Provincial Skinflint

by tvordis veeler

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1.
3b (call) 00:58
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2.
8 00:46
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3.
1a 00:57
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4.
2b 01:51
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5.
4 (1)(1) 00:57
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6.
5 (I love you) 01:38
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7.
6 01:17
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8.
15 00:42
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9.
9a 01:18
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10.
10 (Liberty) 01:13
info
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11.
11 01:28
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12.
13a (Deathtape 1) 01:42
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13.
14a (Deathtape 2) 01:34
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14.
17 (Deathtape 4) 01:54
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about

Six Tape Works and One Exploded Composition are the left and right hands. Provincial Skinflint is the feet. I reencountered Audacity through a French dictation assignment and saw that it was possible to cut and splice strips of audio much like one does with analog tape. I was enthralled. I said at the time that it felt more like compulsion than creation. The same can be said for most of my music.

I was abroad without any of my guitar toys as crutches. I was experiencing the early joys of dysphoria and the early dividends of trauma. I needed to make music. Thank goodness I found a way to do so. I admit these are intentionally rough around the edges, but they form the foundation of my field collaging practice.

I later learned this is called musique concrete. Reading Eliane Radigue's 'Intermediary Spaces,' I felt immense kinship with her work and her airplanes. She only got to hear six per day when she lived in Nice with no tape recorder. She wrote a timetable so she wouldn't miss them. I couldn't keep airplanes out of my field recordings if I tried. Neither of us could keep whatever that sound was out of our minds.

The Tvordis Veeler mask was constructed at this time too, a mechanism I now realize was defense. This is Tvordis's first work of art, and I, Sammie, remain a faithful archivist of his oeuvre after his passing. Some say I was his muse, but I wouldn't be so self important. Like Eliane, I didn't see the significance of what I was doing and feeling until much later. Before this was art, it was a game.

Audacity has been more important to my work than any guitar, pedal, plugin, or synthesizer. And it's free. It's obvious that I didn't make this music to get famous, or even to make people happy. I made this because I needed to.

With this triptych of hands and feet finally resolved, perhaps my next work will come nearer to my body.

credits

released December 11, 2015

license

all rights reserved

tags

about

field collage image

field collage Oakland, California

a survey of sound works between 2015 and 2020

involved with a field recording practice and an interest in forming incongruous spaces

a collage of collages of collages. all sounds recycled.

a love story to free software composed by a cyborg

more like an archive of processes than a set of discrete releases or songs

all proceeds from this account are given to other artists ... more

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