March 2020
I attended a workshop several years ago in the bowels of His Majesties Theatre in Aberdeen designed for care home staff who work with residents who have dementia. Run by the Spare Tyre group in London whose ethos is to engage with those least involved in cultural activity, the workshop began before we entered the room. Sounds and scents surrounded us in the corridor before we entered the main room, a gentle way of guiding us to the main event. Once there the multi-sensory experience continued through the use of sight and touch. Non-verbal communication was explored through eye and hand contact, and by means of the everyday object. It was here that I realised the power of the mundane to facilitate a shared experience. Having introduced sound as a layer within the December show, I want to explore this further as it added another dimension to my practice. The work then was very raw, with little thought as to how to project the sound, some of the narratives were stilted, some people more at ease with being recorded than others. I had no idea what I was doing editing wise, but after having experienced the John Waters piece at Look Again, I knew sound was a direction I wanted to explore. But this lack of 'professionalism' perhaps enhanced the work. This is still very much a work in progress and I have much to learn about sound editing. At present I am looking at time within sound using the narratives recorded by work colleagues layered with recordings of an old music box from my childhood. Slowing time digitally is producing haunting, eerie sounds, fragments, traces from the past echoing in the present. Everything comes back to time and the act of remembrance. The music box piece can be played from the videos page on this site. www.sparetyre.org
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susan CassieRamblings of a student in self-isolation. Archives
August 2020
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