Paul Craenen (b. 1972)
Tubes, 2007
A composition in seven movements that is based on two performers exploring/modulating feedback (mic-loudspeaker) using their body movements and PVC pipes.
Many elements of this piece are pertinent to my own endeavours (even if majority of the latter are still in the state of development). Firstly, I like that composition is based on exploration of the instruments rather than on trained ability to play them perfectly. Exploration, testing “what if” – rather than conveying predefined message is at the core of my practice. I would also be willing to include the audience in the process.
Secondly, I appreciate the blurred lines of instrument-performer-artwork-environment… In a way there is no instrument – the origin of the sound is just the feedback; or one could say it is the microphone and the loudspeaker; or that it is the moving bodies of the performers; or that it is the pvc-pipes – or if you include everything then everything including the environment is the instrument as the feedback is sustained by vibrations in the matter between the mic and the speaker… A conceptually disturbing element is digital processing of the feedback – after the initial feedback coming out from “nowhere”, it gets in a processing loop where input is already an intentionally manipulated sound… On the other hand, that’s what makes the sonic experience bearable, so it’s ok 🙂
Thirdly, I have an unresolved thing with body movements. In artistic context they do fascinate me. Most of artworks are produced as results of body movements even when those movements are not being made available to the audience. But I am quite interested in that stealth choreography that is directed by intent to produce the work… And in this piece that choreography is rendered both visible and audible.
Fourthly, I quite like the minimalist setting of the work. Surely, there is a fair amount of equipment involved, but it comes across as quite limited and low-key, not much that draws attention away from movements and sound. On the other hand, if one would follow all the cables that would inevitable lead to some power production somewhere etc., a major network engaged in making of this performance could be outlined, which is also an interesting thought that has arised only in the process of writing at this very [past] moment, so I will have to chew on it some more.
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