Monday, November 28, 2016

Sounds of the Days #139/2016: Benge (13,14,15,16) / Eli Keszler (1,2) / Seth Cluett (1,2,3)

Benge - Forms 5: Shapes in Space (2015)

Benge - Loop Series 2: Films (Layers) (2014)

Benge - Loop Series 1:Buchla 100 (2014)

Benge - Sulieo (2014)

Eli KeszlerCatching Net (2012)

Eli Keszler - Cold Pin (2011)

Seth Cluett - Forms of Forgetting (2014)
Forms of Forgetting is a studio construction investigating memory/forgetting and attention/inattention as catalysts for formal development in long-duration sound work. An extension of Seth Cluett’s gallery-based practice and created out of a sequence of materials developed for performance, the piece is the culmination of two years of in-situ live experimentation. Part site-specific performance, part modular, mobile form, this work employs techniques that aim to explore the fallibility of sound memory as a component of saturated, immersive listening over substantial elapsed time. 

Seth Cluett - Wound of this deep blue (2013)
"These pieces are the result of the superimposition of seven tapes recorded between 2005 and 2013. The tapes were a byproduct of live performances using a cassette dictaphone. Here, the level of each tape layer from the original recordings has been only mixed or muted; no edits were made and no additional processing was applied.” – Seth Cluett

Seth Cluett - Objects of Memory (2011)
These works occupy a position between an expanded notion of composition and a gallery-based art practice. The content of the works presented on this disc produce a slow series of gestures that give the illusion of stillness amidst a texture of continually developing material. The central concern in all of these pieces (the three fully scored works, the installation documentation, and the live-performance) is the construction of a sound world that is able to be environmental rather than temporal, proceeding slowly enough that it might be explored without the anxiety that it will move away too quickly. Like much of my output, I am interested in providing the listener with material that allows for an active agency of perception and that affords the ability to move through the sound autonomously. Whether the work is gallery-based, conceptual, or created for a concert hall, I am interested in viewing simple, everyday actions at extreme magnification, acknowledging failure by amplifying impossible tasks, and exploring the role of memory in forms that respect the contract between the composer, performer, and listener.