sol andersson
log 004

“an artwork cannot be reduced to its parts or its materials, nor can it be reduced to
its creator’s life, nor to some other context, however defined  …  Art is charisma,
pouring out of anything whatsoever, whether we humans consider it to be alive
or sentient or not.”
Timothy Morton – Charisma & causality, Article from (2015) 

To give some background on WHY I’m working on dissolving a fully functional piece of electronics (in this case a double cassette deck player) and convert it into a tape delay. Especially when I’m in fact not really interested in engineering or ponder too much about how mechanics and electronics actually work. And from a purely artistic point of view; I see absolutely no point at all in constructing another delay when there’s already thousands out there that, both hardware and software, that sounds, looks and feels fantastic when working with them (see following log entry focusing on tape delays only)

Anyway, I got the opportunity to visit DMU, Leicester, UK. for a couple of days at the end of February 2017. At this point the deadline of the -proof-of-concept was eight weeks away and the amount of new information, skills to learn and apply were still a bit overwhelming and hard to get my head around. Visiting the technology faculty at DMU forced me to a hands on approach to electronics in general. You can only get so far in theory but if not applicable in practise then theory initself is of no use.

‘A broad mind is no substitute for hard work’ N.Goodman – Ways of worldmaking p.21

Making music is all about problem-solving on different levels but it doesn’t necessarily demand an empirical research method in itself to be understood and accepted as music. Artistic research on the other hand, still seem to have difficulties to reach a consensus of what it is, or as Julian Klein asks: when is research art? in the article ‘What is artistic research’ (2010) Julian Klein states that there can be no categorical distinction between “scientific” and “artistic” research instead he gives a quick walkthrough on how research functions within art:
1. a distinction in art, which is based on (other) research
2. in art, for which research (or research methods) are used for
3. in art, whose products are research.

‘ultimately it has to be acquired through sensory and emotional perception, precisely through artistic experience, from which it can not be separated. Whether silent or verbal, declarative or procedural, implicit or explicit – in any case, artistic knowledge is sensual and physical, “embodied knowledge”. The knowledge that artistic research strives for, is a felt knowledge.’

Now, let’s rewind to the beginning: WHY am I dissolving a fully functional cassette deck?The main thread in my work the last years is all about trying to understand presence and being. What is it and what does it imply? I’m constantly trying to explore these questions by trying out different working methods and ways of thinking to broaden my understanding and be able to work out my thoughts through experience. The quote from Timothy Morton works as a reminder to myself when I tend to get sucked into an analytic mode when experiencing something, and I mean anything – a face, art, sound, coffee …











Jim Frize recording sounds from my yet-to-be-tape delay on to his custom built tape delay made from found parts. 



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