Disintegration Aesthetics (2024)
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The premise of Disintegration Aesthetics is that sensory “disintegration” is the condition of possibility for composition—from composing songs and images to composing oneself. Composition thus appears as a technology fundamental to everyday life: the process through which one continually differentiates self from world. The project examines the repetitive behaviors associated with autism, known as “stimming” or “stereotypy,” as forms of improvisation.
My creative practice as an artist and performer explores these same ideas experientially. The project spans an installation, an evening-length performance, a dissertation, and a film. The installation uses 35mm slide projectors and audio-based projector controllers to create impossibly slow visual transitions that smear moments of appearance and disappearance into suspensions of sensibility. It also uses a series of images generated using stable diffusion, printed on a 100-foot scroll, and projected on the wall. The performances extend these ideas through “stereotypic” scores that explore feedback circuits that link human and technological actors. There are two suites: one for solo cello with live electronics and one for a mixed media community ensemble.
Installations:
Rumor:
Audio controlled dimmers, 4-track, 35mm Slide Projectors, archival slides, and generative audio.
The Nearfar:
Overhead projector, transparent scroll of images generated with the text of Sappho's Fragment 31 translated by Anne Carson.
Performance:
Stereotypy for Solo Cello
i. acoustic ii. pedals iii. stereo bow
Suite Brute for Community Ensemble
i. bandwidth ii. Harpo's gonna eat his food iii. hand2hand
Ensemble: Lisa Sokolov, Will Johnson, Melaine Ferdinand King, Kolya Shields, Kian Frolic, Simo Klein, Yaniv Kot, Florence Wallis, Raina Sokolov-Gonzalez, Brian Mertes, Eamon Mertes, Chloe Zimmerman, and Isabel Castellvi.
Cello: Jake Sokolov-Gonzalez
Cinematography: Julia C. Liu and Keith Heyward
Audio Recording and Mix: James Moses
Still Photography: James May
Special Thanks to Andy Braddock and Dailen Williams.
Performed at Pyxis PVD (Jake Sokolov-Gonzalez, founding member)
My creative practice as an artist and performer explores these same ideas experientially. The project spans an installation, an evening-length performance, a dissertation, and a film. The installation uses 35mm slide projectors and audio-based projector controllers to create impossibly slow visual transitions that smear moments of appearance and disappearance into suspensions of sensibility. It also uses a series of images generated using stable diffusion, printed on a 100-foot scroll, and projected on the wall. The performances extend these ideas through “stereotypic” scores that explore feedback circuits that link human and technological actors. There are two suites: one for solo cello with live electronics and one for a mixed media community ensemble.
Installations:
Rumor:
Audio controlled dimmers, 4-track, 35mm Slide Projectors, archival slides, and generative audio.
The Nearfar:
Overhead projector, transparent scroll of images generated with the text of Sappho's Fragment 31 translated by Anne Carson.
Performance:
Stereotypy for Solo Cello
i. acoustic ii. pedals iii. stereo bow
Suite Brute for Community Ensemble
i. bandwidth ii. Harpo's gonna eat his food iii. hand2hand
Ensemble: Lisa Sokolov, Will Johnson, Melaine Ferdinand King, Kolya Shields, Kian Frolic, Simo Klein, Yaniv Kot, Florence Wallis, Raina Sokolov-Gonzalez, Brian Mertes, Eamon Mertes, Chloe Zimmerman, and Isabel Castellvi.
Cello: Jake Sokolov-Gonzalez
Cinematography: Julia C. Liu and Keith Heyward
Audio Recording and Mix: James Moses
Still Photography: James May
Special Thanks to Andy Braddock and Dailen Williams.
Performed at Pyxis PVD (Jake Sokolov-Gonzalez, founding member)
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