Transfusion: Video, Topology, Sisyphus

Still from the video clip to the TJ Eckleberg remix of the Tom Kazas song, Transfusion.

Still from the video clip to the TJ Eckleberg remix of the Tom Kazas song, Transfusion.

Q: ??

A: Interesting you should say that, because working on the video clip to Transfusion -TJ Eckleberg remix brought back some of my curiosity about the links between topology and psychoanalysis. It reminded me that the lyrics to Transfusion are from the time I was making my cinema poem (short-film) the Topologist, that in many ways was trying to explore these connections. In simple terms, topology is study of the folding of space, the preservation of properties of space under transformations. This subject matter can also be imagined as the terrain of unconscious drives and desires; where separated histories and urges can come into connection, or where accepted associations become disconnected, where shape does not have to correspond to content, and where visually, (in a somewhat literal rendering for the Transfusion video clip), a multi-surface multi-angled scene represents such psychoanalytic structure and tension, or torsion, if you will. Loss, not only of present fixed co-ordinates, but of nostalgic co-ordinates and future co-ordinates, requires (and required of me in the making of the Topologist), a new way of seeing the world.

Some of these ideas were expressed via the narrative (or more appropriately the anti-narrative) of my film the Topologist; with its unidentified polyvocal voice-overs, its episodic sequences, and its representation of no ‘real-world’ terrain, that tries to question metaphor. With the video clip to TJ’s remix, all this was able to come together in a new way with the inclusion of the 3D image manipulations I created of a still from the Topologist. These image transformations (as seen in the image above) depict this multi-dimensionality and contrasting orientations, with that tiny figure of the topologist himself present in some of these Escher-like and Dora Maar-like scenes.

I was thrilled that TJ’s remix focussed on the lyrics: “I stepped out of the water, walked in from the weather”, because this couplet condenses the idea of transition from one terrain to another, of transformation from one shape to another that struggles for coherence. It poses an escape from a dense bounded space (in the lyric: a bathtub) to a somewhere-else, from a site of elemental turmoil (in the lyric: the weather) to a new space, that in many ways become equally challenging for the topologist. You see, as experimental as I tried to make the Topologist, that is, with its non-narrative features, the lyrics to the song Transfusion are certainly narrative in form. Namely, they describe a journey over time, where this movement can be plotted and its parts related, intentionally problematic as they made be. Elements of the ‘absurd’ now enter, especially with the sense of the absurd that Camus wrote about in his treatment of the myth of Sisyphus. That book became inextricably linked to my lyrics, that found some form in: “I revel in the burden that’s rolling up and down the hill.” But Camus’ book, the Myth of Sisyphus, deals with so much more. For example, how suicide as a response to the absurd is not an acceptable option; not a somatic suicide, not a psychological suicide, not an abandonment or apathy. But it precisely identifies the need for struggle, for a freedom that only becomes intelligible in the face of the absurd. One begins to see the political in this story.

What became interesting to me were the deeper layers to the character of Sisyphus. Sure, he was given an absurd punishment, but Sisyphus is not simply a criminal, nor a simple criminal. He can be understood as a hero. The Greeks certainly rendered him as such. He was a hero that challenged and disobeyed authority, the Law. He was equated with that other great hero who disobeyed authority, Prometheus. Prometheus was also given an ‘eternal’ punishment, but we celebrate his crime because it becomes the very beginning of humanity; we understand this act as a gift. However, this gift is not just that of fire, (the arts of civilisation), but one of the ‘act of disobedience’ itself. Eric Fromm identifies that civilisation can be understood to have been founded with acts of disobedience. It was this Promethean disobedience that brought civilisation to humanity. In the biblical myth, it was Eve who disobeyed and precipitated the Fall, that allowed humanity to begin. These Western creation myths embody, at their very heart, acts of disobedience. It is not a stretch to see that for society to evolve, at many levels, we need to acknowledge this deeper sense of the role of disobedience. (Fromm is clear to differentiate between the right and wrong kinds of disobedience.) Authority, whether political, economic, patriarchal, theological, cultural, etc, needs to be challenged by humanity for society to exist. For me, this is a crucial insight. Sisyphus, in the hands of Camus, becomes a character that disobeys, rebelling against the absurd of his situation. It is in this act that a deeper sense of emancipation is created; a rupture in the repetition. As Camus writes, “one must imagine Sisyphus happy,” and happiest in this situation. So that if freedom means anything, it means a predicament that necessitates struggle, and so this becomes the definition of happiness. These ideas were irresistible to me, so I had to title my ep, (the one that contains my mix of the song Transfusion), ‘Sisyphus Happy‘.

I won’t go into it here, unless you ask me a question on this, but the other major theme on that ep is the tension between presenting different remodellings of one song on the same ep. (There is yet another version of Transfusion, on this ep, called Revel in the Burden). The ep problematizes ideas of the original versus the copy, of cause and result, and of discovering alternate meaning by juxtaposing these remodelled versions. It comes full circle by trying to equate these songwriting ideas with the Sisyphean moments between ascent and descent.

Trying to make sense of all of this can be seen as an act of transfusion; of absorbing this absurd predicament as a life generating act, even as a therapeutic act. My lyric, “I read words for transfusion” not only references that act of reading Camus’ book, but also that words and language, with their structures (and poststructuralist implications), are a way to allow/restrict movement inside this topological terrain. I have never written many narrative song lyrics, and when I do, they generally start off as word poems, with the poetry of the music arriving much later.

Q: ??

A: …

Shimmering Reverb: Presence and Absence

photo from @EARTH_PICTURES

photo from @EARTH_PICTURES

TJ Eckleberg has devised a clever a method to achieve a shimmering ‘tuned’ reverb. This is detailed in an audio-video demo piece found here.  I can imagine situations where this would work a treat, as it does in his Emm Collins/Celemony example at that post: layering a chord, grabbing only the newly created notes and sending those to the reverb – lush. TJ of course acknowledges the Eno-Lanois ancestry and this effect, but kudos to him for detailing and demoing this method. Surely Celemony can invent an algorithm that encompasses these multiple processes to create a new audio plug-in, that might even be called…Eckleverb.

TJ’s ‘shimmer-verb’ method, by way of contrast, draws our attention to the operation of ‘standard’ reverb. This being that standard reverb is much less ‘tuned’, (dependent of course on the nature of the input source, among other things), or at best is one that achieves a smearing of pitches. It is this ‘un-tuned-ness’ that separates the reverb from the rest of the track, that allows space to be defined. This becomes a rather unique sonic position in the mix, given that everything else in the mix is tuned. (Although, this distinction is not that clear given some sounds, e.g. percussion etc, lack an easily discernible ‘note’.) In any case, if every other element in a track is tuned, a tuned reverb has to then compete in that dense tuned space. I’m not suggesting that such a sound would be unappealing, (quite the opposite), but I want to make the point that this new tuned-reverb becomes subjected to the challenge that all mix engineers encounter, that of trying to clarify and separate elements in a mix. As in TJ’s online demo, the sparser the setting, the more this tuned shimmer-verb becomes a lush and engaging element. However, one could argue that the act of creating this ‘shimmering’ already puts the reverb on the path of separation, away from our finessed and habituated listening to the qualities of standard reverb. Yet, what is of more interest to me is the very nature of all reverb itself, that a shimmer-verb allows us to highlight, that has implications for our sense of presence and absence in a sound world.

Initially, this leads me to think about another way of achieving reverb: the piano-sustain-pedal-method. This is one of my favourite acoustic experiences: press down on a piano’s sustain pedal, then simply shout at the strings. What is heard are the freely resonating strings; some in sympathy with the pitched parts of a shout, and others (I assume) reacting to the pressure waves of air. This shout (the cause), activates the ‘tuned’ piano strings (the result), where the moving air is translated into a tuned response by the piano strings. Ok, an electro-magnetic transducer, (mic or speaker etc), is much more impressive, and what I detail is an obvious (if a little unconventional) analog technique, but it does reveal that individual sounds have tuned components, and that any untuned components can be transduced as pitch. But there is a deeper transduction taking place in the use of reverb in sound production.

The beauty of TJ’s method is that it isolates the tuned-ness of the source, creates new harmonic layers, and shoots those new portions only to a digital reverb. And here is the point: this operations creates a ‘presence of something that is absent’. One transduces an absence into a presence by appealing to space, to a bouncing-back, to reverb. In simple technical terms, what we ultimately hear  in TJ’s demo is the ‘wet’ reverb only (the result). We do not hear the ‘dry’ pitch-shifted signals (the cause), for they are not put into the mix. It is not just the sensual texture of the resulting shimmer-verb that is engaging. For me, this operation creates the strong feeling that something can exist without any clear, direct, (or even conscious) referent or access; that only a remnant of something, in itself often hard to define, becomes present in the soundscape. Like a haunting memory of an event we are unaware of, or even the residue of an event we have never witnessed. It is this psychological effect, or rather the psychoanalytic effect, and certainly the psychoacoustic effect, (in this case more appropriately ‘affect’) that becomes overriding in the creation of a deep and reactive sonic space. A new emotional resonance is created by the predicament of a distinction between presence and absence.

It is this predicament that has always engaged me. The piano piece Berceuse, (from my album Verdigris), offers a rather extreme sonic example of this presence/absence binary, to the point where ‘absence’ becomes the privileged term. In this piece of music, the original cause, the piano, is absent. Only the many treated manipulations of that piano remain, that include variations of shimmering reverbs. A lush orchestral enormity replaces the small singular piano part. In this way, the piano becomes so much more than it could ever be, but only by its removal. To me ‘Berceuse’ is an example of, and clearly suggests that, results of an event can become so much larger and absorbing than the original cause; that features of the result are not present in that cause. Furthermore, it suggests that sometimes the original cause cannot be decoded, or retro-interpreted, from any resultant artefacts. The original cause becomes much less important (or at least much less sonically complex and interesting) than the result, and that only the remnant can take on new proportions and new meaning.

I think that we hear some of this predicament in TJ’s Emm Collins/Celemony demo. I suggest that one is responding to the situation, (consciously or not), whereby the source of this shimmer-verb has no presence in the dry sound world; that it becomes a ghosting from an imaginary event, and that a new and much stronger emotional power is created precisely by this separation, by rendering this distinction audible. One could even remark that this shimmer-verb allows us to hear the ‘potential’ of the lead vocal line, that is only expressed in the ‘actual’ reverb. I, like many others, have always found reverb astounding.

I think I’ll go and shout into my piano.