Wednesday, August 22, 2007
Voices in Voice
The Jeff Wall entry in "Artistic Edges" got my mind moving on the notion of "voice", especially when it comes to thinking about voice operative inside artistic activity. And once the issue of voice raised its head, mental machinery sprung the haunting question, "What do we mean by voice when talking about artwork?
Clearly the word voice can have multiple meanings; and with regard to artwork, it can involve any genre. Such spread/flexibility/elasticity in using the word makes the list of inherent operative phenomena connected with "voice" seem legion. So what goes on in voice? Are we talking here about things like soul action, interactive contexts and conditions, dialectical activities that involve the liveliness of modulation, inflection, intervals and time? Or taken from another angle, is voice better understood in terms of personality coupled with matters of style [which in turn includes some of the previous items]? Then again is voice better grasped as something indigenous and organic--a phenomenon deeply concerned with personal makeup, self-identity, and integrity all round? With all these possibilities in mind, is voice one item on the preceding descriptive list of words and phrases? Just some of these items? Perhaps all of these items? None of these--something quite different and unique to itself?
On the negative side, what prevents a distinguishing voice from emerging, that is, from asserting itself in a given artwork or act of making? Does the "no voice" problem imply a deficiency of craft, that is, poor knowledge/skill about some facet of the making process [a technical problem], or is the issue something deeper--something more psychological and spiritual--a problem more directly tied to the actual "content" of what the voice projects [including emotional content]? If this is the problem, then getting a handle on voice may involve issues like inadequate depth perception, insufficient personal risk, over use of linear/technological thinking that turns one's mental movements [with its latent voice] into something flat and colorless so that one judges results by saying, "but there is no their there." In other words, a non-voice with little that is distinguishing/remarkable/personally differentiating, especially in spark and tone.
As suggested previously, the preceding questions apply in some way to all genre in the arts. Hence, voice with its nuances and complications involve singers, dancers, poets, painters, playwrights, and movie directors. Moreover, the preceding questions also relate to issues that involve both a private and a public voice [audience matters], especially the "vocal" challenge of moving from one voice to the other. Too much attention to one can potentially kill the effectiveness of the other. For example, when moving from a private voice to a public one, the result often seems less dynamic and colorful. Why? Is the problem a failure on the part of the artist to risk? Lack of personal self-confidence? Too much outer-direction? Too strong a reliance on experts and/or authority? Too much worry over technique ? Too little project focus due to fear? Too much external social pressure so that a distinctiveness gets lost? Enter the intimidating critic from whatever place/location.
Now back to Jeff Wall. What does all the preceding have to do with him? Perhaps it is time to ask, what is the nature of his voice? Where does it come from and/or how does it come about? Which of his works render voice most distinctly? Most effectively? And why?
Perhaps the moral of the story about a voice is this--"know thyself." And when you have found a self, "speak it"--fearlessly and honestly. Pastiche has its limits.
(This is a cut and paste from work originally posted by Donna)
Clearly the word voice can have multiple meanings; and with regard to artwork, it can involve any genre. Such spread/flexibility/elasticity in using the word makes the list of inherent operative phenomena connected with "voice" seem legion. So what goes on in voice? Are we talking here about things like soul action, interactive contexts and conditions, dialectical activities that involve the liveliness of modulation, inflection, intervals and time? Or taken from another angle, is voice better understood in terms of personality coupled with matters of style [which in turn includes some of the previous items]? Then again is voice better grasped as something indigenous and organic--a phenomenon deeply concerned with personal makeup, self-identity, and integrity all round? With all these possibilities in mind, is voice one item on the preceding descriptive list of words and phrases? Just some of these items? Perhaps all of these items? None of these--something quite different and unique to itself?
On the negative side, what prevents a distinguishing voice from emerging, that is, from asserting itself in a given artwork or act of making? Does the "no voice" problem imply a deficiency of craft, that is, poor knowledge/skill about some facet of the making process [a technical problem], or is the issue something deeper--something more psychological and spiritual--a problem more directly tied to the actual "content" of what the voice projects [including emotional content]? If this is the problem, then getting a handle on voice may involve issues like inadequate depth perception, insufficient personal risk, over use of linear/technological thinking that turns one's mental movements [with its latent voice] into something flat and colorless so that one judges results by saying, "but there is no their there." In other words, a non-voice with little that is distinguishing/remarkable/personally differentiating, especially in spark and tone.
As suggested previously, the preceding questions apply in some way to all genre in the arts. Hence, voice with its nuances and complications involve singers, dancers, poets, painters, playwrights, and movie directors. Moreover, the preceding questions also relate to issues that involve both a private and a public voice [audience matters], especially the "vocal" challenge of moving from one voice to the other. Too much attention to one can potentially kill the effectiveness of the other. For example, when moving from a private voice to a public one, the result often seems less dynamic and colorful. Why? Is the problem a failure on the part of the artist to risk? Lack of personal self-confidence? Too much outer-direction? Too strong a reliance on experts and/or authority? Too much worry over technique ? Too little project focus due to fear? Too much external social pressure so that a distinctiveness gets lost? Enter the intimidating critic from whatever place/location.
Now back to Jeff Wall. What does all the preceding have to do with him? Perhaps it is time to ask, what is the nature of his voice? Where does it come from and/or how does it come about? Which of his works render voice most distinctly? Most effectively? And why?
Perhaps the moral of the story about a voice is this--"know thyself." And when you have found a self, "speak it"--fearlessly and honestly. Pastiche has its limits.
(This is a cut and paste from work originally posted by Donna)
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