Rawing with the Hound of Its Own Acheing
A performance that becomes and installation
A text written a very long time ago:
I made “Rawing with the Hound of One’s Own Acheing”, which took on various forms, but my favorite was the live, and later installed version at RPS Gallery in Oakland, California, sometime in 2004.
I made a performance for the opening of the show, in which I made a line drawing on a piece of paper, stereo mic-ed on each side. scratching pencil was amplified. A digital sampling loop took an average of the time it took me to finish one horizontal line and then recorded and looped it, superimposing it on the others, as the drawing did. Somically the layers interacted, interfering with each other and canceling one another out, as well as sometimes strengthening a particular gesture. This happened simultaneously. The in the audio and visual domains, becoming quite intense sonically by the end. At the end the drawing was hung on the wall with the recording, but each new version will be different. I am still making acoustic drawings, paintings, and objects in a similar but changing fashion, you can see photos from a more recent action up above below the drawings… from the first version at Rock, Paper, Scissors:
friends look on, enraptured by the suspense:
It is notable that I went on to make many more drawings like this, with and without sound. Yet me it is important that historically (in terms of history of a moment, of passing an accumulated moments) the oceanic and dendrochronological basis of this activity finds its literal resonance in sound:
The sound was later released by Che Chen in Osirhan Osirhan #1:
An interview between Che and I can also be found here.