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LINE 048CD
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"These works occupy a position between an expanded notion of composition and a gallery-based art practice. The content of the works presented on this disc produce a slow series of gestures that give the illusion of stillness amidst a texture of continually developing material. The central concern in all of these pieces (the three fully scored works, the installation documentation, and the live-performance) is the construction of a sound world that is able to be environmental rather than temporal, proceeding slowly enough that it might be explored without the anxiety that it will move away too quickly. Like much of my output, I am interested in providing the listener with material that allows for an active agency of perception and that affords the ability to move through the sound autonomously. Whether the work is gallery-based, conceptual, or created for a concert hall, I am interested in viewing simple, everyday actions at extreme magnification, acknowledging failure by amplifying impossible tasks, and exploring the role of memory in forms that respect the contract between the composer, performer, and listener." --Seth Cluett.
"Cluett uses minimal materials derived from close listening and observation of the environment to point up the way in which we personalize our objects and actions. Through creative misuse of post-consumer goods, adaptive re-use of raw architectural elements, and a nostalgic obsession with dead technologies, these materials become instrumentalized. In this way, many of his pieces investigate the movement, patterns, and social organization of both work and play, while others explore the acoustic signature of specific locations, where sound is exposed as the result or goal of a social activity, a characteristic of architectural space, or a by-product of a geological process."
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SED 038CD
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"My Own Thousand Shatterings is a one hour and fifteen minute composition consisting of three sections. It is a document of my obsession with rain, though it may not be immediately apparent as to how. I love how rain varies infinitely, how the totality of it is a drone, how (much like white-noise) when it reverberates in our architecture, it pulls pitches out of the air. I love how thunder dwarfs the sound of everything for a moment, and how its sustained echo rolls spatially around us. The third piece is a stereo field recording, the second is a stereo documentation of a performance, the first was recorded in a studio to a mono reel-to-reel. The pitches for the first and second pieces came mostly from the rain of the third piece being played back in the resonance of my home, the speed of change in the first two pieces comes from my obsession with geological data about the Kutiah glacial surge that happened in Pakistan where a glacier decided to move twelve kilometers in two months. That is a very fast slow. The second piece is paced in performance by my memory of the data, the first piece is paced by my memory of the pace of the performance of the second piece. The combined pitches that came about by improvising with the frequencies originating in the field recording were then used to gently filter the field recording itself in the third piece." Seth Cluett is an installation artist and educator living and working in Troy, NY. His work has dealt primarily with the relationship between the body and sound or light as well as architecture as an extension of the body. His research focuses on the effect of sound and light wave propagation on space perception and cognition, but its not that fancy.
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