{"id":1156,"date":"2016-11-01T16:17:39","date_gmt":"2016-11-01T16:17:39","guid":{"rendered":"https:\/\/archee.uqam.ca\/?p=1156"},"modified":"2022-11-11T16:17:51","modified_gmt":"2022-11-11T16:17:51","slug":"novembre-2016-on-the-edge-of-perception-the-logic-of-immersive-environments-a-conversation-with-thomas-mcintosh","status":"publish","type":"post","link":"https:\/\/archee.uqam.ca\/novembre-2016-on-the-edge-of-perception-the-logic-of-immersive-environments-a-conversation-with-thomas-mcintosh\/","title":{"rendered":"Novembre 2016 – On the Edge of Perception: the Logic of Immersive Environments – A Conversation With Thomas McIntosh"},"content":{"rendered":"\n
I would like to start with a general thought regarding the concept of composition. Could you describe the key characteristics of your approach to audio-visual installation and performance ?<\/strong><\/p>\n\n\n\n I discovered recently that\u00a0Rem Koolhaas\u00a0was a screenwriter before he became an architect. He describes the moment that his journey into architecture began when on a trip to Moscow he was exposed to soviet architecture and Russian Constructivism (Malevich,\u00a0Tatline\u00a0and\u00a0Lissitzky\u00a0etc). He observes that their project proposed a radical reconfiguration, a re-ordering of everyday life through the vocabulary of building. Just as a screenwriter prescribes the words and actions of a character in a series of spaces, so architects, with their arrangements of stairs, living room, kitchen and so on, write a script for our lives.<\/p>\n\n\n\n Composition, with its etymological root in the act of combination, is for me, an activity which is common to all creative endeavour. In the most general sense I believe that it implies the imposition of structure onto substance. Whether the substance in question is material or immaterial (i.e. thoughts and concepts) or the structure orderly or chaotic is secondary; what remains common is the combinatory act. If one thinks about composition in the way that Koolhaas implies, i.e. as a systematic recombination of themes, metaphors, spaces, colors, dialog, shapes, notes etc. until a result is achieved that one finds meaningful or desirable, then it becomes a very powerful and intellectually liberating concept that can be applied to any discipline.<\/p>\n\n\n\n Thinking about composition as being synonymous with design, painting or writing etc, i.e. that it is a shorthand for creativity, also provides me with the impetus to work in collaboration. I find that dialectic engagement with people from other disciplines who bring an entirely different intellectual tool box to the same problem can generate results where the whole is greater the sum of its parts.<\/p>\n\n\n\n In my opinion, your audio-visual performances correct a common misunderstanding about the quality and nature of the relationship between sound and image. In the disciplines of sound installation and video art the misunderstanding arises when the artist thinks he or she can create an artwork by simply juxtaposing images and sound. Your work is a very interesting example of integration, resonance and creative tension between image and sound. Could you discuss this problem particularly with reference to\u00a0Optinen \u00e4\u00e4ni\u00a0(2005) ?<\/p>\n\n\n\n I recall an advert that I saw in a commercial film festival from the early nineties that consisted of footage of a taxi ride through New York City depicting its landscape and street life. The montage was accompanied by a soundtrack of abstract jazz. The resulting impression of the city it gave was one of frenetic activity, the crush of humanity with the hint of violence and danger. Then the same footage was played a second time but accompanied by a score of serene classical music. The contrast was startling: the oppressive activity and crowds become joyous and tranquil while the overtone of menace completely disappeared.<\/p>\n\n\n\n While this example might seem to contradict your assertion that artistic meaning cannot be manufactured through the arbitrary combination of image and sound, I think that it points to a more nuanced understanding of the relationship. The markedly different effect that the two, starkly contrasting types of music have on our apprehension of the montage suggests that the directors, by extension, can make you the audience see a product in any particular light. Nothing in the film was arbitrary : the footage and the music were very carefully selected to achieve their particular end, in other words to achieve meaning.<\/p>\n\n\n\n For me, a work is unsuccessful, (and I think that this applies to all disciplines, more to some perhaps than others, but not just the ones you mention), when it fails to transcend formalism : when it is only an aesthetic exploration of formal properties to the exclusion of all others. While I recognise that some media and are necessarily more formal than others as illustrated by the story about a famous composer (possibly Mozart?) who when asked by an admirer about a piece he had just played : \u201cWonderful Wolfgang, but what does it mean ?\u201d, responded by playing it again. While it is obviously more difficult to see meta-meaning in a musical composition, I do think that it can be there.<\/p>\n\n\n\n Mika Taanila\u2019s film Optinen \u00e4\u00e4ni, which is based on the Symphony for dot matrix printers and which we scored with an remixed version of the recorded work, draws on the unstated themes of the musical project. Early on in the development of the symphony project Emmanuel and I made a conscious decision not to take recordings of the printers into the studio but rather to explore the possibilities and limitations of using them as instruments for live performance. The principal reasons for this were firstly that if we had not done so, we would have been using the tools of the studio as our instrument for the creation of \u2018studio music\u2019 or \u2018sampler music\u2019 as opposed to making \u2018printer music\u2019.<\/p>\n\n\n\n Secondly, our insistence on treating the physical objects themselves as instruments preserves the causal relationship between movement and sound. The fact that they make sound as they move while printing is self evident. Consequently, there is no need to search for a meaningful connection between the image of motion and the sonic result. They are free to contemplate, for example, the implications of making music with a collection of obsolete office equipment created by our technological\/consumer society and intended for use in the workplace. In selecting his imagery, Mika draws on these implicit, playful themes contrasting them with the darker ones of alienation and loneliness in contemporary urban life; the footage of workers and their workplace the city hinting at a Marxist critique of wave slavery and servitude to debt.<\/p>\n\n\n\n