be a space for non-visual listening. Normally, there is an electronic sensor hooked up to a CD player that activates the audio after someone enters the room. (There is also a red light that comes on outside to indicate that the room is occupied.)

There are two speakers installed into the wall made for near-field listening. They are painted white. The walls are also all white. The room has grey wooden floorboards and seating for two people. There is a neon light, the atmosphere is sterile. It is like a strange waiting room, it feels faintly claustrophobic.

This is the space I imagined and in which the listeners role would finally come into play.

I decided to use an alternative light source (a childs night light at floor level, positioned directly under the speakers) as I wanted to create more of an nocturnal atmosphere for the listener; a faint ghost light something akin to or

13

suggestive of the small hours, where a silence can be all engulfing and when one can be disturbed by the slightest indistinct sounds.

For this project it was important to bypass their usual setup and patch directly into the amplifier my equipment, a laptop computer, a mini-disc recorder, a 4 channel mixer, and microphones that would enable me to continuously play/mix and treat live and pre-recorded sound in situ.

The performance space would be behind the scenes, in a storage area adjacent to the audio room, this would be the location of my studio, and from where I would project the live and pre-recorded audio.

The idea to use hidden and secret spaces came again from previous live performances, in particular Theurgy Messe Basse21 and Executor22. In these remote performances the action does not take place directly in front of a viewer but is revealed (via simultaneous video projection) through the use and manipulation of digital media. In this way the video camera itself becomes a kind of performative object which transforms the private into the public.

21

Part homage, part sance. Theurgy Messe Basse (1996) transmitted live from a sealed chamber via video and sound projection attempts to make contact with the imagined body of Artaud after death. First performed (as Le Corbeau ) at the Institution of Rot in London for of the exhibition The Noisiness of Bodies (1996) it was also presented later that year in Sydney at the Performance Space during the 100 years of Cruelty conference on Artaud.
22

Executor (1999) created as part of the residency programme of Otago Polytechnic School of Art, Dunedin, New Zealand. Could best be described as a reclusive activator of abandoned times and forgotten spaces.

14

In this questioning of live presence, it is possible to play with a spatial/temporal shift where an intimate strangeness is both present and absent and where the elusive becomes known and yet unknowable.

For Speaker, stain, silence I would activate this presence and absence through the use of noise and silence. Through breaks and ruptures in sound, there would be for the listener a lot of silence to contend with. But this silence would not be silent, it would be fine-tuned, it would be full of activity, it would be noisy.

As David Toop observes, "listening can direct us to silence (or an idea of silence)"23. If with Cage we discovered that there is no such thing as pure silence (since one always hears the coursing of the blood and the hum of the nervous system), the act of listening not only leads us to peripheral and subliminal sounds, but also to other(s) silence.

The real act of listening to silence, is then an emptying out of noise, as in nature often the silence perceived is nothing else than the absence of urban sounds; and/or how Cage proved (within the anechoic chamber), silence is a frightening space.

23

Toop, David, 2005. Introduction to Sound Works For those that have Ears Cork: Art Trail Publications.

15

The pure, eternal silence, as Allen S. Weiss says is then the discovery of "our own silence".

From Pascals admission that 'the eternal silence of these infinite spaces frightens me' to the color of silence which haunts every recording studio in a different manner, to the anechoic chamber in which Cage discovered that there is not such thing as pure silence ... we each discover our own silence, from panic to quiescence, from catastrophe to calm: the very existence of silence both depends upon noise and permits noise to exist24.

3. Confrontingnoise(Stain)

Speaker, stain, silence begins with a recording made high up in the mountains of North Italy (the Dolomites) where we hear the sound of someone walking with difficulty on a stone path and in the distance is the sound of thunder. Then they stop abruptly (and listen) as if to emphasize that the terrain that lies ahead will be difficult and risky.

24

Weiss, Allen. S., 1995. Phantasmic Radio, Durham and London: Duke University Press. p.54

16

This soundscape opens up a heightened, psychological terrain that will be encountered by the visitors to the audio room. They enter into a process of constructing and reconstructing a silence as it unfolds and resonates over the course of one hour. (That is the works demand.)

This idea of a constantly recurring silence is introduced by the live narration of the speaker, through a script of disparate text fragments, sometimes simply stated, other times obliquely referred to in passing, and sometimes in a disorientated schziophonic conversation with its own voice.

This voice of the speaker is interspersed at uncertain intervals with bursts of high frequency noise. I agree with Brandon LaBelle when he states Noise prolongs disquietude by opening up the divide between crisis and restoration, certainty and uncertainty25. But the use of noise can also work in a more subtle and psychological way, as in the context of this piece by increasing the awareness of silence and ironically making the silence louder.

Speaker, stain, silence was performed live over four days, once at the opening of the installation and from then on daily between 1-2pm. During gallery installation
25

LaBelle, Brandon. Music to the nth degree in Weiss, Allen. S. (Ed.) 2001. Experimental Sound and Radio. Cambridge Mass: MIT Press, p.167

17

hours random sound files (pre-recorded raw components of the piece) were played at intervals.

Through the use of manipulated ambient field recordings (a storm in high mountains, wind recorded in a moving car, leaky taps, ghost sounds in an empty house etc), I wanted to create a sense of an almost cinematic journey for the listener that would shift sometimes subtly, sometimes abruptly through space and time. Many of these ambient recordings were worked and re-worked using the sound program PEAK26 that allows sounds to be processed and filtered in real time.

Silence, like a kind of operation at work, a surgery of past and present moments..triggering. (final words of the speaker, in Speaker, stain, silence)

There was at the end, a definitive Cageian moment during one of the performances of Speaker, stain, silence. I used on several occasions during the more disembodied voice parts, a home made contact microphone attached to my throat, for this to work it had to be held very securely just below my adams
26

PEAK4 by BIAS, audio editing program. Esp. the use of the effect Harmonic rotate, which twists the signals harmonics by rotating the frequency spectrum, this in turn produces sounds as if they had been run through a ring modulator and then heavily filtered. This effect works very well with for instance the sound of running water.

18

apple with my left hand, whilst my right hand worked with the mixer. I must have hit a blood vessel or something like that, for what I heard in my headphones as I increased the volume was not the slight crackling of the microphone but the sound of my heart beating fast and what I imagined to be blood pumping, these sounds of my internal body were also going out live to whoever was in the audio room, I let it continue for some time. It reminded me once again of Cages famous non-silent experience in an anechoic chamber. 27

Or as Burroughs (1962) puts it:

"The realization that something as familiar to you as the movements of your intestines the sound of your breathing the beating of your heart is also alien and hostile does make one feel a bit insecure at first" 28.

FromSecretspaceto Radiospace,fromPerformativebodyto Radiobody

27

I began to use contact microphones with Diastolic Murmurs, active from around 1985 to 1994 in theatrical audio-visual performances called Live Electronic Dissections. The use of directly injected contact microphones was combined with the use of a variety of sound sources and found materials, including prepared/home made and broken instruments, discarded everyday objects and the sounds of bodily functions. Here the Cage influence goes back to his "Cartridge Music" for small sounds amplified in live performance, (1960). First performance, Realization by David Tudor with Takehisa Kosugi, Michael Pugliese, David Tudor, phonograph cartridges & amplified small objects.
28

Burroughs, William. S., 1987. The Ticket That Exploded, New York: Grove Weidenfeld,p.20

19

If Beckett, as I argued in the first chapter, represents a direct and literal reference for the title of my piece and my investigation into the performance persona, Artauds influence as discussed earlier in relation to the remote performance and the use of secret space, also needs to be seen as a point of departure for my current research on experimental radio.

Although different from performances and site-specific installations such as Theurgy - Messe Basse and Executor, in Speaker, Stain, Silence the use of a secret space has become in fact a different kind of location for transmission which is perhaps closer to a radio space rather than a theatrical space. Although the piece was conceived and created in response to a specific site (the audio room at Prefix Gallery) the gallery was in fact used purely as a device for framing sound and silence. In editing a version of the live piece (see Audio CD submitted) it occurred to me that the impact of the work on the listener is not so dependent on a fixed space but can be more transitory, and open ended (see also CD Related section).

The physical presence of the hidden performer (myself) and the use of a disembodied/embodied voice has been functional only in creating a sense of awaiting which was, to some extent, already explicit in the structure of the piece. As a result of this, I can see how the different stages of making the piece (from collecting the sound sources, editing them and re-working them live in situ)

20

opens up new ground for re-thinking the performative body in terms of a radio body.

Conclusion

Through the use of narration and with it the performative voice, Speaker, stain, silence has opened up new research possibilities for experimental work with sound and especially radio or what I envisage radio to be.

Speaker, Stain, Silence, can be seen in this sense then as a work that anticipates or is a prelude to my new projects: Ancholie and Hospital Radio.

On the one hand the combination of text-based sound and environmental field recordings leads me to consider how I might possibly use them, in the context of a gallery space, which in the case of Ancholie will be as an audio library.

21

On the other Speaker, Stain, Silence seems to anticipate the way in which I would possibly re-frame the idea of an Imaginary Hospital Radio. I am thinking for example how such an imaginary space is becoming more and more the space of recordings itself - as I have for instance already partly experimented with in the piece Hospital/Radio (Human Shield) 29 and how this could be done in terms of a circular use of narration with sounds (one can think of for instance a series of jingles that mutate and feed off each other).

And how finally the idea of collaboration with other artists and writers will bring into it different speakers that will embody different voices.

As Gregory Whitehead has said: wounds can bleed or they can sing: the difference is a matter of technique.30

29

Hospital/Radio (Human Sheild), 2004, appears on the compilation CD, accompanying Soundworks - For those that have Ears. Cork: Art Trail Publicaions.
30

Whitehead, Gregory. Radio Play is No Play A conversation between Jrme Noetinger and Gregory Whitehead in Weiss, Allen. S. (Ed.) 2001. Experimental Sound and Radio. Cambridge Mass: MIT Press, p.93.

22

CD RELATEDSECTION NOTES: Speaker, stain, silence was originally made as a site-specific sound installation/performance for an actual physical space, the audio room at Prefix Gallery, Toronto.

This version is derived solely from material taken from the first live performance of the work. You should listen to the piece from the beginning to the end. Headphone listening in semi darkness is highly recommended (as the piece was made for a darkened room). But you might like to experiment with the way you listen to the piece.

There is a lot of silence in this piece, dont worry, this will allow you to listen in to the other sounds present within your listening space. This will add to the experience. Sorry, no sound without silence.

23

WARNING : This CD contains high frequencies that can be potentially damaging at high volume, care should be taken when listening to the work on headphones, you should therefore monitor the volume level at all times.

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Migone, Christof, 2005. Sound Voice Perform (Critical Ear Series Vol 2), Los Angeles/Copenhagen: Errant Bodies Press and Museet for Samtikunst, Roskilde with Ground Fault Recordings 29

Various, (Curated by Nicolas Collins). 2004. A Call for Silence. London: Sonic Arts Network

Various, (Curated by Allen S. Weiss). 1996. Voice Tears, (in conjunction with TDR: The Drama Review (T151) Experimental Sound and Radio)

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Undo (Christof Migone and Alexander St-Onge), 2000. Un sperme qui meurt de froid en agitant faiblement sa petite queque dans les draps dun gamin , Montral: squintfucker press

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