| Accepted. Breathing. Every element breathing at its own rate, not tied into a master regulator. All sounds, images, objects and people breathing according to their own rhythms. Cacophony. Having more going on than can be taken in at once, allowing infinite points of entry. Not to be confused with noise, as cacophony’s proper use requires a precise discrimination of materials. More closely related to potential. Partial encounters. Triggering responses that are incomplete, tangential, interrupted, bound to all sorts of personal associations, in turn triggering rational and irrational chains of thoughts and images, mental lapses, emotive and cathartic moments. |  |
Joe Diebes
Accepted
Breathing. Every element breathing at its own rate, not tied into a master regulator. All sounds, images, objects and people breathing according to their own rhythms.
Cacophony. Having more going on than can be taken in at once, allowing infinite points of entry. Not to be confused with noise, as cacophony’s proper use requires a precise discrimination of materials. More closely related to potential.
Partial encounters. Triggering responses that are incomplete, tangential, interrupted, bound to all sorts of personal associations, in turn triggering rational and irrational chains of thoughts and images, mental lapses, emotive and cathartic moments.
Scattering. Throwing around sounds and images in a way that lets them find their own position in time and space.
Spatial engagement. Making things change in time by physically moving to new locations in space. Each location offering a different perspective on the sonic and visual relationships in motion.
Rendezvous. Unlikely matings between sound and image.
Computers (for now). Allowing for multiple disconnected operations in time. Viewing the world and its workings as available for arbitrary manipulation.
Contemporalization. Continually stimulating the never-repeating states of consciousness in the viewer/listener through the never-repeating nature of the environment.
Rejected
Synchrony. All of the elements in a piece being vertically aligned and dispatched so as to emphasize the experience of the single mechanical timeline.
Converting senses. Translating sounds and images verbatim, rather than letting them encounter each other.
Proscenium time. Orienting ears and eyes in a fixed direction and driving them over an abstract line across which minutes and seconds are the same for everyone. Furthermore, the irking and teasing of the viewer/listener’s nervous system and emotional state in such a way as to keep them constantly dependent on that timeline.
Tractor beams (double rejected). Audiovisual timelines that simply execute, looping repeatedly.
Marching bands. Any sound, image, writing or speaking that demands being in step.
Mind/body deactivation. Where the viewer/listener is mentally and physically paralyzed by a timeline external to their own sense of time.
Reworking the same line. Where the artist labors over the same stretch of chronological time, so as to become desensitized to its duration. The time of the artist in this case not being commensurate with that of the viewer/listener.
Celebrating digital culture. This can include a generalized atrophy of the imagination. From the perspective of a bird’s ear, a lot of people speaking in a sterile and undifferentiated drone. It sounds like a distributed fascism if such a thing is possible.
Joe Diebes creates multi-channel sound and music environments, often incorporating sculptural and video elements. He’s recently had solo exhibitions at Paul Rodgers/9W Gallery (New York), Cal State Grand Central Art Center (Fullerton, CA), JSP New Media Gallery (Seattle), and the David Winton Bell Gallery (Brown University). Last year he was commissioned to create an all-day performance installation at the Isamu Noguchi Museum in Queens, New York and a music installation for the Winter ’06 Olympics in Torino, Italy.
