[from blue notebook]
I have always enjoyed reading about music, art, books. Especially in pre-internet times. When you hear, experience, read the actual object (record, show, book), there can be disappointment, affirmation, surprise. It can be the start of a longer, deeper engagement with the work: with the work itself, with the culture, the scene that surrounds it, with the peer group of the record. But there is (sometimes/always) a disconnection, a gap between reading about/imagining the work and the work itself.
This could be a similar action/feeling to Walter Murch’s idea of a perceptual vacuum – in his specific example, between sound and the visual image.
The gap between reading about/imagining the work and the experience itself acts as a vacuum.
The mind rushes in.
This also applies to the creative act itself – between conception and realisation. This is especially true(?) of conceptual art works; in fact it is the material they are made from.
Can these two states be fully separated? Can the artwork be bracketed out? (Or: can the concept exist independently from the product of the idea?)
See [again] conceptual art.
See Attali: The moment labour has a goal, then the artist becomes alienated from his/her work. [paraphrasing]
As usual, a shifting fluid relationship seems the most appropriate way to approach this, especially with relation to (in relation to?) the perceptual vacuum.
Adam Harper – non-sound musical events. This might translate to nonSOMETHING art events.
Though that might be disingenuous at this point.
I like proposals.
ALL PROPOSALS CONTAIN THE POSSIBILITY OF FAILURE