Turner's Tempest
from SIRÈNE by Robert Curgenven
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Expanded and remixed for vinyl - the full title of the track as it originally appears on “Transfixed” (The Tapeworm, TTW#58, 2013) is:
The Internal Meta-Narrative of Turner’s Tempest As He Is Tied To The Mast in Order to Create the Direct Experience of the Drama Embodied Within a “Snow Storm – [wherein a] Steam-Boat off a Harbour’s Mouth making Signals in Shallow Water, and going by the Lead. [is rendered by virtue of the claim that] The Author was in this Storm on the Night the Ariel left Harwich”. This story is but a story, to quote the Tate article referenced above – “No ship called Ariel is associated with Harwich in the 1840s, and Turner is not known to have visited the east coast at this time. Moreover, a man of any age, let alone in his late fifties, would probably not have survived such an experience. Turner most likely chose the name Ariel because of its association with Shakespeare’s Tempest – the implication being that he was a painterly Prospero, able to conjure up any kind of weather, real or imagined, at will.” This piece examines not Turner’s story of the story behind the painting, which is in itself a story, but aims instead to experience the meta-narrative of Turner’s supposed unmediated experience through his embodiment – a conscious body tied to a mast on a boat cast out into a storm.
The Internal Meta-Narrative of Turner’s Tempest As He Is Tied To The Mast in Order to Create the Direct Experience of the Drama Embodied Within a “Snow Storm – [wherein a] Steam-Boat off a Harbour’s Mouth making Signals in Shallow Water, and going by the Lead. [is rendered by virtue of the claim that] The Author was in this Storm on the Night the Ariel left Harwich”. This story is but a story, to quote the Tate article referenced above – “No ship called Ariel is associated with Harwich in the 1840s, and Turner is not known to have visited the east coast at this time. Moreover, a man of any age, let alone in his late fifties, would probably not have survived such an experience. Turner most likely chose the name Ariel because of its association with Shakespeare’s Tempest – the implication being that he was a painterly Prospero, able to conjure up any kind of weather, real or imagined, at will.” This piece examines not Turner’s story of the story behind the painting, which is in itself a story, but aims instead to experience the meta-narrative of Turner’s supposed unmediated experience through his embodiment – a conscious body tied to a mast on a boat cast out into a storm.
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from SIRÈNE,
released May 19, 2017
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Robert Curgenven Ireland
Curgenven's work emphasizes physicality, our embodied response to sound & its relation to location, air, weather & architecture; including works produced for National Gallery of Australia, Palazzo Grassi Venice, Sydney Festival, Maerzmusik & Transmediale Berlin. The Wire (UK) surmises “behind the music lurk such [disparate] presences as Alvin Lucier, King Tubby, Murray Schafer and Eliane Radigue.” ... more
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Apr 2016
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