vidastransmutationgestation
Vidastransmutationgestation.
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Guide
This research workbook is organised into four sections:
Project: documenting work on the central project of this year - completing my EP, sharing it publicly and articulating my practice
Process: documenting the development of my creative process and practice and research I have undertaken in that regard
Attunement: Exploring artists, makers and thinkers I resonate with and who I have been influenced by in this process of creation
Naming: documenting moments of understanding in the naming and articulation of my practice, process and role as a creator
You can identify which section each post is focused on by the hashtag below it.
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Moving forward
Next steps
*Translating the EP to live and gigging it - First gig of which will be Mermgrown in Pōneke, followed by a gig at Whammy in Tāmaki
*Making music videos for the EP with Thunderlips of Candlelitpictures. Very excited as I’ve know them since I was a small poet and there incredibly good at what they do, have made some of my favourite music videos in NZ including any of Sheep, Dog & Wolf’s videos
https://candlelitpictures.co.nz (watch this space)
*Discussing signing to Estère’s label so I can release the record on 30-inch vinyl. I will either sign to a label or independently launch the record into the public stratosphere ASAP
https://www.esteremusic.com
*Consolidating my work and practice onto a website so my writing, music and performance is in one place
*Work on translating the EP for a live choral performance with Igelese Ete
*Begin work on the next batch of music with Elena Sijic following funding from NZonair https://elenasiljic.wixsite.com/website
Keep making work!!
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Crystalisations
More and more I am coming to understand education as ‘to know your gift and how to give it’. I feel in the fullness of my being that I am a performer and that I share through communal ritual. I am immensely grateful for the space I have been allowed to come to this crystallisation and naming.
Now that I have for definition and formation of these words I intend to holistically embody this practice through repetition, discipline and the navigation of joy. I walk towards the embodiment of Somatic Sci-fi
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Reflections
This past year has been of immense value to me. The central piece for me has been the physicalisation and articulation of my practice. Through the conjunction of the completion of the EP, the sharing of my music at You Fill My Cup And I’ll Fill Yours and the naming of my practice of Somatic Sci-fi I feel I have made real steps towards knowing myself as a creative practitioner, performative Chanel and practicer of ritual. I have come to know more deeply the rhythm of my process, made real steps towards embodiment of the kaupapa I believe in (and ability to communicate and activate this kaupapa) and actualised the sharing of my practice. I am deeply deeply grateful for the support of my lecturers, Whanau, collaborators, friends and members of my community, without whom this would not have been possible. I am excited to continue to share the gifts I was put on earth to share. I am excited to follow my joy.
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Final Install
Installs are not a natural part of my process and I got a lot of guidance from Mike and Rachel as to how to install this album in a way that clearly places the sound as the central work (keeping in mind I was unable to have the music on speakers due to it being too disruptive to other works). For this reason I chose to place the headphones closer to the center of the space, I choose the chairs because I thought they were sci-fi esq in a kind of David Lynch collaborating with Flying Lotus way and also because they are really really comfortable, and it was important to me that people could zone out for the full 23 minute duration of the EP if they felt so inclined. The visual is a very short loop and again serves the purpose of being almost hypnotic building a visual context for the sonic of the EP.
The initial plan for the visual was to have a 3D digital rendering of my face as Takashi, with my mouth open, singing and turning to water. The animator initially thought this would be a straightforward task but during the process discovered this was much more complicated than he initially anticipated (as it involved digitally rigging a bone structure and connecting this bone structure to the skin so we could open the mouth. We got as far as reconstructing my face digitally (see above) but weren’t able to connect the skin to the rigging/bone structure to open the mouth. In a quick 180 we spent a day together in which we re formulated the design to be the mouth only, with the title of the EP on the tongue (the font of which is my own handwriting) and water flowing out of the tongue. While this doesn’t establish the Takashi character as clearly it does visual the ‘singing hydration’ concept and I think still works really well.
The top image is my stand-in video from an earlier singing hydration test. All in all I think the install serves the purpose of creating a space that nods to the world of Takashi but ultimately prioritises focus on the music really well.
The bottom image is the final animation I chose to go with.
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Album
https://soundcloud.com/vida-gibson/sets/aquotopialien/s-75l6Eo7TEPq?si=355b016fc57344a490ce3b01f28555f0&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
I FINISHED IT!!!!! What was initially intended to be a 2-3 song EP is now a 7-track 23-minute body of work, and it is a body of work I am really proud of. It is not perfect and there are things I would do differently but that has also been part of the learning - that you need to know when to stop making changes and let it go into the world. It feels like the right time to let it go. I have learnt such an enormous amount in this process but the biggest learning is that the ideas for projects that exist as dreams and ambitions are absolutely possible with the application of commitment, time and dedication. Making an EP has been such a long-held dream for me I feel deeply proud of seeing it through. Now I can’t wait to make a full length album!
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Feast/Live
Through You Fill My Cup And I’ll Fill Your’s I was able to share my music (at that point still in development for the first time with the public. I define my work by the space in-between performer and audience and therefore I do not see my artworks as ‘works’ until they have been shared - viewing the audience's presence with the work as the competition of the circuit from universal radio/cosmos, to me, to embodiment, to reception.
This event was brought me immense joy. In the last photo you can see audience members pashing on the dance floor - to me this is the ultimate affirmation I’m doing what I’m meant to be doing with my work. It felt incredibly good to feed everyone, offer them a dance to listen and watch not only the work but also each other, have a space to dance and a space to pash.
At the end of this event Nicoletta (who is the manager of Vogelmourn) called me and said she was so moved by the event that she wanted to donate the venue hire. Through this event I was also able to platform Nicoletta’s artwork (work that she had never before shared with the public) and after the event she told me she was never gonna hide her work again. This felt truly meaningful and to me was the principles of kinship in practice. Since the night of the feast Nicoletta and I have discussed turning the event into a regular series - having practitioners of a multitude of disciplines and experience but consistently having the sharing of food and communion at the center of the event. I am immensely excited by this prospect - of having a series to not only have a consistent platform to experiment with performance but also a platform to practice being in communion and embodying communion.
Through this event I also discovered another facet of my practice - that of producing and curating events That night we fed and entertained over 60 people - I’m deeply proud we pulled that off and I’m proud of the way I lead that process. I’m excited to create more spaces that are grounded in a love ethic and to fill them with art and ritual.
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Essay
Writing has played such an important role over the duration of this degree. It is through written explorations I move from the intangible to the tangible, unknown to known. Through the practice of written self-reflection, I have come to know so much more about myself as a practitioner. I have learnt I am a practitioner of ritual, my instrument is my own body, my primary material is the space in-between or wana and I am here to create experiences of embodied collective joy.
Through written self-reflection, I have come to name my practice Somatic Sci-fi - understanding my practice to be one of live embodied world-building, of building radical utopias through eruptions of sweat, tears and laughter, through shared, ecstatic wetness. I believe the practice of naming serves not only the purpose of crystallisation and articulation but also serves the purpose of communal recognition. I am deeply grateful for the space this course has given me to know, name and articulate my practice as it is through the vocalisation of name that I may begin to take my practice outside my being and into the being of my wider community. It is through naming that I may share my gift in service of love.
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Bass and flute notes
Takashi bass notes
Marks take
-dont like the rises, or up licks, or turn arounds
On open up and breathe hits a note out of the key center
Needs more flow maybe an effect
Toms bass
Catching the 2nd’s is great
Catch Connors vibe and tonic changes
Focus more on supporting vocal
RETURN TO CONNORS VERSION
Rhodes feels
Add Hannahs BV line
Flute session - to mirror sesame st lick on keys
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my production notes
FAILURE
Bring lead verse way further forward in mix
Fix triplet figure out what its meant to b
Drum solo too long has to come in really hot and crazy and take the energy of the track, symbols r good
Bring vocal up at end
Take effect off for siren
Monkey Mind
-take a plane out
-Take marks bass out put toms back in
-Echo off drums and voice
-Like the tone on the sticks
-shaker off?
-like it from back and forth
-dont like Bellas talking
Dont think we need bass there at all
Is end just too long? Feels too long
Take some flute off towards the end
Does it need like a sesame st thing or something there?
GET IT FEELING KINDER AND LIGHTER AND THEN YOU’LL KNOW WHETHER THE SHAKERS AND BELLA IS TOO MUCH OR NOT
Family
Not too much silence, just a little melody, smooth as it can be
Less big gaps
Is there reverb on the vocals make it softer?
like having more thunder
Take out third round of I dont know
Line up lines
Timpani quite
Just have timpani and lower pitch
After timpani get last phrase turf
Add the first phrase at the end
Time wars
take off or bring back some of the bass effects
Take out vocal wind completely?
You’ve gone away high harmony too forward in mix
More space
Main things are taking plane out his bass out and effects of my voice
MIX NOTES
Firstly - awesome
How gay - Takashi = perfect.
Takashi - failure = don’t think the timing is right or drums right?
Failure - monkey mind = no plane
Monkey mind - time wars = perfect
Time wars - family = perfect
Family - cells = think we need crossfade
ORDER
Failure
Takashi
Time wars
How gay the space age
Monkey mind
Family
Just know - more suspension at the end
Where are we at the end of it, needs the memory at Takashi, u become iridescent and radiant and u need the iridescence left in the ether. Earth would be raising its place in space by this point
SONG NOTES
Failure - when the drums first come in it’s too loud. A drum solo is too long and the lead line doesn’t have enough space in it. The ascent was better before. Go back to that mix.
Takashi - Intro, add echo onto drums and voice, maybe add 2-4 bars (needs to be more interesting) maybe backing vocals a bit loud?
- ending, the vocals fade out too soon, fade out too soon
Time wars = feel slightly quieter than the rest? Should sound harmonious and sweet, is there a bit much on the bass and drums, fade out `
How gay the space age is -
Monkey mind = bring the flute back in the piano lick, bass in jimmy is too loud, its being distracting. record myself and put it in
Family = Rain needs to be more of a texture, a bit loaded having the storm break with the vocals, more in the distance and less dominant. Maybe reverb it so it’s more ambient. Don’t need soo much panning ADD IN STAGGERING ON FAMILY
Go straight into just know I don’t know how to play this two more times and affect the second time (becomes more of a cloud)
Cells = can we just have slightly more of the drum pattern (maybe 3?) and then bring Samuels sticks up at the end. Take out the humming, go straight into the track. Let the family be the transition.
Get rid of the first BV
Bring Samuels drum ride back in (x3)
Think about the end go back to being in outer space
Ending - cld end with the theremin from how gay
Think of it as a science fiction album your making - you wanna be in worlds and spaces mystery and ambiguity and beauty - no looking at me. The balance of a record is all about lights and shades and have moments where you are relaxed and moments your challenged
Draw the full journey out
Send Dad the previous version of monkey mind to help with shaping
Failure solo stamps
Symbols
1.51-1.34
1.35-.123
Family structure 1
Long rain
two new
one old
Timphony needs to be lower and vocal rhythm even lower
Fade timphony out
Have a break before final phrase
family structure 2
Structure
Less rain
New one and a half oR two and a half
Old - from ‘how to play this
Space before timpani and between phrases. Have a break before the final phrase
Timpani needs to be lower and vocal rhythm even lower. Fade timpani out
Ending = But I just know….’I don’t know how to play this’ fading out into ending
Finish on rain
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Article on collaboration
Question #1: How do you resolve disputes?
dispute resolution, hierarchy formation, and the notion of authorship and "genius."
you have to learn to lose control. You pick your battles—if there are any—and sometimes, even if you are in disagreement, it's good. That happens because suddenly you lean how to negotiate and something that you might not have found interesting can become interesting.
gree to disagree
Ideas are always welcome in the bank. The point is whether an idea can go further or just stay in the bank—this is the question.It’s very difficult but it’s part of the collaboration—and disagreement is part of this. We have to create a mechanism to enable things to exist, in one way or another. Sometimes an idea doesn’t work today, but in ten years it’s the best idea you have. You have to be patient and give it a chance and you have to be collaborative.
We leave them unresolved so as to allow them to germinate as points of departure in the future.
I think it's about a sense of ownership. It needs to feel like a shared ownership of something, a shared investment for it to sit comfortably. The wrestle is such an important part of this process. 'We'll put that aside right now, it's going to come back again.'
never had a manifesto, so it has evolved naturally between individuals and we have always considered everyone's opinion equally valid; there is no party line to disagree with. Assemble is representative of the people within it.
Question #2: Is there a hierarchy in the group?
We try to achieve balance in our decision-making through voting and extending discussions. However, each person comes with a different knowledge base and we rely on those people to assert themselves at key moments.
Over time hierarchies of experience and expertise have become inevitable, but new members bring fresh ideas that are equally important. Three heads are always better than one, but some times too many heads spoil the stew. We pass projects around to make sure our message is clear.
One thing we often do is work with someone outside the group to realize an artwork. In this regard the production process becomes less about a hierarchy within the group and more about a hierarchy of the group—the group being the director and each one of us becoming contributors to that direction in some way.
In terms of hierarchies, there is also the question of participation, which is a buzzword in our generation, and there are always two sides to that. I am absolutely for participatory processes in any kind of democratic decision-making process; it usually makes things more fun, people are part of it. But one should also be aware—and this is one part of growing up amid the 1990s participatory trend—that participation can slo be a way of exercising power.
Question #3: How do you feel about shared authorship and the notion of "genius"?
There are many collaborative practices in other forms of contemporary culture: film, theatre, music, and TV. The concept of the individual genius artist is outdated, anyway, kept alive by an art market that needs super-expensive art objects made by “geniuses.”
When I have to explain what we do to someone who doesn’t know about art, I always talk about “us,” and the person says, “what are you talking about—how many are you?” It’s hard to explain. People don’t realize we are artists working in a collective—they think we have a personality problem or some alter ego. But no, I just make work with another person!
All our projects are authored by Raqs. Even legally! The work that we make—artistic, textual, institutional, editorial, and curatorial—emerges and exists at the intersection and gaps of our curiosities, skills, and desires. We see authorship as a dispute and an assembly involving things, subjectivities and time. It will never rest calm. All arrangements are contingent. There is much erasure and devaluation of the presence of a multitude of others (from various folds of time) behind the stability of the author figure. Maybe the negative horizon of climate change will change the idea of sole authorship. Nobody wants to boldly sign their name as the author of this coming catastrophe.
The figure of the individual artist and the solitary intellectual, which is actually just a momentary blip in the long human history of dividuated practices and dialogic forms of thought, may have prevented a consciousness about the space of art-making as a commons from emerging in a fulsome manner. As this process gathers its own momentum, and as we get used to our own plentitude, we begin to be surprised at what we find.
Collaboration is how we shaped our identity as artists. For us, doing art is the result of our ongoing dialogues, and authorship is less interesting to us. Authorship has to do with other people's labelling afterwards,
Collective experience = collective authorship. There were never any personal territorial claims within the collective because even if one person comes up with an idea, usually by the time it has materialized into an artwork, the majority of the collective has made a crucial contribution to it. In producing projects, we would describe it as being something beyond authorship. We are eight people that have been thinking through a set of questions about practice and working together. None of us claims this process as property.
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Lectures
Eugene lecture
The trans dimensional
Simon lecture
Ed the mathematician
Seeking invitations to make work
Realistically making a concept you can achieve within the time frame
Whats worked in relation to my intentions - what hasn’t
Measuring other peoples perceptions against your intentions
Cleaning studio as first step in process - claiming, cleansing exploring the space. Then exploring the grounds
Ann Hamilton
Meditation and walking
Walking meditation aligning breath with action, feeling your feet on the ground, using rhythm - counters the thin air - one breath per step
The monks role as caretaking for the spiritual health of the community, walking door to door village to village
Walking drawing
The consideration of time in the space becoming a primary material
The accumulation of action
Time walk back into hippydim
Potters pilgrimage
Has invited 5 writers to respond to the work - they see it once its finished
Simon on meditation
Giving perspective on what he’s always done, giving understanding framework and recognition to how he wants to live his life
Singularity of focus
Recognition
What is the balance of meditative singularity and multiplistic understanding?
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I write this in dedication to my ancestors who lived in service of love, and whose knowing I hope to activate through the remembrance of imagination.
Story - When I was around 5 or 6, I had an obsession with Love and would respond to any form illness or grief of a loved one by drawing and cutting out a paper love heart, running it under water and the heart on the part of their body that felt saw. When I was around 5 my dad introduced me to the song Love Train and the obsession extended to a perpetual repetition of the melody in my head. My dad made a ritual of playing me Mowtown records and later Soul Train footage, and by the age of 3 I had already decided Stevie Wonder was my future lover to be.
Activation
My main play thing was performance, I would stage shows with improvised dance, song and drama routines and enforce my toys and family to sit through them.
Vehicle
Growing up my parents held amazing parties. Parties were particularly exciting as they brought more willing audiences to witness my latest material. One evening as my parents were in the throws of partying I decided to build a love train - using a cardboard box, crayons, a pair of suspenders and my brothers train hat I assigned myself the role of train conductor to my new and glorious whip.
Invitation
I got my parents to put on ‘Love Train’ and circling the premise of the party making chi chi motions, picking up passengers on the back of my cardboard train
destination
Invitation
Vehicle
Activation
destination
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Beginning Somatic Sexology Mahi
I have began working with a somatic based therapist to learn how to somatically activate safety and pleasure in my own body so I may learn more deeply how to activate this safety, connection and joy in the body of a crowd
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