Drawing Group A Week 2

In this second session Group A continued their exploration of line and dot, using ink wash to response to music.
Then we moved on to Shape (Circles, triangles and squares) and the compositional possibilities therein. Outline and solid were compared and the relevant principles were identified and examined.

Colour Groups A & B
Following a PowerPoint presentation on Colour , the students took to the campus grounds on an Observation Awareness exercise using their cameras to record colour in the field as they found it.
They were given an assignment on Moodle to upload 10 images. I published my own investigations on Moodle as an example. You can access these by going to - learnonline.gmit.ie-Galway courses-Aidan Linehan- Colour skills etc.. 

Drawing Group A Week 1 Sep 15 2015

Group A- In this first session, Group A responded to sounds/music through the act of Drawing using charcoal, pencil, marker etc. on paper.

Initially,  a piece of music was listened to without activity and afterwards the students recorded their impression. They then wrote a few keywords that described the same sonic experience. There was a wide gap between the ability of the drawings and the words to describe the images conjured up in the imagination of the listener. Images were personal and specific whilst words are shared, agreed and understood (relatively!). Therefore we acknowledge that "literal" imagery is not as effective at communicating as an recognisable communication system such as language.

With that in mind, the remainder of the Drawings did not concern itself with illustrating what was being heard but instead these drawings recorded the emotions or sonic sensation. The responses became more readily physical as the session went on. Experimentation with media and application resulted in allowing a level of control to be surrendered with unpredictable results. These are acts of liberation from convention as well as preconceptions of skills, value, worth etc.

We culminated with group shared works were every contribution is of equal validity in this learning context.

These exercises will be built on in the next session.

Musique Concrete

The term musique concrète (French for "real music", literally "concrete music"), was coined by Schaeffer in 1948.^[11] Schaeffer believed traditionally classical (or as he called it, "serious") music begins as an abstraction (musical notation) that is later produced as audible music. Musique concrète, by contrast, strives to start with the "concrete" sounds that emanate from base phenomena and then abstracts them into a composition. The term musique concrète is then, in essence, the breaking down of the structured production of traditional instruments, harmony, rhythm, and even music theory itself, in an attempt to reconstruct music from the bottom up.
From the contemporary point of view, the importance of Schaeffer's musique concrète is threefold. He developed the concept of including any and all sounds into the vocabulary of music. At first he concentrated on working with sounds other than those produced by traditional musical instruments. Later on, he found it was possible to remove the familiarity of musical instrument sounds and abstract them further by techniques such as removing the attack of the recorded sound. He was among the first musicians to manipulate recorded sound for the purpose of using it in conjunction with other sounds in order to compose a musical piece. Techniques such as tape looping and tape splicing were used in his research, often comparing to sound collage. The advent of Schaeffer's manipulation of recorded sound became possible only with technologies that were developed after World War II had ended in Europe. His work is recognized today as an essential precursor to contemporary sampling practices. Schaeffer was among the first to use recording technology in a creative and specifically musical way, harnessing the power of electronic and experimental instruments in a manner similar to Luigi Russolo, whom he admired and from whose work he drew inspiration.
Furthermore, he emphasized the importance of "playing" (in his terms, jeu) in the creation of music. Schaeffer's idea of jeu comes from the French verb jouer, which carries the same double meaning as the English verb play: 'to enjoy oneself by interacting with one's surroundings', as well as 'to operate a musical instrument'. This notion is at the core of the concept of musique concrète, and reflects on freely improvised sound, or perhaps more specifically electroacoustic improvisation, from the standpoint of Schaeffer's work and research.

http://inhabitat.com/brooklyn-artist-ted-lawson-prints-self-portrait-with-his-own-blood/

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