Graduation. It’s coming, and time is flying as relentlessly as ever! In less than a month, I’ll be “commencing” post-degree life for a third time. And then, I’ll officially be able to put two letters in front of my name: D-R.
I’m feeling a bit sentimental, so I’m going to share what I’ve been working on for the last year and a half. Well, okay. Really, I’m just plain excited about what I’ve been doing, and I’m going to burst soon if I don’t share it.
Way back in middle school, tiny Krisztina was given her first taste of intermedia art. I’ve been addicted ever since. When the time came to ponder my dissertation topic, it was only natural for me to think: intermedia.
What’s intermedia art, you ask? A fine question! Very simply, it’s the integration of diverse artistic mediums. See my flute/light project intro video for a more thorough explanation, here!
Fast-forward through some life experience, performance opportunities, and research; and I had narrowed my field of study to two specific mediums: sound and light. Then, back in February 2016, I began my flute/light commission project.
Sound and light—both are manifestations of kinetic energy. A great deal can be observed about them: their frequencies, amplitudes, velocities. Their union is found in thunder and lighting, electricity, and even black holes. It’s nearly impossible to imagine a world without them! But Aristotelian questions remain: What is the essence of energy, sound, and light? This mystery fills me with tremulous wonder when I listen to a Brahms symphony or observe the stars; and I am compelled that it is this very mystery that lends sound and light their dramatic power in the arts.
This blog post is No. 1 in a series of five video releases that mark the culmination of my flute/light project! The first? Anna Meadors’ At Daybreak for flute, percussion, and lighting.
Anna’s piece is the origin story of light, as told by Italo Calvino in “At Daybreak” from Cosmicomics. The music and light work in synergy to portray a nebulous opening, followed by a condensing of the nebulous matter, the sudden creation of light, and its disappearance at nightfall. Because there is lighting throughout the piece, I always find myself anticipating the dramatic moment when THE light will burst into the story.
We were all burning in the fire. Or rather: we weren’t burning, we were immersed in it as in a dazzling forest; the flames shot high over the whole surface of the planet, a fiery air in which we could run and float and fly, and we were gripped with a new joy (Italo Calvino, from “At Daybreak”).
All video footage for At Daybreak was recorded in Brown Building Theatre at the University of North Carolina Greensboro on December 3, 2016. I was assisted by percussionist Erik Schmidt and lighting technician Katherine Ward. The cinematic video was created by audio and visual team Wayne Reich and Ben Singer. I can’t begin to say how thankful I am to each of them for their contributions to the project!
Wayne has published a blog post on his website about the video production of At Daybreak with cool pictures of the editing process! Check it out here.
Stay tuned for more videos, and thanks for reading!