When considering the theoretical baselines of this module, I decided to look within myself, and consider what in my life embodies these ideas and concepts. Put mildly, I am a dance music fanatic. I perform regularly in Exeter as a DJ and when sifting through my record collection, I came across a record that really speaks to me personally, and in many ways, has a universal allure. The record was released on a German record label named Innervisions, and is called Acamar, written by a duo called Frankey and Sandrino. The record is presented in a black inner sleeve with a fantastic artwork print, information sheet and elegant outer sleeve. To many, it is merely a slab of polyvinyl chloride nestled within a nexus of card, paper and minimalist design.
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This artefact is a twofold representation of this. Firstly, the artist creating the music, the designer creating the artwork and the curatorial knowledge of the record label are all modes of aesthetic expression. These 3 worlds intertwine to create a product that represents a commitment to a multi sensory aesthetic, one unified by the visual power of the packaging, the strength of the sounds and the distinctive touch of the record. Although I did not create this record, I view it as part of my creative identity. I can use this record in the context of an hour long performance to create a mood, foster an atmosphere and convey emotion. The record transcends the audial, giving me control of what people hear through touching and manipulating the record, linking two very distinct sensory experiences. Through this touch, I leave my mark on the media itself, leaving fingerprints and dust marks across the locked groove, putting a very personal stamp on my copy of this vinyl. These fingerprints and the engraining of my touch within the plastic, as Fisher (2004) asserts, bring about powerful memories of performing with this …show more content…
For example, a handle on a mug allows you to hold the mug without burning your hand. In the case of this record, the principle of affordance is somewhat diminished in a physical sense. I could play any record from my collection in the circumstances. However, it depends upon the end I am attempting to facilitate. I could play a faster, more hard-edged piece of music and afford a differing reaction from a crowd. Yet, when endeavouring to convey a particular emotion or mood, I opt for Acamar. Music is an intangible commodity, however, I find that records allow me to alter the expression of the dancefloor. The idea of affordance is strongly applicable in this regard, as I have a palette of sounds I can use to draw out latent action possibilities within the environment. Approaching music in this way allows me to use sound functionally, and to draw the best out of a crowd through selecting emotionally compatible
This artefact is a twofold representation of this. Firstly, the artist creating the music, the designer creating the artwork and the curatorial knowledge of the record label are all modes of aesthetic expression. These 3 worlds intertwine to create a product that represents a commitment to a multi sensory aesthetic, one unified by the visual power of the packaging, the strength of the sounds and the distinctive touch of the record. Although I did not create this record, I view it as part of my creative identity. I can use this record in the context of an hour long performance to create a mood, foster an atmosphere and convey emotion. The record transcends the audial, giving me control of what people hear through touching and manipulating the record, linking two very distinct sensory experiences. Through this touch, I leave my mark on the media itself, leaving fingerprints and dust marks across the locked groove, putting a very personal stamp on my copy of this vinyl. These fingerprints and the engraining of my touch within the plastic, as Fisher (2004) asserts, bring about powerful memories of performing with this …show more content…
For example, a handle on a mug allows you to hold the mug without burning your hand. In the case of this record, the principle of affordance is somewhat diminished in a physical sense. I could play any record from my collection in the circumstances. However, it depends upon the end I am attempting to facilitate. I could play a faster, more hard-edged piece of music and afford a differing reaction from a crowd. Yet, when endeavouring to convey a particular emotion or mood, I opt for Acamar. Music is an intangible commodity, however, I find that records allow me to alter the expression of the dancefloor. The idea of affordance is strongly applicable in this regard, as I have a palette of sounds I can use to draw out latent action possibilities within the environment. Approaching music in this way allows me to use sound functionally, and to draw the best out of a crowd through selecting emotionally compatible