Plan from 12/03

Eloise to do:

Chronology of album:

Long chronology

Color code of sounds perceived and conceived:

subsections as homogenized images

  • Tess and Spyros: finding core material

Introduction: SPYROS 2 minutes

  • We are going to outline how Johnny Cash’s Folsom Prison creates a sonic perception of prison’s reality. In so doing, the album implicitly outlines the conceiver of space (Columbia Records) as the sonic authorial editor of the album. The prisoners sound a homogenized impression of the pastoral outlaw, distancing from the visceral lived experience of prison life. Our research matters because we are showing that the album listener is provided with an incorrect view of prison reality, never fully recognizing the authenticity of prison life.
  • The Folsom Prison album offers an inauthentic sonic perception of prison’s reality as Columbia records conceive a homogenized ‘happy go lucky’ group of outlaws. Present a reinterpretation of the prison album through the sounds, rather than the music itself.
  • Focus on how prison is shown to the listener – not just an academic listener
  • Frame of reference: spatial trialectic process (Henri Lefebvre) Spatial triad Lefebvre: perceived, conceived, lived
  • SOUND OBJECT: audible phenomenon made whole via the act of perceiving, which can be qualified outside of the context from which it is extracted // not the physical object that produces the sound

I. Perceived reality, perceived space: Eloise 8 minutes

  • PRESENTATION OF SOUNDS claps, laughs when they are laughing
  • HOMOGENISED IMAGE
  • FICTIONAL PUPPETS
  • PERCEIVED SPACE
  • Visceral reactions: Schmidt ‘We must not wonder, then, if we really perceive a world. Rather, we must say that the world is that which we perceive’
  • Pastoral identity
  • Pastoral reality?
  • Perceived space: accepting space as it is without thinking beyond the fact
  • REDUCED LISTENING: listening to a sound object without concern for its causes and temporarily ignoring them (in a more habitual listening, a sound serves generally as both an intermediary for the objects to which it refers and a reflection of the event of its creation) — this attitude of listening: sonorous phenomenon is the SOUND OBJECT (Gobin)
  • INTENTIONAL HEARING: scientific, musical/technical, musical/artistic, aesthetic ( a concertgoer) etc… reduced listening as a form of intentional hearing → All objects perceived through sound only exist because of our intention to listen. Nothing can prevent a listener from vacillating, passing unconsciously from one system to another or form a reduced listening to a listening which is not reduced. (Schaeffer) via Gobin
  • TEMPORAL SIGNIFICATION: the evocation of these sound fragments of a sensation or image bound to the experience of time passed (an experience involving muscular tensions or observation of the movement of objects) (Gobin)
  • fuelling an impression of an (implicitly) its conception (Columbia records) and not allowing for an achieved lived experience of the prison. So THE PRISONERS ARE FICTIONAL/IDEALISE PUPPETS THE CONCEIVER PUPPETEERS IN ORDER TO CREATE PASTORAL PARADISE OF PRISON

→ prison guards as transition: supposed or real authority (?) End and announcements as focus

  1. Conceived space: Columbia records as puppeteer: Rebecca 8 minutes
  1. Announcements of prison guards – supposed, organising authority – those who are conceiving the space. Album ends with two guards, not Cash. Prisoners have to stay seated
  2. Why Columbia needed something to happen with Cash – the importance of conceived space
  3. Why Columbia want/ need a conceived space
  4. Editing / implementations in the prison
  5. Space created by Columbia records
  6. Instances of the editing in the album

Sound, Material:A New Reception (Two Readings for Johnny Cash presentation document)

providing a perception of reality

Conceiving space:

Cash as redeeming reputation humanizing

Conclusion: TESS 2 minutes

  • Gift shop of the perpetuation of the perceived prison space
  • Happy guards
  • ULTIMATE CONCLUSION: Greystone Chapel (Tess’ Man)

Questions:

How is the process of what you did relevant to your different disciplines?

What is the design process, what are you bringing to the presentation?

Deal with sound: historical context, production, prison and Columbia records

Don’t just describe things, this is an analysis

Everything you do is to further the argument

Be conscious of what we are bringing in

Questions are a part of it

Collaboration must be integrated

Everybody has to bring something in

Extensive: originality of what we are doing, the way it is being applied

Understanding what everybody has done

Nuance the argument still further

Want to know HOW the argument works

One thought on “Plan from 12/03

  1. This seems like you are grappling with fascinating ideas and I think you are seriously addressing the significance of the research for understanding the world around us. You have identified a fascinating tension that I think speaks to the way in which people perceive prisons. This seems appropriate and fascinating. I found it difficult to follow the sections that follow and envision them as a cohesive argument, but it is evident there is a lot of rich material underpinning your analysis of the album.

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