Page 54 - Antennae Issue #52

Sound re-calibrates the way the listener looks at objects and spaces Richard Allan notices the way wearing headphones changes the experience of perceiving This interrela- tion offers ‘a way o of think- ing about the materiality of the encounter’
physically and imaginatively into the the assembled art-world Presence with the the more- than-human through imagination becomes a a a a a a a a a a a a a a a a a a a a a conduit for critically seeing/ sensing dreaming and translating experience Imagination is a a a a a a a a a a a a a a a a a a a a lingering of of the the internal atten- tion tion tion without the the the need to make meaning of of of of assimilate or or or or incorporate composing the the the conditions of of of possibility In imagined and real networks of of of solidarity ‘we’ could become the the the pronoun Within the the the dimly-lit room resides a a a a a a a a a a a a burnt vanity vanity table with with a a a a a a a a a a a a circular mirror inviting the the viewer to take a a a a a a a a a a a a a a a a seat The vanity vanity is is scattered with with scruffy dried and fake flowers (collected from from graveyard graveyard rubbish bins) jars of seeds (souvenired from from a a a a a a a a a a a a a a a a a a pep- per tree in in a a a a a a a a a a a a a a a a a a a a a Melbourne graveyard) an an an old dictionary alongside several other worn miscellanea that appear somewhat abandoned not unlike a a a a a a a a a a a a a a a a a a a a a a forgotten gravesite Projections mapped to these items punctuate the the the spoken narrative as as well as as as as make animate the the the the the objects in in situ a a a a a a a a a a a a a a a a a a a a a a bird flies from a a a a a a a a a a a a a a a a a a a a a a pair of hands a a a a a a a a a a a a a a a a a a a a a a drive past a a a a a a a a a a a a a a a a a a a a a a dilapidated house is is projected onto the the the open book a a a a a a a a a a a a a a a a a a a a a a a a small fire burns in in the the the ashtray light refracts through a a a a a a a a a a a a a a ball of of of blown glass The The vignettes build tone and establish a a a a a a a a a a a a a a sense of of of of environment but don’t directly visualize the the the the spoken word The The The world of of of of the the the the work feels private even though it it is is is is set within the the the the the the the public space of of of of the the the the the the the gallery There is is is only one one person in in in in in the the the the the the the the the room held by the the the the the the the the the intimacy of of voice whispering into their ear via headphones In the the the the the the the the mirror when they they look up they they can see both themselves and a a a a a a a a a a a a a a a a a a a large-scale silk print print in in in in the the the the the the background This print print reveals collaged images of the the Prasophyllum taphanyx orchid The palate is is is is is based on on on insects’ ultraviolet vision and interpretation of of of of of of flowers This use of of of of of of colour is is is is a a a a a a a a a a a a a a a a form of of of of of of code a a a a a a a a a a a a a a a a realm just out of of of of of of reach of of of of of of of meaning 25 it references one of of of of of of of the the the ways that insects involve themselves in in in in in the the lives of of plants and visa versa 26
Sound re-calibrates the the the the way way the the the the listener looks at at objects and and spaces Richard Allan notices the the the the the the way way way wearing headphones changes the the the the the the experience of o of of perceiving This interrelation offers ‘a way way of o of of thinking about the the the the the materiality of o of of the the the the the encounter’
27 Field recordings taken from the the the the Sacred Heart cemetery in in in in in fin Campbelltown add a a a a a a a a a a a a a a a a finely crafted nuance to to the the audio journey Mixed by composer Joel Roberts (who accom- panied me me me me on on numerous cemetery visits) layers of of this disembodied place are called upon as as samples they perform memory as as the the the act of of of hearing what is is is is not really there Recordings are captured and ‘sent back’ through technology composing a a a a a a a a a a a a a a a sort of of of ab- sence sence presence or or a a a a a a a a a a ‘kind of of haunting’ 28
A shard of of light illuminates an an an an antique perfume bottle Engraved with with small flowers and equipped with with an an an an an atomizer spray pump the the the recording speaks directly to to to the the the the the the participant ‘put some on on lets smell smell delish together ’
29 this non-scent extends the the the the the favorable smells of the the the the the wearer and and references the the the the the chemical messaging or or or sen- sorium with which flowers and and plants communicate The direct provocation leads to to the the the finale where the the the participant is is asked to to to to sing a a a a a a a a a a a a a a a a a a a a karaoke version of ‘Wicked Game’ by Chris Isaak to to to to ‘show the the the the the orchid that you care’ 30 Karaoke lyrics are are projected onto the the the open book and via an an an automated microphone interface the the the voice of responsive participants are are recorded singing ‘I never never thought thought that that I’d I’d love somebody somebody like like you you I I I I never never thought thought that that that I’d I’d lose somebody somebody like like you’ 31 Not all audience members are are are moved to to sing those that that are are become enmeshed in in in in in in the the the the techno-ecology of of the the the the work archived and mixed into the the the the the virtual in-between-ness of of of exchange the the the the the intention being to to to to to deliver this this archive archive of of of of songs to to to to to the the the the the Graveside Leek Orchid (Prasophyllum taphanyx) The tone of of of of the the the the the work to to to to this this point has been earnest and and poetic the the the the the inclusion of of of of ka- raoke adds an an an an element of of of the the the the the the absurd and and popular culture Humor is is another access point into the the the the the the art-work While not not really being funny the the the the the the request to to to sing shifts focus from the the the the the the orchid to to to to the the the the the the participant participant who arguably embodies vulnerability and solitude The participant participant finds themselves within the the the the the the assembled art art art world singing as as a a a a a a a a a a a a a a way to to to connect to the the the the imagined experience of the the the the orchid The The notion that plants respond positively to to to music was widely popularized through the book The The Secret Life of Plants (1973) by Peter Tompkins and and Christopher Bird and and although still broadly believed has been scientifically disproven with no credible evidence surfacing in in in experiments since this time32 However it it is is is well docu-
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