Checkpoint 3 OPERATING: PLAYING VS. LISTENING VS. ‘ITS OWN EROTIC’
What is the use of composing if it is to confine
the product within the precinct of the concert or the solitude
of listening to the radio ? ...
...The modern location for music is not the concert hall, but
the stage on which the musicians pass, in what is often a
dazzling display, from one source of sound to another. It
is we who are playing, though still it is true by proxy;
but one can imagine the concert - later on ? - as exclusively
a workshop, from which nothing spills over - no dream, no
imaginary, in short, no 'soul' and where all the musical
art is absorbed in a praxis with no remainder. (IMAGE - MUSIC - TEXT -Barthes pg 154).
By making a recipie you are making a public playbook for future adaptors to riff off of considering their new temporal context. Will the next person to remake my meal be cooking in a certain changed context which transforms the expression of my greater ideas with a new timbre? Maybe the next person to cook my recipie will cook it during a recession and substitute for cheaper ingredients, Maybe my grandchild will dust off my old journal in their attic and make the meal as an attempt to get to know who I was. Will I be there to haunt the next person to recreate my dishes and tell them it tastes off? The private side of my work may be something the viewer or the next person to attempt my recipie will never know, like what tricks I used to make my sauces easier or the countless itterations of my courses I blew through to get them just how I wanted.
As a check up for my 3rd checkpoint of the term. I have successfully made my full course meal a whole way through with so many changes from my origional idea. I learned to simplify the already simple courses and complexify the more intentionally specific courses as to make each course exemplify its goal better. For example, spending extra time and money making the amuse bouches overly complicated almost distracts the entire purpose rather that acting as a warm up for the later courses. This shows in my change from resting a pickled blueberry on a cracker or cucmber slice and instead just centering the course on the pickled blueberries themselves. More changes like this have been helping me understand the purpose of each course rather than stuffing each course with the most words in its title as I can. Here are the pictures of my courses Which I will now make "Text" for by pairing the pictures with a professional offerings list (fancy menu) for when I serve the full meal to my friends and family in the future.
"Will the next person to remake my meal be cooking in a certain changed context which transforms the expression of my greater ideas with a new timbre?" ... "Maybe my grandchild will dust off my old journal in their attic and make the meal as an attempt to get to know who I was." It is so interesting what you say here as it allows your work to stand by itself, to embody something palpable and tangible defined through the death of the author, allowing anyone to reimagine its articulation and performance in a new form. And what I find intriguing is that each one of those reiterations is defined by a unique character and significance of its own.
ReplyDeleteI feel like this ties well into your last journal when you talked about who is the original author of a recipe. Will it be you or will it be the audience that takes it and mortifies it to fit their own needs. At what point does the audience take your recipe and change it to where it is no longer yours?
ReplyDeleteThe pictures are looking mighty fine. Perhaps the recipe is the audience's as soon as you set it in front of them, or show them a picture.
ReplyDelete