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LUBOK BEBOP
by
Spence Townsend
B.F.A., The University of Southern Mississippi, 2005
A Report Submitted to the Lamar Dodd School of Art of the University of Georgia in Partial
Fulfillment of the Requirements for the Degree
MASTER OF FINE ARTS
Athens, GA 2016
© 2016
Spence Townsend
All Rights Reserved
LUBOK BEBOP
by
Spence Townsend
Approved:
___________________________________________
Benjamin Britton, Major Professor
5/2/16
DEDICATION:
I would like to dedicate this work to my wife, Julia, who’s love and support have made
these three years of research possible.
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ACKNOWLEDGEMENTS:
I would like to thank my committee members: Benjamin Britton, Christopher Hocking,
Stefanie Jackson, Margaret Morrison, and Mark Callahan. Your mentorship, knowledge, and
feedback have been invaluable during my studies at the Lamar Dodd School of Art.
I would also like to leave a message for future students reading this: Both David Bowie
and Prince have died this year, leaving giant holes in our collective artistic and musical
consciousness. Let’s be bold and fill their shoes.
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TABLE OF CONTENTS
DEDICATION…………………………………………………………………………………………….iv.
ACKOWLEDGEMENTS…………………………………………………………………………………v.
LIST OF IMAGES………………………………………………………………………………………viii.
CHAPTER
I. INTRODUCION OF THESIS
A. prologue……………………………………………………………………………..2
B. evolution……………………………………………………………………………..5
II. HISTORICAL PRECEDENCE IN VISUAL ART
A. Klee………………………………………………………………………………….14
B. Ciurlionis……………………………………………………………………………16
III. EXPLANATION OF PROCESS
A. my visual voice……………………………………………………………………..19
B. funky paintings……………………………………………………………………..21
C. MAX research….…………………………………………………………………..25
IV. LUBOK BEBOP: THESIS PROJECT
A. crows caw (morning) / lubok bebop soundbox…………………………………30
B. i can hear your breath……………………………………………………………..31
C. crows caw (night)………………………………………………………………….33
V. CONCLUSION
A. plans………………………………………………………………………………..35
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VI. BIBLIOGRAPHY…………………………………………………………………………..37
VII. APPENDICES
A. crows caw (morning) - orchestral score
B. lubok bebop - compact disc
track 1: crows caw (morning)
track 2: i can hear your breath
track 3: crows caw (night)
vii.
LIST OF IMAGES
1. MacKaye, Ian. untitled (musical drawing exercise). crayon on paper,
8.5” x 11”, 2005………………………………………………………………………………….2
2. Townsend, Spence. coloring book. oil on canvas, 30” x 40”, 2013……………………………..5
3. Townsend, Spence. chelsea patternz. acrylic on four panels, 30” x 168”, 2014………………6
4. Townsend, Spence. the wolves and the dogs. oil on canvas, 39” x 39”, 2014…………………7
5. Townsend, Spence. aesop songs (album cover). digital drawing, 12” x 12”, 2014…………….7
6. Townsend, Spence. aesop songs listening station. wood, pencil, mp3 player,
monophonic headphones, 20” x 14”, 2014……………………………………………………7
7. Townsend, Spence. Miss Harmony Columbine spends her birthday cash.
oil on canvas, 21” x 17”, 2015…………………………………………………………………..9
8. Townsend, Spence. black juniper. oil and screen print on panel.
41” x 49”, 2015………………………………………………………………………………….10
9. Townsend, Spence. black juniper listening station. wood, canvas,
charcoal, mp3 player, speaker, 20” x 14”, 2015……………………………………………..10
10. Townsend, Spence. french kiss. oil and gold leaf on panel. 43” x 32”, 2015………………..12
11. Anonymous. Bodhisattva Samantabhadra. Digital Image. Pinterest.
N.p., n.d. Web. 1 Apr. 2016……………………………………………………………………12
12. Klee, Paul. Ad Parnassum. oil on canvas, 39” x 49”, 1932.
Digital Image. Artchive.com. N.p., n.d. Web. 1 Apr. 2016………………………………….14
13. Čiurlionis, Mikalojus K. Fairy Tale Castle. tempera on canvas, 19” x 26”, 1909.
Digital Image. Wikipedia. N.p., n.d. Web. 1 Apr. 2016……………………………………..16
14. Čiurlionis, Mikalojus K. Sonata VII (Sonata of the Pyramids). tempera on paper,
29” x 23”, 1909. Digital image. Ciurlionis.eu. N.p., n.d. Web. 1 Apr. 2016……………….17
viii.
15. Anonymous. The Cat of Kazan. woodblock print, dimensions unknown, 1698.
Digital Image. myweb.rollins.edu. Web. 1 Apr. 2016……………………………………….19
16. Nutt, Jim. Miss T. Garmint (she pants a lot). acrylic on plexiglass, 72” x 48”,
1966-67. Digital image. Bombmagazine.org. Issue 114, Winter 2011.
Web. 1 Apr. 2016……………………………………………………………………………….21
17. Townsend, Spence. blonde ambition tour. acrylic on panel, 48” x 40”, 2014………………..22
18. Townsend, Spence. the cat and the mice. oil on canvas, 49” x 49”, 2014…………………..24
19. Townsend, Spence. MAX patch screenshot: lubok bebop color patch.
digital image, 2016……………………………………………………………………………..25
20. Townsend, Spence. detail of MAX patch screenshot: lubok bebop color patch.
digital image, 2016……………………………………………………………………………..27
21. Townsend, Spence. lubok bebop color wheel. digital image, 2016…………………………..29
22. Townsend, Spence. lubok bebop soundbox / crows caw (morning).
wood, acrylic on canvas, mp3 player, speaker,
20” x 15”, 9 min. (audio), 2016………………………………………………………………..30
23. Townsend, Spence. i can hear your breath. oil on canvas, 51” x 61”, 2016………………..31
24. Townsend, Spence. crows caw (night). 58” x 73”, 2016……………………………………….33
25. Townsend, Spence. lubok bebop: museum installation.
photo of paintings and soundbox, approx. 20’ x 73”, 2016………………………………..35
ix.
prologue
I’ve always felt like an artist whose work doesn’t really fit into a prescribed venue. When
I used to play raucous punk rock music in dive bars, I felt out of place. Likewise, when I exhibit
paintings at austere galleries and white-walled museum spaces, I don’t feel quite at home. In
either context, there’s always this sense of an element missing. It’s been my dream to
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somehow create a situation in which writing music and making paintings can be understood as
living together, enhancing one another.
As an undergraduate painting student, I started writing descriptions in my sketchbook of
how I imagined the Beach Boy’s “Pet Sounds” album would look in painted form. All sorts of
questions began to emerge about how sounds could translate into visual elements. This led me
to begin an experiment in which I gave various people a box of crayons, a piece of paper, and a
short piece of music to listen to. Participants in the experiment were instructed to respond
intuitively to the music, Stravinsky’s “Duo Concertant II - Eclogue I”, by drawing for the duration
of the piece. One person I asked to contribute was a personal hero of mine, Ian MacKaye,
founder of Dischord Records and the legendary bands Minor Threat and Fugazi. Lucky for me,
he actually did it (Image 1). Along with the drawing, he responded to a few of my questions.
One of his remarks has continued to resonate with me: “The eye and ear live within inches of
each other, and are connected to the same processing center…it would stand to reason that
they would make fine partners.” It’s so simple, and so true. This little nugget of wisdom has
served as sort of a mantra, encouraging me to trust in my instinct to make art which engages
both sight and sound.
I have continued this research during my graduate studies at the Lamar Dodd School of
Art. This thesis project, “lubok bebop”, is a culmination of my research into the connections
between visual art, recorded sound, and storytelling. The title references highly stylized
seventeenth-century Russian woodcut prints (luboks) and fast-paced, improvisational jazz
music (bebop). Although I am not directly trying to mimic lubok prints or bebop music within this
project, their juxtaposition in nomenclature brings to the forefront a shared concern: “What
constitutes an artistic voice, and what is my voice?”. It is my assertion that both forms are
driven by the cultivation of a highly mannered or idiosyncratic tone by the maker or performer.
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This project is centered around pinpointing my strengths as an artist and musician, and asking,
“Can my voice transcend mediums to yield a higher order of meaning?”.
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evolution
Within my first body of work as a graduate student, I created oil paintings which
described anthropomorphic characters reenacting mundane scenes of familiar American life.
Each piece within the series, dubbed “adventures in normalland”, functioned as a cinematic
vignette or short story. Much like the works of photographers Gregory Crewdson, Cindy
Sherman, and William Eggleston, these paintings provided brief glimpses rather than full
disclosures. Of these works, the painting “coloring book” is perhaps the most engaging (Image
2). This iconic, endearing, and somewhat haunting painting frames a working-class single
mother struggling to provide for her children. Through writing about this scenario in my
sketchbook, I arrived at the imagery that unfolds within the painting. Character development
and the establishment of a sense of place have since become key factors in my visual artwork.
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I attribute this evolution in process to the experience of making “coloring book”, particularly in
relation to utilizing the act of writing as a means of visualizing concepts.
Immediately following “adventures in normalland”, I embarked on a study of electronic
music. Through the guidance of Dr. Chic Ball, I experimented with the possibilities of sound
design within ProTools and MAX. ProTools is primarily used for audio tracking and editing,
whereas MAX is a multi-purpose visual programming language used to design sound, video,
and imagery. Familiarity with these programs unlocked limitless possibilities for creating
unusual musical textures and patterns. Sound experimentation was crucial to the formation of
my simultaneous series of paintings called, “chelsea patternz”. Studying composer Paul
Lansky’s work, in particular his “More Than Idle Chatter” album (Lansky, 1994), led me to the
concept of visually representing the quantification of digital processing, with fart jokes (Image 3).
My interest in presenting a narrative in a much more fractured manner manifested itself through
collaging numerous ideas together as part of a larger field or pattern. Each object or character
in the field represents a different sliver of experience. Pop culture references and everyday
objects are abstracted into simplified, plastic, dog-toy-like forms. Hue contrast and loosely-
gridded isomorphic placement were also utilized to evoke a sense of rhythm and modal chord
structure.
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At this point, I decided to create a bridge between the visual and aural. To simplify
things, I allowed myself to build upon a ready-made narrative: “Aesop’s Fables”. This body of
work involved creating nine oil paintings and nine corresponding songs, meant to be
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experienced together. Image 4, “the wolves and the dogs”, is an example of one of the
paintings, and Image 5 is the cover of the “aesop’s songs” album. Another piece, “the fox with
the swollen belly”, was also developed into a hand-drawn animation (https://vimeo.com/
96244756). During the showing of this project, spectators were encouraged to experience the
paintings and music together through the construction of a “listening station”, which repeatedly
played the “aesop songs” album on headphones (Image 6).
Central to this project was my development of a system for correlating color to tone, size
to duration, and lyric to imagery. Utilizing a color wheel system called “Chromascale” , I was 1
able to translate the overall modal key of each song into a dominant hue ground for each
painting. Likewise, I converted the length of each song into seconds, and then transposed this
number to inches. This created an overall sense of proportion between the works, as shorter
songs made for smaller paintings, and vice versa. Lyrically, “Aesop’s Fables” is darkly
humorous. Often the tales end with a character dying due to being an idiot. I attempted to
capture this sentiment through utilizing brutish, crude handling of paint application (see Image
4). Musically, I incorporated rough textures and subtle dissonant passages to create a sense of
unrest.
Continuing along this path, I made another body of work called “the adventures of Miss
Harmony Columbine”, based very loosely on the famous J.D. Salinger novel, The Catcher in the
Rye. Harmony Columbine was an attempt to create the ultimate composite slacker character,
referencing Holden Caulfield , Hal Incandenza , Vernon God Little , Holly Golightly , and Kurt 2 3 4 5
Developed by scientist Paul Bourke.1
Catcher in the Rye, Saliger2
Infinite Jest, Wallace3
Vernon God Little, Pierre4
“Breakfast at Tiffany’s”, Capote5
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Cobain (Image 7). Harmony’s feathered headdress is a complex symbol. On the one hand, 6
since she’s a cat, the feather is a signifier of her as a predator. She hunts, she kills, and she’s
proud of it. On the other hand, the headdress references Sitting Bull, and his fight against the
corrupt and violent encroachment of the U.S. Government upon the Lakota Sioux people.
Harmony, in her misguided and naive teenage mind, compares Sitting Bull’s struggle to her own
struggle to maintain her slacker lifestyle in spite of authority (her parents, high school teachers,
etc.). Musically, the project incorporated a boozy, New Orleans-jazz-style interlude which aimed
to illustrate Harmony’s gaze into the Mississippi River. I presented the musical supplement via
an actual person, deceased6
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a QR code printed on a label underneath one of the paintings, allowing viewers to scan the
code on their phones and hear the piece. Although the code technically “worked”, it proved to
be visually distracting and overly laborious.
Along with the Harmony paintings, I completed a stand-alone musical / visual project
called “black juniper” (Images 8 and 9). Returning to the “listening station” concept from “aesop
songs”, I constructed a new music box which featured handwritten lyrics to the “black juniper”
composition. This bizarre tale, a genuine autobiographical experience, involves a doped-up
veteran burning his house down while his wife and child stand nearby. The visual component,
soundtrack, and text were experienced simultaneously — creating an operatic sensation. 7
Holistically, “black juniper” represents a milestone in my studies at UGA. The musical
component enforced its duration upon the image, which now seemed to emit an entry point and
a climax. As I listened and looked, my heart began to beat faster and I got goosebumps.
Usually this doesn’t happen to me while looking at visual art. Suddenly the painting had a
presence outside of itself; an aura. These observations serve as an impetus for the kind of work
I am currently making for my thesis project.
Immediately preceding my thesis work, I completed a series of paintings entitled, “short
stories”. Inspired by Sylvia Plath’s Johnny Panic and the Bible of Dreams, I set out to create a
group of paintings which seamlessly pivoted between invented narratives and honest reflections
of my current life experiences. Rather than obscuring content through symbolism and dodgy
anthropomorphic description, I chose to confront emotions head-on. Love, sex, death: these
are themes that never disappear because ultimately they are the things people really care
about. One painting, “french kiss” (Image 10), celebrates the humor and awkwardness of sex,
while highlighting the Mahayana Buddhistic potential for dual enlightenment through physical
love. This idea interests me as a visual concept as well. Expressive color, symmetry, pattern,
a really disturbing, creepy opera….György Ligeti meets Aphex Twin7
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and shallow space are all prominent within the depiction of Bodhisattva Samantabhadra seen in
Image 11. In a decision to focus on technicality in painting, this group of works did not include
any musical components.
Paul Klee and Mikalojus Konstantinas Čiurlionis both asked the question: How can
painting and music be synthesized into one compositional act? This is a big question, but the
answer can begin with simple observations. Painting and music are both experienced
sensorially and lead to cognitive stimulation. Painting is experienced visually, and is dependent
upon light waves. Music is experience aurally, and is dependent upon sound waves. Within the
cannon of either discipline, one can find innumerable possibilities for perceptual communication.
Any painting or piece of music contains the potential to make us feel the entire spectrum of
human emotion, or to convey any idea. But what if this potential could be expanded even
further? Through synthesizing painting and music, there is fertile ground for multiple layers of
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emotional and conceptual content, and the potential to reach a plain higher than the sum of
either part. Furthermore, the prescribed meanings and indirect associations of these images
and sounds can take on a certain ambience or complication, when juxtaposed. Richard
Wagner’s description of “inward uniting”, implies that the compositional process itself must come
from the same place within the mind of the creator (Vergo, 108). This can only be achieved
through absolute understanding of composition in music and visual art, and “lubok bebop” is a
mile marker of my progress on this road.
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Klee
Around a hundred years ago in Munich, a young violinist named Paul Klee sat in an
orchestra pit and performed one of his favorite pieces by Mozart. Klee’s mind was undoubtedly
occupied at the moment with reading the score, following the conductor, and carefully listening
to his fellow musicians. However, I would argue that Paul Klee’s brain was simultaneously
experiencing the symphony on another level as well. While others heard rhythm, perhaps he
saw angles and lines crossing and exploding. While others heard polyphony and melody, he
may have envisioned colors and tones transparently layering atop one another. Klee was
beginning to take painting seriously. For the rest of his life, he would try to get to the point at
which music and visual art intersected. He was prolific, producing thousands of pieces of visual
art, while performing hundreds of concerts in orchestras and chamber groups. All throughout,
he wrote in his journal about his “polyphonic paintings”, in which, “time becomes a spacial
element” (Klee, 374). But the artist left us with a giant hole in his oeuvre: he never composed a
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single piece of music. Today, if one could only hear a score composed by Paul Klee, one could
perhaps fully understand how he thought about painting in relation to music. Imagine being able
to “hear” “Ancient Sound”, “Ad Parnassum” (Image 12), or “The Twittering Machine”. There’s
really no doubt that the man could have composed his own music. Often, while sitting at
outdoor cafes and sipping wine, he would memorize the melodies of street performers singing
on the corner (Klee, 181). Later, he would write down this music in his journal. He had the
virtuosity and skill to play in a professional orchestra, as well as an amazing knack for hearing
and playing by ear. So, why wouldn’t he have written music? He was obsessed with the idea of
synthesis between art and music, so why wouldn’t he have tried it? The closest thing we have
today are remnants of his Bauhaus teaching notes, in which graphic translations of Bach’s
music can be seen. But why not create graphic translations of his own music? Unless he
ultimately thought that they should simply exist independently. Or, perhaps he just didn’t think
his own musical ideas were any good. I have a hard time believing this.
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Ciurlionis
Ciurlionis provides an excellent example of an artist who truly burned the candle at both
ends, composing and painting with equal intensity. Unlike Klee, Ciurlionis left behind many
scores of original compositions to be heard and studied today. As a composer, Ciurlionis
bridged the gap between Romanticism and the impending atonality of 20th Century music
(Bowlt, 73). From the perspective of painting, Ciurlionis associated with the Russian Symbolists
of the time. The titles of his paintings often contained musical terminology, such as “fugue”, or
“symphony”. Whistler famously created similar titles for some of his works, such as “Nocturne”.
However, Ciurlionis’ works contain actual attempts at translating musical forms into pictorial
composition. For example, his “fugue” paintings contain repeated forms (trees) which mimic the
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canon of voices heard in a fugue piece of music. His painting “Prelude and Fugue”, for example
“succeeds in creating the illusion of the staggered entry and development of several voices by
juxtaposing successions of particular images (fir-trees, buildings) in various combinations….the
images of the initial motif are repeated in subsequent lines lower in the picture” (Bowlt, 50-51).
Along with this strategy of repeating forms at diminishing scale to evoke fugue, Ciurlionis also
combined multiple systems of perspective to evoke multiple melodic themes. Although
Ciurlionis and Mondrian never met, they both may have come to the same conclusion about
defining horizontal and vertical axes of a picture plane in relation to music. Mondrian believed
that melody should be represented horizontally while harmony should be represented vertically
(Vergo, 318). It’s interesting to note that this coincides with the way music is literally written,
with harmonies and chords expanding up and down as the melody reads left to right. Bowlt
asserts that Ciurlionis’ musical compositions written after 1901 were particularly “monoplanar”,
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emphasizing the melody. His paintings from this same time seem to emphasize verticality,
which can be understood as supplying the harmonic counterpoint to his “monoplanar” music
(49, 55). “Sonata VII: Sonata of the Pyramids” (Image 14) is a good example of this, as seen
within the repeated strong verticals in the pillars and palm trees. Perhaps Ciurlionis planned for
the paintings and the music to compliment each other in this way, creating a holistic Wagnerian
gesamtkunstwerk.
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my visual voice
When a painting communicates representational object matter, words form to describe
these objects. This produces a libretto or lyrical component, when related to music.
Furthermore, an evocation of the human singing voice emerges when human figures are
depicted. All of the characteristics of a voice - pitch, volume, gender assignment, inflection,
timbre, language, etc. - can equally be translated into how a figure is painted. Wagner called
the vocal element of his works the “conscious”, as opposed to the “unconscious” orchestral
element (Vergo, 40).
Figures are present within my paintings because they function as a direct representation
of the human spirit. Max Beckmann, Christoph Ruckhäberle, Dana Schutz, Kerry James
Marshall, and Nicole Eisenman are a few of the painters I look to for visual guidance. Each of
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these artists depict figures in their work through highly idiosyncratic visual languages. Like
these artists, I am not interested in attempting verisimilitude within description of forms.
Realism is always secondary to expression in my work. In this sense, I am often inspired by
illustrators and cartoonists such as John Kricfalusi, Ralph Steadman, Jim Flora, Tex Avery, and
Ralph Bakshi. These artists are not afraid to distort or exaggerate depiction of figures and
objects in order to communicate an emotional concept. Lubok prints are also an important
influence in this regard. These 17th Century woodcut prints are marked by bold contours,
anthropomorphism, bold coloration, and wild shifts in scale (Image 15). In his book, Komiks:
Comic Art in Russia, Jose’ Alaniz describes these works as “the first consistently realized
expression of a comics language…” (22).
The logic I apply to rendering form also applies to describing a setting and the
chronology of events which unfold within. I think of my work in terms of conjuring multiple
vignettes of content within a singular experience. the chronology of how these components
reveal themselves can be fragmented and re-arranged. The narrative doesn’t have to move
linearly through time. In fact, especially within a painting, it makes far more sense if temporal
reading is disregarded. This is more in-tune with how we actually see. One thing leads to
another thing, which leads to another, etc. David Foster Wallace uses hundreds of footnotes in
his novel, Infinite Jest, to accomplish this feeling. The overall narrative of the book is fractured,
chronologically, allowing for multiple viewpoints of the story. I strive to create these portals in my
own work, through the dichotomy of musical and visual content.
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funky paintings
Quincy Jones shares a lot of “behind the scenes” stories about Michael Jackson within
the deluxe version of “Thriller”. My favorite part of the interview is when Jones speaks about the
original demo that Michael had thrown together for “Billie Jean” (Jackson, Track 19, 2008). The
seasoned producer, perhaps thinking of pop sensibility for radio-play, encouraged young
Michael to cut the instrumental bass and drums groove at the beginning of the song. It was
simply too long; “She was more like a beauty queen” needed to come in sooner. Much to the
chagrin of Jones, the soft-spoken pop star disagreed. He simply said: "But that's the
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jelly!...That's what makes me want to dance”. How can you argue with something that makes
Michael want to dance? You just can’t.
I’m trying to find the visual equivalent. Needless to say this is a lofty goal, but I think it’s
helpful to explore what makes a painting “funky”. My first inclination is to cite Jim Nutt’s “Miss T.
Garmint (she pants a lot)” as an example (Image 16). Here are some thoughts about why Mr.
Nutt can share the stage with Funkadelic: First and foremost, the rhythm of funk music must be
charged and bass-heavy. Visually, I equate this with bold, repetitive marks and exaggerated
straight-to-curved gestures. Tonally, this music is often modal — meaning long passages of
singular, underlying chords. This can be compared to the overall warm yellows and pinks that
dominate “Miss T. Garmint”, which mimic this modal musical quality. Lyrically, funk music is
often very direct and simplified, and sometimes even brutish or dumb. It’s often more about the
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vocal delivery, the style of the voice. This conjures images of James Brown singing nonsense
words, or George Clinton stammering through syllables, or Prince yelping, or Bootsy Collins
talking about “putting his shades on”. All of these qualities are elements I would liken to Nutt’s
bizarre distortions of the figure. I’m looking to cultivate my own mannered idiosyncrasies in
describing forms, and to exaggerate these qualities in a consistent rhythm. My painting “blonde
ambition tour” (Image 17) exemplifies these qualities directly.
My music is essentially focused on distillation of melody and the development of
unfamiliar textures. I am interested in boiling lyrics and melodic lines into their simplest forms.
The sonic textures I’m interested in come from fretless instruments and warm electronics. My
primary songwriting instrument is a six-string fretless bass guitar, as my primary visual
compositional tool is usually vine charcoal. In past works I have equated playing the fretless
bass with the act of drawing. There is an inherent fluidity and looseness in my approach to both
practices. The bass is rhythmic but also carries tone and sometimes melody. I equate hue with
tones from the chromatic scale. Therefore, since the notes being played on the fretless bass
obviously carry tonal information, the linear design must be formed with color. Another
prominent tonal instrument within my work is the cello. I have chosen to think of the cello in
terms of patches of hue. The smoothness or roughness of the paint strokes are intended to
mimic the sounds of the bow against the cello strings. Both the cello and bass are fretless
instruments, which brings in the element of intonation. The notes heard on these instruments
are often minutely sharp or flat, producing quarter tones in-between the normal twelve tone
chromatic scale. This is like the process of color-mixing, producing hues and chromatic grays
that are outside of major stops on the basic color wheel. The rhythmic aspects of my music are
generally carried through the use of a digital music sequencer. I have consciously tried to mimic
this approach to rhythm with my placement of shapes, proportional contrast, value contrast, and
compositional structure within the paintings. The lyrical and vocal performance within my songs
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relates to the treatment of representational content. Since I am interested in lyrics which have a
darkly comedic and playful tone, I strive to render figures and settings in a similar manner. The
tone of my voice and delivery also serve this aesthetic. These qualities are present within “the
cat and the mice” (Image 18) from my “aesop songs” series.
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MAX research
(Image 19: screenshot of a MAX patch I wrote to convert every playable note of my six-string
fretless electric bass guitar into hues)
The digitization of recorded sound opens the possibility for mapping audio with numbers.
These values allow for an accurate quantifying of the particular characteristics of recorded
sounds, which allows for crystal clear reproduction when heard audibly (Moore, 29). However,
the work of composer Paul Lansky begs the question, “What else can these numbers
represent?” Lansky’s compositions often take the numerical representations of one particular
sound sample, and then impose those attributes onto a different sound sample (Lansky). With
this concept in mind, it’s easy to imagine that these values can also represent colors of the
visual spectrum. This concept of quantification holds the key to the idea that visual art and
music can synthesize into a singular form.
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The development of digitization through computer music enables composers to dissect
sound in exciting new ways. In composer Jonathan Harvey’s words, “Before the microscope,
we never knew what the micro world looked like-and now, because of the tremendous precision
in being able to look into sounds and work with them, the whole world of micro sound has
opened up and we can compose with it” (Chadabe, 129). Frank Zappa remarks on digital sound
in his autobiography, “ A sound from The Real World is sliced up, and stored as complex
batches of ones and zeros” (Zappa, 158). Lansky’s path to computer music begins with his
interest in serialism during the 1960’s (Cody, 20). The serialist aesthetic encompasses the
possibility for a democratic ordering in composition, and this idea translates to music and to
visual art as well (Moore, Allen F.). Interestingly enough, Lansky equates his process during
this time with sculpture, explaining, “I like to start with something concrete, and chiseling away,
much like a sculptor who begins with a large block of stone that ultimately resolves itself into
something utterly different” (Cody, 20). Paul Lansky works on the concept of breaking apart the
characteristics of sounds and reassembling them to develop new, “artificially created
sounds” (Lansky). His movement toward this revelation starts in 1979, with his composition “Six
Fantasies on a Poem by Thomas Campion.” This piece deals with the human voice in a manner
in which listeners are “forced to perceive the contours, shapes, and rhythms of speech as
musical objects” (Roads, 18). Lansky takes the elements of a voice and deconstructs them into
these basic elements by digitizing information into quantifiable values, enabling him to transform
voices into new sounds. During a 2004 lecture, Lansky notes: “In my 1988 piece, Smalltalk, I
mapped the amplitudes, rhythms and frequencies of casual conversation onto plucked string
filters. All that was necessary to do this was a frequency and envelope analysis of the original
signal” (Lansky). This process grows from the shift in music composition from the analog to
digital realm. When Lansky refers to these separated aspects of a particular sound, he
acknowledges the inherent quantifiability of digitally-produced music.
26
(Image 20: detail of my MAX patch)
Using Lansky’s work as a jumping-off point, I am currently trying to quantify sound with
color through MAX, which is essentially a visual programming software. The musical
components of my thesis project involve the use of MAX as a means of converting my primary
songwriting instrument (six-string fretless electric bass) into color through the use of a MIDI
attachment into my computer. In the above detail (Image 20), each module (“select 23”, “select
24”, etc.) represents a single note on a particular string on my bass guitar. Each time that note
27
is played, the circular buttons pictured underneath the modules are triggered. This causes a
corresponding Pantone number to be generated, which in turn controls the hue being selected
within the rainbow color swatch. All of this happens in real-time, as I play the bass guitar.
During the making of the “lubok bebop” project, I have used this system as a tool to relate
songwriting to painting. The entire color wheel can be seen on the next page, as Image 21.
28
29
21
crows caw (morning) / lubok bebop soundbox
Utilizing my MAX color wheel system, I created “lubok bebop soundbox”. This work is
comprised of a painting on canvas embedded within a constructed wooden box which also
houses a speaker and mp3 player. Spectators are invited to press a button which initiates the
playing of three songs: “crows caw (morning)”, “i can hear your breath”, and “crows caw
(night)”. The painting within the soundbox itself is a visual representation of “crows caw
(morning)”, which can be heard as track 1 on the supplemental cd attached to this paper
(appendix b). Inspired by Klee and Albers, this painting is a formal color study intended to
represent the tones heard within the musical composition. The music itself was written for
orchestra within the program Finale, and can be read as a score (appendix a). This work is
intended to be experienced aurally while all three visual works within the “lubok bebop” series
are seen.
30
22
i can hear your breath
The painting, “i can hear your breath”, is about being an artist. A traveling circus is
representative of every artist’s struggle to find a place and purpose in the world. Lost, trapped,
and surrounded by danger, the artists bravely put on their costumes and proclaim: “The show
must go on”. The song, “i can hear your breath” (appendix b - track 2), is a parallel narrative to
the circus-boat story which describes lovers meditating in the forest. In this sense, the imagery
31
23
seen in the painting is a daydream or manifestation of the hikers’ minds while wandering
through the woods. Or, vice versa.
Sonically, the music is soft and minimal. A lone acoustic guitar and voice are
accompanied sparingly by a somber cello. Once again, the colors within the painting have been
pulled from an analysis of the music via my MAX patch. For example, the three descending
chords during the instrumental bridge section of the song are directly related to the three cool
hues repeated within the wave patterning at the bottom of the painting. However, the reticent
mood or feel of the song is meant as a contrast to the animated disposition of the painting. This
discrepancy is a purposeful statement about the conflicted nature of the artist as performer and
as recluse.
“i can hear your breath”
walkin' through the forestin the daylightit’s late novemberthe burning leaves are red and goldwolves bark in the distancethe owls peer from high overheadso now i think of sarahaand his quizzical songswhat isbeing?see, hear, touch, taste,olfactorywe should climb the fig treeand pick the fruitthen stumble back downeat a snack and make-out with youthe sun hits the snowfalland i’m wondering where we began
so now i think of sylviaand her bible of dreamswhat is being?see, hear, touch, taste,olfactoryit’s so quiet outsidethat i can hear your breathand i’ve been watchin' the treetopsblowin’ in the wind againwith our shadows growing long in the setting sunthere are many placesto get lostpoint a finger at tree ringsfeelin’ small and meaninglessbut we’re here and it’s beautifuland who cares about all of the aboveso now i’m thinking of youyou are the one i love
32
crows caw (night)
The painting, “crows caw (night)”, is about love in defiance of mortality. The figures are
loosely representative of myself, my wife, and our dog relaxing at home. Descriptively, these
figures are driven by emotional content rather than verisimilitude. They symbolize a young
American family scraping by and holding onto an idealized youthful worldview, in spite of the
demands of everyday adult life. Music is nonchalantly created while being performed by an
33
24
imaginary band. All the while the score is literally flying out the window, which simultaneously
critiques and celebrates the ephemerality of art-making.
The song, “crows caw (night)” (appendix b - track 3), is texturally dense and sonically
intense. This is the musical equivalent to the overwhelming patterning which envelops the
painting’s surface. Tonally, the music is built primarily around a B-major seventh chord. Based
on my MAX patch, this is visually represented by the overall warm magenta hue which
dominates the pattern. Lyrically the song references crows cawing, which is an
autobiographical detail inspired by crows which actually tend to congregate outside of our
house. Pictorially this is subtly indicated by the Corvus constellation map seen strewn upon the
floor.
“crows caw (night)”
crows caw at nightwhen i’m fast asleepwhen i wake in the morningcrows peck at my feetwatched it’s a wonderful lifeon christmas eve made your mother cryred wine and teaall hours of timeas we’re walking by they take flighthope keeps me still
crows cawing at nightkeeping me up when i turn out the lightblack silhouettes in the skycatching the blue of the moonlightit’s a wonderful timeto be aliveall things aheadwill be made rightcrows caw in the lightbone black in the golden skyall hours of timecontinuously crows caw sublime
34
plans
At the reception for these works, it was fascinating to watch spectators interact
with “lubok bebop”. Because the music could be played and the volume could be adjusted at
will, the space around the paintings seemed to be ever-changing. In this sense, I had the
realization that this work has more in common with installation art than I had previously
foreseen. In general I believe the project was successful in terms of correlating tone to color,
and pattern to musical texture. I plan to add a component within the MAX patch which
incorporates the variables of chroma and value into consideration, rather than just hue.
Furthermore, I would like to improve in the devising of a system for correlating the imagery
within my paintings to music in a more purposeful manner.
35
25
I feel confident in pursuing the direction I have set-forth within “lubok bebop”. At the
beginning of this paper I pose the question: “Can my voice transcend mediums to yield a higher
order of meaning?”. The simple answer is yes. It is possible for my paintings and music to live
together and cast peripheral meanings upon one another. It is also possible for these peripheral
meanings to lead the spectator into a mental place which is neither inherently visual or musical.
The challenge with this type of work is to intentionally direct the spectator toward this mythical
place which I refer to earlier as a “higher order of meaning”. Perhaps these are the wrong
words to define what I’m looking for in my work. It’s important to note that pressing a button on
a painting and hearing music is inherently fun, and somewhat silly. These are emotional
reactions rather than intellectual responses. My next step is not to find a “higher meaning”
between art and music. Rather, I plan to find a “deeper meaning”. I want to speak from the gut
and from the heart.
36
BIBLIOGRAPHY
Alaniz, Jose’. “Lubok and the Prerevolutionary Era”. In Komiks: Comic Art in Russia, 13-30. Jackson: University Press of Mississippi, 2010.
Beach Boys. Pet Sounds. Capitol Records, 1966, compact disc.
Bourke, Paul. “Chromoscale: Unique Language for Sounds Colors and Numbers”. Retrieved: 4/28/16, http://www.tigercolor.com/color-lab/chromoscale.pdf, 2013.
Capote, Truman. Breakfast at Tiffany’s. New York: Random House, 1958.
Chadabe, Joel. Electric Sound: The Past and Promise of Electronic Music. New Jersey: Prentice Hall Press, 1997.
Cody, Joshua. “An Interview with Paul Lansky”. Computer Music Journal, Vol. 20 #1, pp.19-24, 1996.
Fan, Jinghua. “Sylvia Plath’s Visual Poetics”. In Eye Rhymes: Sylvia Plath’s Art of the Visual, edited by Kathleen Connors and Sally Bayley, 205-222. NewYork: Oxford University Press, 2007
Jackson, Michael. Thriller: 25th Anniversary Edition. Epic Records. 2008, compact disc
Kagan, Andrew. Paul Klee: Art and Music. Ithaca: Cornell University Press, 1983.
Klee, Paul and Felix Klee. The Diaries of Paul Klee: 1898 - 1918. Berkeley: University of California Press, 1964.
Lansky, Paul. More Than Idle Chatter. Bridge Records, #9050. 1994, compact disc.
Lansky, Paul. “The Importance of Being Digital”. Retrieved 5/3/14:http:// paul.mycpanel.princeton.edu/lansky_beingdigital.htm#_ftn3, 2004.
Moore, Allen F. “Serialism and its Contradictions”. International Review of the Aesthetics and Sociology of Music, Vol. 26 #1, pp.77-95, 1995.
Moore, F. Richard. “Dreams of Computer Music: Then and Now”. Computer Music Journal, Vol. 20 # 1, pp.25-41, 1996.
37
Pierre, D. B. C. Vernon God Little. London: Faber and Faber, 2003.
Plath, Sylvia. Johnny Panic and the Bible of Dreams. London: Faber and Faber, 1977. Roads, C. “Interview with Paul Lansky”, Computer Music Journal, Vol.7 #3, pp.16-24, 1983.
Salinger, J. D. Catcher in the Rye. New York: Little, Brown and Company, 1951.
Senn, Erich, John C. Bowlt, and Danute Staskevicius. Mikalojus Konstantinas Čiurlionis: Music of the Spheres. Newtonville, Massachusetts: Oriental Research Partners, 1986
Stravinsky, Igor. Duo Concertant, Suite Italienne & Other Works for Violin and Piano, Chandos Records, 1999, compact disc.
Vergo, Peter. The Music of Painting: Music, Modernism, and the Visual Arts from the Romantics to John Cage. New York: Phaidon, 2010.
Wallace, David Foster. Infinite Jest. Little, Brown and Company, 1996.
Zappa, Frank and Occhiygrosso, Peter. The Real Frank Zappa Book. New York: Poseidon Press, 1989.
38
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54 !!!!!!!!!!!!
54 !!!!!!!
54 !54 !54 !
!54 !
!54 !
!!
˙b ˙b
˙b ˙b
55 !!!!!!!!!!!!
55 !!!!!!!
55 !55 !55 !
!55 !
!55 !
!!
˙b ˙b
˙b ˙b
56 !!!!!!!!!!!!
56 !!!!!!!
56 !56 !56 !
!56 !
!56 !
!!
˙b ˙b
˙b ˙b
57 !!!!!!!!!!!!
57 !!!!!!!
57 !57 !57 !
!57 !
!57 !
!!
˙b ˙b
˙b ˙b
58 !!!!!!!!!!!!
58 !!!!!!!
58 !58 !58 !
!58 !
!58 !
!!
˙b ˙b
˙b ˙b
59 !!!!!!!!!!!!
59 !!!!!!!
59 !59 !59 !
!59 !
!59 !
!!
˙b ˙b
˙b ˙b
60 !!!!!!!!!!!!
60 !!!!!!!
60 !60 !60 !
!60 !
!60 !
!!!
˙b ˙b
61 !!!!!!!!!!!!
61 !!!!!!!
61 !61 !61 !
!61 !
!61 !
!!!
˙b ˙b
62 !!!!!!!!!!!!
62 !!!!!!!
62 !62 !62 !
!62 !
!62 !
!!!
˙b ˙b
63 !!!!!!!!!!!!
63 !!!!!!!
63 !63 !63 !
!63 !
!63 !
!!!
˙b ˙b
64 !!!!!!!!!!!!
64 !!!!!!!
64 !64 !64 !
!64 !
!64 !
!!!!
5lubok bebop- crow's caw movement -