Brandon LaBelle - Social Music
  Year :   2001
  Location :   Austria
  Worktype :   Radio Work / Event / Book
  Materials:   -
  Info :   -





 
Public_Space
Context
Field_Recording
  Work Details  
  initially developed as a radio series for Kunstradio, Vienna in 2001. When I was invited by them to propose a series of audio works for broadcast (radio poses provocative questions to the idea of site-specificty...) I wanted very much to create a conceptual framework for organizing the works not so much around making music within the confines of the studio, but by inviting outside influence or social input in determining sound production. Social Music functioned as an overarching umbrella for generating musical and sonic activities that sought out public space, social interaction, spatial discoveries—found sounds, phenomenological tests, conversations between friends... The parameters which distinguish music are often set apart from a larger context of social space. This is in part due to the nature of cultural production--that it remains slightly ahead of, or behind, broader issues: critical distance, romantic isolation, or simple disinterestedness. (The recording studio functions as the perfect model of Musics struggle to fend off the interference inherent to social space--to produce culture without blemishes.) Achim Wollscheid presented his broadcast on ___ working live in the studios of Kunstradio He created real-time processing of existing recordings from each of the Social Music participants describing their artistic ideas Social Music aims to invert this model by adopting a direct relationship to the larger context, expanding the frame to invite the random interplay of public interaction. Minoru Sato made two works using light as a source for sonic disturbances He presented work on ___ What distinguishes Social Music is that this relationship acts as a determining situation for the production of a music work; and further, Social Music attempts to make audible the tensions between the parameters of music (convention) and that which is outside (experimentation), between public space and private identity, and between the complexities of society and the technologies of artistic media. Situating musical production, and radio broadcast, within this zone of experimentation necessitates a leaving behind of the traditional view of artist as individual, Brandon LaBelle created an audio work using the Social Music project description: he asked people to listen to a recording of himself reading the statement and try and repeat what they heard as it came to them He then played the accumulation of recordings to more people, repeating the process until a chorus of misreadings mishearings and misspeakings appeared and instead demands an alternative understanding whereby context and art-object, and by extension, audience, converse in such a way as to produce artistic effects. These effects are tied to the random interplay of phenomena, and further, in their moment of occurrence, to the formation of what we could call a public. Radio as a context poses a specific and compelling context for Social Music , Giuseppe Ielasi made a kind of audio diary inviting his friends to direct his actions by asking them their opinion of what Social Music might be Taking these directions he made an audio work consisting of field recordings and processed sounds This was broadcast on ___ because radio is necessarily dispersed as a social context and medium, and thus is contaminated by existing spaces, sounds and events occurring within unpredictable, and partly unknowable, situations. In a sense, radio is a model for the concerns of Social Music , or rather, it situates itself already as a kind of Social Music Production . It would seem that the works of Social Music for radio will demand from a listener (and artist) an understanding of the very nature of radio itself--that as a listener one is immersed in a complex situation whereby musical action and Michel Henritzi investigated large corporate record outlets around France (such as Virgin and HMV) making recordings inside the shops He produced a kind of process-oriented work in which the audio degrades in clarity This was broadcast on ___ site-specificity converse in a radiophonic space determined both by the point of transmission and the site of reception. Following the radio series, Social Music continues as a general theme, as a conceptual attitude, and as a platform for future projects.