Day something • No Session

As I’m working on this piece, I find myself not wanting to work when I’m not in an ideal meditative mood because I didn’t want any feelings but peace to come through in the project. And also I thought that if I was trying to work on peaceful music and sound in an un-peaceful or happy state, that it would be inauthentic. What I think I’ve just realized is that the human condition is not in a constant state of happy peacefulness and what is actually inauthentic is to stop working because I feel that I’m not in the ideal place. Rather, I should work through these states and what comes out will be the most authentic representation of my experience here. The product will be more interesting and have more dimension if it’s not in static happiness for it’s entirety. It has more potential to evoke emotion and cause a physical response if there are some dips and dives. I do think this is possible without breaking the “safety” or “safe place” that I establish at the beginning of the text.

It was asked of me last night if I would be building in some sharpness to my piece at any point. And the conversation that I agree with is that you can’t really appreciate the stillness and calm without contrast, especially after being in the piece for some time. I don’t think this needs to be shocking, but I think some aspect dissonance would bring the contrast that the piece needs to be properly felt. These states of disease would be a good time to create this. 

Last night I had a small showing for those from the institute who did not attend the last showing. This group included Paul, the head of 4DSound/SSI. He has many good things to say about my work, which I was happy to hear. One thing in particular was that the sound was quite physical. He gestured to where he felt the sound on his body for the section that was presented: the root chakra. He said felt the sound was mid way up his legs, the root chakra being closer to the groin, but I’m also happy with this comment considering that this is the rooting section. 

Kate De Lorme