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imagineclaireandjamie · 6 years

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Could we get an update on As Yet Unread pretty please?

anonymous asked: I NEED AS YET UNREAD

femcoastie asked:Please forgive me in advance, but can I have some more of As Yet Unread, please and thank you. Truly from the bottom of my heart.

anonymous asked: Just binged As Yet Unread and it’s amazing! Might we get another update soon?

anonymous asked: I love As Yet Unread.. any chance of a new chapter on the horizon. I just love the story…I am fascinated to see how she recovers and where the story goes.

theaccidentalshipper asked: Will there be any more chapters of As Yet Unread?? I’m dying to know what happens after Clair gets out of the hospital and back to Jamie’s!

anonymous asked: Hello. Dying for as yet unread ( I adore it )

@sassyqueenmaker asked: Can you please write a new chapter of As Yet Unread??? 🙏🏻🙏🏻🙏🏻🙏🏻

Mod Note: It’s been a while so here are the links to previous parts should you like to catch up :) - Prologue 1. Prologue 2. Part 1. Part 2. Part 3. Part 4. Part 5. Part 6. Part 7.

As Yet Unread: Part 8.

“Claire!” Jamie called, turning the radio down as he glanced over to where she had been standing only moments ago. “Lass? Could ye find the kettle alright?”

Since her wild adventure weeks before, Claire had opted to stay more locally on her outdoor wanderings. She had found a local park only a stone's throw from Jamie’s place, it had a bench that sat next to a small coppice of trees and it was secluded enough that not many people frequented it - only a few dog walkers every now and again.

Rolling her eyes, Claire balanced the tray of tea on one hand whilst she rifled in the cupboards for the biscuits she’d thrown into the lunch basket. “Yep,” she hollered back, “I’ve got it Jamie, don’t worry.”

Today, though, Murtagh had called Jamie, coughing and spluttering down the phone. Suzette and Fergus had been sick with the flu the week before and he thought he’d gotten away with it -until he’d woken at 4am with a high fever. So Claire had offered her services to Jamie on-site. Even if she couldn’t do the majority of the heavy lifting and laying, she could keep him company through the day and fetch and carry should he need.

“I do know how to make tea you know.” She chastised as she placed the tray on a small table.

“Ye do know that I’m fine wi’ ye just putting the tea bag in the cup, aye? You didna need the fancy pot.”

“What do you take me for?” She scoffed, lifting the fine china lid to stir the tea bags around in the boiling water. “I make it the proper way, or not at all, Fraser. Now, milk and sugar?”

“Aye,” he chuckled, “both please, sassenach. One sugar, no’ too much milk.”

So far she’d just been collecting things from the van and supplying Jamie with an endless supply of hot drinks (coffee for the morning to perk him up, tea for the afternoon to keep him going) but being put to work gave her added purpose and she found that she enjoyed being busy.

“Could ye pass me the tape measure as well, lass?” Jamie asked, smiling as he held his hand out to Claire.

It had been a quiet few weeks, the job at the university had been completed and Murtagh and Jamie had moved on to a smaller project to help restore a small village hall on a local estate. Claire had spent any time in the flat whilst Jamie was at work researching new and improved recipes on the internet and had increased his vegetable intake ten fold. But she’d soon grown bored of the same four walls and Jamie had sensed a change in her.

“Sure.” She replied, passing him his cup before hunting for the tape measure in amongst a variety of intricate looking tools. “Do you want the five metre one or the eight?”

“There’s an industrial one somewhere about, sixty metres, I need that one if ye can find it.” He mumbled, his chin against his chest, a small pencil tucked behind his ear as he scrunched his brow whilst he inspected the flooring he’d begun to lay. “Can I have yer opinion as well, I’m not sure that the colour matches on these panels.”

“Don’t they come as a pack?” Claire returned, passing over the large yellow tape measure. “Shouldn’t it all be the same finish?”

“It should, aye, but it doesna mean that it is. Mistakes happen. One just looks a wee bit lighter - but it’s noticeable.”

Stepping over the myriad of equipment that lay on the cement underbelly of the floor, Claire glanced over at the few sheets Jamie had already laid down and tipped her head to the left. “I think that’s just the oak. See,” she pointed, “there’s a knot there that causes discolouration. That’s why it’s lighter. It’s just how the bark is but I think it’s nice, you know? Unique. You’ve used high quality products, natural ones, and it shows.”

Smiling, Jamie took a sip of his tea. “Ye’ve a keen aye, Claire. I’m glad ye offered to come today. I’ve really loved having you wi’ me.”

Claire’s ears pricked at the word ‘love’ and something stirred within her as she took a step back, the heel of her foot catching against the lino Jamie had already placed on the next part of the floor.

Her interest had been piqued by an offhand comment Susie had made one afternoon whilst they were having a picnic in the park. Murtagh and Suzette were the perfect couple. Both carried a picture of the other in their wallet. They both doted on one another, took care of their son and one another when they were sick. It was the kind of love Claire hadn’t seen before and her heart ached a similar phantom feeling even though she couldn’t pinpoint exactly when this particular desire had arisen.

Whilst buttering bread, Susie had looked at Fergus, readjusted his wee bib, wiped some milk from his chin and glanced towards the apartment block. “I always hoped Jamie would find something like this,” she had said, a sigh escaping her as she’d paused, “he and Murtagh are so close and so similar in many ways. I still hope for it, his own family.” Afterwards she had shrugged, not waiting for Claire to respond in anyway before turning the conversation back to a less complex topic.

“Have you ever been in love, Jamie?” Claire asked, the question falling from her lips before she could consider it wise or not.

Raising his head, his eyes caught hers -intrigue clear in his gaze- as he let the measuring tape slap back, loudly, into its casing. “Do ye mean have I ever had a girlfriend, sassenach? Or true love, like in the movies?”

Sweat pooled at the base of her spine as she considered his question. Having missed out on a usual upbringing she didn’t have enough knowledge movies to really comprehend what he meant, but she had a very basic understanding - a black and white variation of Jamie’s colour version.

“You’re a good looking guy,” she replied, assessing him as he stood staring with his hands balanced neatly on his hips, “I’m, and this is a massive assumption here, thinking you’ve been in relationships. But love, that’s something more special isn’t it? Deeper and more all consuming. I just,” she sighed, picking up her own cup of tea and swirling the beige liquid around the mug, “I’m curious. Murtagh and Suzette, the way they look at one another, it’s...rather exceptional, isn’t it?”

“Aye.” Jamie replied, his eyes softening as he watched Claire carefully. She had a glass face and he could see every emotion as they changed her features, the muscles in her cheeks twitching as her eyes got this far off look of fascination and yearning. “It’s a Fraser trait, ye ken. Did Susie tell you?”

“No, she didn’t. Can I hear it?”

Sitting on one of the abandoned bean bags that had been left in the space for them to use, Jamie patted the one next to him and beckoned Claire over. “Of course! Bring yer tea and sit over here and I’ll tell ye.” He waited until she was settled and looking at him once more before he started, a wistful look in his eye as he clinked his tea mug with hers playfully. “Frasers,” he started, winking at her as he took a large swig of his drink, “ye’ll come to ken, are a wee bit like swans. We mate for life. My grandpa and grandma were the first. My dad and mam the second. Jenny met Ian and within months they were engaged to be marrit. Murtagh waited the longest, I went to Paris for a year and he came to visit just before I came home, met Susie in a bar and fell head over heels in love. Wham. Like an anvil dropped on his head,” he quipped, “ like in those acme cartoons. He was a goner and stayed wi’ me until I was due to come home when he brought Suzette with him and immediately married her.”

“That’s some powerful magic.” Claire whispered, her mind conjuring the image of her own ill-fated relationship as she tapped her nails against her cup. “How did your mum and dad meet then? I knew about Jenny, of course, it’s one of the stories she told me when she came. But I don’t think I’ve heard about your parents.”

“Och, well, that’s some prime storytelling there, Claire. If I had any writing ability I could pen that wee tale and make some money, but it isna where my proclivities lie, aye?”

“That certainly sounds like a good yarn, tell me, please?”

“Here’s the thing, Claire,” Jamie said, a smile in his voice, “ye can ask them both yerself. They’ve asked if I’ll bring ye to Lallybroch next weekend but I didna ken if it was something you’d like. But now I think ye would. I can finish this off this week, hopefully Murtagh will be well again next week and we can take a vacation up there. What do you say?”

“You’d show me where you grew up?”

“Of course, lass! It’s a beautiful place.”

“I think that sounds wonderful.” Claire replied, smiling widely as she finished off her tea. “Knowing how well you tell stories, I can’t wait to hear your mother tell me her own.”

“She’s verra verbose, her and da love recounting the blossoming of their relationship. What I said about books before, I’ve told her plenty of times that she should write it. She’s a dab hand at weaving interesting and colourful tales and her own is truly wonderful. She used to rock us all to sleep telling it.”

“Then you should probably show me some of these films you mentioned before, the ones with fiction love in them, that way I’ll have something to compare it against.”“Trust me, Claire,” he returned, a hint of humour in his tone, “once my mam sit down wi’ ye, you’ll forget all of that Hollywood nonsense in an instant.”

“Ha.” She laughed, knocking her knee against his marrily. “I believe you. But it would be nice to know what you were talking about before, even if it is silly.”

“Then yer on. Tonight, after tea, I’ll find ye a cheesy film wi’ some sickly sweet romance in it for you, but don’t say I didn’t warn ye.”

#;Mod MBD #As Yet Unread #jamie x claire

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blackcoppicefilms-blog · 5 years

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This is my first short horror film. Please share and subscribe to my Youtube channel Black Coppice Films. Many thanks, horror hounds.

#horrorfilm supportindiefilm

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flauntpage · 7 years

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Thinks: Sound Artists Coppice Talk Visual

Noé Cuéllar and Joseph Kramer in conversation with Lise McKean

Coppice performing Pictures and Sounds, University of Chicago Film Studies Center, 2014. Photo by Julia Dratel

Coppice is interactions between the capture and generation of sound and music from custom designed and prepared instruments and devices. It draws from its glossary of study in bellows and electronics, and in digitally-seeded air from physical modeling and modular synthesis to form compositions for performance, recording, and moving image. Presentations include live performance for stage and installation settings, sound sculpture and objects, photography, video, and software.

Coppice was new when I met Noé Cuellar in December 2009. Since then, he and I have talked often and I’m a regular at Coppice performances. Joseph and Noé are artists’ artists. They’re inventive and insightful about their métier—and more. I’m grateful that they’ve agreed to continue our conversations as I research and write a book that explores visual thinking and objects in the work of sound artists.

Lise: Let’s get started by talking about visual thinking, the role of the visual in your work, and recent shifts to give more prominence to visual elements.

Noé: The photographs from 2009–2014 are based on specific objects and materials related to instruments from the live repertoire or installations. They’re partly documentation, partly abstracted extensions of the music. We think of the photographs as emblems, or as visual entries into the compositions, although recent compositions and their imagery have become parallel processes that cross.

Joseph: I think the connection is becoming more explicit. We’ll talk about a photographic process and then think about that action or that process in relation to the music directly, whereas before, they were running simultaneously, but maybe not necessarily speaking to each other directly, outside of putting it all together. I think an album like Cores/Eruct, there was a photograph that was taken for the inside of that had a lot to do with the way we wanted to put the music together and visually represent it.

Conceal from Vantage/Cordoned, 2014

Lise: In some ways, this is a retrospective conversation. Now you’re moving in a different direction with your new photographic works, but this exchange is about the previous ones so you’re thinking back on when you were composing the sound pieces, in terms of photography and images.

Noé: We can compare that approach to photography with the video Bypass. It opens on a black screen, then a little bit of visual noise from the camera being aimed at nothing. The visual noise and darkness go in and out. Then slowly, you start seeing an edge, and then more light information comes in, and then the edge becomes a circle. Then that circle becomes what you recognize as a funnel. The light continues to change, and the edges change along with the light. It’s a very slow process of an image coming to light, and then burning, like a photograph in a darkroom.

We think of video photographically, more to do with stillness, objects, and light, than with action or movement. We’re interested in the capture and generation of sound and music, and capturing the source objects visually as well, to see how these physical objects exist in music and in images.

Ingrown from Cores/Eruct, 2014

Lise: When you say the object exists in the music and in the image, is it that the object is being used to create the sound?

Noé: Yes. The backside of the Cores/Eruct packaging is a photo of a funnel. The funnel is one of the first sounds you hear when you play the CD. So there’s the sound of air through the funnel, and then there’s the image of the funnel. The funnel’s perspective may not be immediately recognizable, but in that comes the sensation of a funnel in a void.

Joseph: It’s a very strange, circular image that seems like it could be referencing all sorts of things. The focus is all strange because the funnel’s so tall, and the photographic process sort of flattens that out. It’s just an unusual, uncanny thing to look at. You don’t look at that and think, “Oh, I bet that’s what I’m listening to on the record.” It’s not like an instrument glamor shot.

Noé: Although there is a metallic relationship, which may be perceived in the sound. That’s very hard to say, because air against an edge… you can’t tell what the material is, and yet, having seen the image before listening may emphasize a metallic quality in the sound.

Lise: Just so I can understand a little more clearly, the recent video making has intensified your interest and your inquiry into photography. At the moment, we’re talking specifically about photography. For our larger conversation about the visual in relation to your work, I’m thinking more generally. For example, the visual objects or forms that you imagine, construct, hear, and see in your sound practice—and the ways you conceptualize these visual and sonic objects before they are used in photographs or video, whether they’re made for documentary or other purposes.

Noé: I think it is in conversation with you that we’ll find a way to talk about that. We work primarily on sound and music, and the visual work has supported that focus. However working visually is increasingly becoming part of the process of composition, presentation, and representation

Open On Occluding Devices, 2017 (screen Coppice’s new work)

Joseph: It has mattered for us in the past as well. We’ve been playing on a wooden table because the way things look is important, and so playing on a plastic foldout table is not something that supported the music well, or the experience.

Noé: There’s something about the surface where the instruments are placed.

Joseph: We performed facing each other for specific compositions, always sort of locked together, facing one another, in the middle of something. That kind of visual presentation was very intentional and important to the music.

Noé: Performing Compound Form in that orientation was partly visual and partly technical regarding microphones and processing. However it was a technical specification that was very inflexible, leaning towards installation even if we performed it on stage settings. Those performances had a visual identity of symmetry, like a close-up duel between an 1890’s portable pump organ and a modified dual deck boombox. The music emerges from the relationships between the conditions of the instrument and the device.

Lise: Let’s unpack that.

Noé: It’s the bringing together of pump organ and tapes. In that pairing comes a music that is archival, in a way. Even though it’s happening now, it comes from instruments of altered conditions with relationships to age. To place the tape machine on a folding wooden table is to form a relationship to the wood of the folding organ. It’s an environment.

The back photograph of Vantage/Cordoned is light through foam. Foam isn’t an instrument, but it’s what we use when transporting the pump organ around. What’s around the instrument is important, and that’s how some materials from the photographs were selected. We think of them as “peripheral materials.” The sound sculpture exhibition Vinculum (Passes) was the first instance of, what if we bring these materials together into sculptures, rather than instruments? What if sounds from our instruments are induced into these materials, as to extend their identity?

Lise: As I listen, I’m thinking about the materials Noé described, the wood, metal, foam and the different modes of perceiving and thinking about them individually and together. And about your shift from looking at them as instruments to considering them as potential sculptures. So here’s the question, Joseph. What about all the electronic stuff?

Transformer from Vinculum (Passes), 2012

Joseph: The gizmos. The table of stuff.

Lise: The gizmos and their appearance. The knobs, the wires. I’ll just call them electronics. Whatever forms they take, which are probably going to be supplanted and archival before long.

Noé: Just to put an asterisk on that, we’re already thinking of air being archival, so we’re faking it. Fake air! The theme of archive came up very early into the collaboration with Vinculum.

Lise: So if we think about threads that have continued throughout your collaboration, then archive is important.

Noé: It would be a major one. We ask ourselves, is this an archival photo, or is this an artistic photo? Some of the photographs have a scientific feel because they’re objects in sterilized or blank spaces.

Lise: You said archival as opposed to an artistic photo. Are you using it in the sense of documentary? Artistic things can be archived too. To me, an archive is something you keep.

Joseph: Archives are not necessarily neutral or bland, they’re just collections.

Noé: I think they’re at that edge. Lighting can create mood and guide the viewing more towards aesthetic or abstract viewing rather than neutral viewing, which is how I tend to think of the perspective of archiving or documenting. These are boundaries we’re exploring now.

Droopy, 2013

Lise: It seems you have interesting Duchampian questions here. He was asking similar questions, for example, to what extent does context drive and define perception?

Noé: What is it to take it out, to see an object in a vacuum? It is what it is. You hear it and you see it. It exists in multiple realms.

Lise: When you make those photos, are you thinking of a sonic experience? What the sound was and the experience, the quality of the sound itself.

Noé: Not so much representing specific things, but just the mood.

Lise: So how hearing it might make someone feel—the experience of listening. And in a way, you’re translating the sensibility. You can’t have a visual experience that’s a one to one equivalency with a sonic experience, but there can be resonance between the feeling associated with the two experiences.

Joseph: It’s an interesting question, because I don’t think the images are particularly sonic, in terms of how they end up looking. They don’t make me think of the way the music sounds, but they make me think of the way the music feels. The impact of the sound and the sound itself are very different from each other.

If you were going to represent the raw sound of the album, these images would have to be much more complicated. But if you’re trying to represent some aspect of the impact of the music, then you are of course reacting to the sound, but you’re not representing the sound. You’re representing your internalizing of that. I think it’s a very weird thing to think about representing a sound by showing an object, just like I think it’s a weird thing to think you’re representing a sound by creating a recording with a microphone or even with two microphones. I think that’s a big part of archive being our work, and what I keep saying about the funnel as an object, and then the funnel a second time as an image, and then the funnel again in the sound world. We have an archival recording of the funnel, but it’s being activated by air being blown across the edge.

Noé: And neither make sound on their own.

Shruti box in Memory of Whisper Room, 2014

Joseph: Neither of those two things would make a sound, but we put them together, we framed it, we gave it time. Why did we do that? I’m not sure the question, is it an art piece or an archive is really the question, as much as how are we thinking about what it is we’re capturing. Whether it’s a photo or an object, thinking about this funnel is unlocking a lot of thoughts that I have.

Noé: I think the question is important, because we’re not choosing a funnel only because of the way it looks, but its relationship to age, material, and the instruments. That funnel and other objects might not have been around if it weren’t for the instruments. The instruments cast an environment of objects.

Lise: In environment, you’re talking about the relationships, the context, and again, the sensibility. It’s not just the materiality, of course. It’s the connotations of the objects themselves, being historical and antiquated. A funnel that size, one thinks of equipment, mechanics.

Joseph: A car, or larger.

Lise: It’s not like my kitchen funnel that I tried yesterday, in vain, to make coffee. I put one of those paper coffee filters in it. All the water rushed through that one point and ripped a hole in the paper filter.

Noé: The functions and processes that belong to these objects, right? Even when we go back to saying, why foam? Foam may seem an unimportant material, but it points to the protection for the instrument.

Lise: What’s foam? It’s a lot of air.

Joseph: Yeah, it’s aerated plastic.

Noé: It’s porous. The through-ness of funnels, and the foam, too. The air through the object.

Lise: And the foam makes it possible to move the organ to get it to the performance. It’s this spongy structure. It’s sort of a contradiction.

Noé: Copper mesh, or even this ring, air goes through it. The fire bellows over there on the wall, or these, that, the mesh.

Joseph: For any of the raw things and any of the mechanically powered things. For the electronics, things change a little bit, but it’s still about pushing through. It’s just not air anymore. It’s air that’s been captured and has to change domain.

Lise: With the electronics, it’s electrical impulses.

Joseph: Changing air pressure comes in as a varying voltage. Then, if it gets recorded to the tape, it has to be converted into a magnetic field that then becomes orientations of mineral on the strip of plastic. And then, of course, back to voltage again, until finally it gets back into the air somewhere. Maybe through a speaker, or maybe it gets passed through some copper as mechanical vibrations in a solid material.

Lise: When you said that, about how it gets back to air again, because that’s how we hear it, right? The sound waves come back to us through the air. Thanks Joseph for that sonic lesson. As an anthropologist, I shift perspectives too. Like what you described you’re doing with the funnel. We’ll return to this in later conversations, so this is a preliminary: How do you place sound art within the larger field of contemporary art.

Noé: I was recently in Arcana, an art bookstore in LA. I couldn’t believe it had a sound art section!

Joseph: A bookstore had a sound art section? That’s great. I’ve heard it said that sound art people get pretty defensive in art contexts, and I don’t feel like that’s true. But I do feel like we still have to be a little bit insistent that there’s a lot of art made with sound, and that there are some assumptions made about contemporary art that seem to fully ignore the history of sonic practice.

Noé: Visuals are not unrelated to the other senses, especially the sense of listening in our case.

Coppice in performance at Silent Funny, Chicago, 2016. Photo by Nathan Keay.

Catholic Craft

Top 5 Weekend Picks! (5/30-6/1)

Gallery showing that skips the pretense, Art you can drink

Top…4? for 7/3, 7/4 & 7/5

Entrance Exam: Claudine Isé Appointed Executive Director at Woman Made Gallery

Thinks: Sound Artists Coppice Talk Visual published first on http://ift.tt/2pLTmlv

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horrorpatch · 2 years

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Official Trailer - DEMONS AT DAWN Coming This Halloween!

Official Trailer – DEMONS AT DAWN Coming This Halloween!

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#Black Coppice Films #Demons At Dawn #Randy Kent #Vampires

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moviesandmania · 3 months

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WEREWOLF CABAL (2022) Reviews and now free to watch online

‘Welcome to the pack…’ Werewolf Cabal is a 2022 British comedic horror film about an American author who uncovers a secret cult of people who worship a lycanthrope. Written, directed and co-produced by Chris Sanders (Demons at Dawn; Blood Prison short; Nest of Vampires). Also produced by Steven Robert Alexander. The Black Coppice Films-Jacuzzi Entertainment production stars Vernon Wells, Dani…

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#2022 #Bill Victor Arucan #British #Chris Sanders #Dani Thompson #free to watch on YouTube #free to watch online #horror #Lisa Hinds #movie film #Shawn Alexander Thompson #Vernon Wells #Werewolf Cabal

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jefelen-presents · 6 months

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"Werewolf Cabal" (2022)

Tuesday, October 31st, 2023 (23:45) JEFELEN would like to cap off this fecund #Spooktober season with one final piece of suggested viewing: having served as Associate Producer for Black Coppice Films™ (in conjunction with Jacuzzi Entertainment™) on the British creature-feature, "Werewolf Cabal", as written and directed by Chris Sanders, it's a pleasure to finally announce that it is available for public consumption!

http://www.blackcoppicefilms.com/werewolf-cabal

An American horror novelist travels to a small idyllic rural town in Britain to resolve estranged family business. During his stay, he circumstantially uncovers a clandestine cabal of locals who worship living werewolves!

Full disclosure: this movie was in actual fact released back in December of last year, but the rollout to streaming services was deemed too dilatory to present comprehensively at that time, so holding off until this subsequent occasion seemed to be a more appropriate course of action. Being that it's now Halloween (wOoOoOoOoOh!), what better time that #FrightNight itself to sit down and indulge in this presentation through one of the following digital providers?

Amazon: http://www.amazon.com/dp/B0B6SV7GKP

Prime Video™: http://www.primevideo.com/…/0QB6KNULOFS68ZE1UUT96N4370

Reveel™: http://www.reveel.net/programs/1300888/werewolf-cabal

Apple TV™: http://tv.apple.com/movie/umc.cmc.3iv674a0rfx0j9ov45t2jt3gp

Google Play™: http://play.google.com/store/movies/details/…

Plex™: http://watch.plex.tv/movie/werewolf-cabal

Tubi™: http://www.tubitv.com/movies/707913

Freecable TV™: http://www.freetv-app.com/…/werewolf-cabal-webChannel…

Rewarded TV™: http://watch.rewarded.tv/movie/p69BQu2PdKZh-kn78ebbe17

The last in this list is a new one on me, I have to admit... and appears to have the potential to be a particularly rewarding viewing experience, indeed -- will have to investigate further in due course...

#WerewolfCabal #ChrisSanders #BlackCoppiceFilms #JacuzziEntertainment #WelcomeToThePack #AvailableNOW

youtube

BREAK!!**

Tuesday, March 12th, 2024 (12:34) 2024 UPDATE: "Werewolf Cabal" is now available to watch in its entirety on YouTube™ for FREE, courtesy of the Stash TV™ showcase channel:

http://www.youtube.com/watch?v=jWM7GutUPHQ

This service is similarly available through Fire TV™:

http://www.stash.tv

youtube

#2022

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cultfaction · 2 years

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Demons at Dawn trailer released

From director Randy Kent and writer Chris Sanders, and coming this Halloween, beware the Demons at Dawn. It will be available on digital platforms October 28th 2022 from Black Coppice Films Ltd. Starring Dani Thompson, Amber Doig-Thorne, Bill Victor Arucan, Stacy Johnson, John Altman, Andy Gatenby, William ‘Bill’ Connor, Chris Sanders and Crystal J. Huang, the chilling horror film follows a…

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#Amber Doig-Thorne #Andy Gatenby #Bill Victor Arucan #Chris Sanders #Crystal J. Huang #Dani Thompson #Demons at Dawn #John Altman #Randy Kent #Stacy Johnson #William ‘Bill’ Connor

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nofomoartworld · 7 years

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Thinks: Sound Artists Coppice Talk Visual

Noé Cuéllar and Joseph Kramer in conversation with Lise McKean

Coppice performing Pictures and Sounds, University of Chicago Film Studies Center, 2014. Photo by Julia Dratel

Lise: Let’s get started by talking about visual thinking, the role of the visual in your work, and recent shifts to give more prominence to visual elements.

Conceal from Vantage/Cordoned, 2014

Ingrown from Cores/Eruct, 2014

Lise: When you say the object exists in the music and in the image, is it that the object is being used to create the sound?

Open On Occluding Devices, 2017 (screen Coppice’s new work)

Noé: There’s something about the surface where the instruments are placed.

Lise: Let’s unpack that.

Transformer from Vinculum (Passes), 2012

Joseph: The gizmos. The table of stuff.

Lise: The gizmos and their appearance. The knobs, the wires. I’ll just call them electronics. Whatever forms they take, which are probably going to be supplanted and archival before long.

Noé: Just to put an asterisk on that, we’re already thinking of air being archival, so we’re faking it. Fake air! The theme of archive came up very early into the collaboration with Vinculum.

Lise: So if we think about threads that have continued throughout your collaboration, then archive is important.

Lise: You said archival as opposed to an artistic photo. Are you using it in the sense of documentary? Artistic things can be archived too. To me, an archive is something you keep.

Joseph: Archives are not necessarily neutral or bland, they’re just collections.

Droopy, 2013

Lise: It seems you have interesting Duchampian questions here. He was asking similar questions, for example, to what extent does context drive and define perception?

Noé: What is it to take it out, to see an object in a vacuum? It is what it is. You hear it and you see it. It exists in multiple realms.

Lise: When you make those photos, are you thinking of a sonic experience? What the sound was and the experience, the quality of the sound itself.

Noé: Not so much representing specific things, but just the mood.

Noé: And neither make sound on their own.

Shruti box in Memory of Whisper Room, 2014

Joseph: A car, or larger.

Lise: What’s foam? It’s a lot of air.

Joseph: Yeah, it’s aerated plastic.

Noé: It’s porous. The through-ness of funnels, and the foam, too. The air through the object.

Lise: And the foam makes it possible to move the organ to get it to the performance. It’s this spongy structure. It’s sort of a contradiction.

Noé: Copper mesh, or even this ring, air goes through it. The fire bellows over there on the wall, or these, that, the mesh.

Lise: With the electronics, it’s electrical impulses.

Noé: I was recently in Arcana, an art bookstore in LA. I couldn’t believe it had a sound art section!

Noé: Visuals are not unrelated to the other senses, especially the sense of listening in our case.

Coppice in performance at Silent Funny, Chicago, 2016. Photo by Nathan Keay.

Wednesday Clips for 8/19/09

Art:21 blog on Kerry James Marshall’s First Solo Exhibition in Canada

Episode 418: Amy Spiers-Open Engagement 2013

The Hounds of Love

The Rematerialization of the Art Object: Stone, Soil, Words, and Wood; A reflection on Chicago artists participating in documenta13

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