{"id":9905,"date":"2017-09-05T10:15:47","date_gmt":"2017-09-05T09:15:47","guid":{"rendered":"http:\/\/blog.cronicaelectronica.org\/?p=9905"},"modified":"2017-09-05T10:15:47","modified_gmt":"2017-09-05T09:15:47","slug":"new-release-monty-adkinss-shadows-and-reflections","status":"publish","type":"post","link":"http:\/\/blog.cronicaelectronica.org\/?p=9905","title":{"rendered":"New release: Monty Adkins\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Shadows and Reflections\u00e2\u20ac\u009d"},"content":{"rendered":"

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\nCr\u00c3\u00b3nica is proud to present \u00e2\u20ac\u0153Shadows and Reflections\u00e2\u20ac\u009d, Monty Adkins’s new tape.<\/p>\n

Shadows and Reflections<\/em> develops from an audiovisual collaboration between Monty Adkins and the painter Andy Fullalove exhibited at Bradford Cathedral in October 2016. The exhibition comprised a series of fourteen paintings and sound that responded to the newly restored altarpiece by William Morris as well as the priceless stained glass windows in the Cathedral made my Morris\u00e2\u20ac\u2122s company, which include designs by Morris, Ford Madox Brown, Edward Burne-Jones, Dante Gabriel Rossetti, Peter Marshall, and Philip Webb. During the creative process, the artists exchanged sound and images on a regular basis, discussed work in progress but left each other to develop work independently.<\/p>\n

In the composition process Adkins was particularly drawn to the layering and textures of Fullalove\u00e2\u20ac\u2122s paintings as well as their use of colour. He also found a correlation between the use of light in Fullalove\u00e2\u20ac\u2122s paintings and the ways in which light streams through the stained glass windows of the cathedral, providing coloured halos and auras around concrete architectural forms in the building. Adkins was particularly interested in the ways in which the quality of light imperceptibly changed within the building over time.<\/p>\n

In the two parts of the work Adkins wanted to induce a sense of mediation, contemplation and reflection. He wanted the sound to be constantly, though in some instances imperceptibly, changing so that one remained mindful of the music rather than allowing it to drift in to the periphery of one\u00e2\u20ac\u2122s consciousness. He was reminded of Alan Wallace\u00e2\u20ac\u2122s description of Samatha meditation as a \u00e2\u20ac\u0153contemplative technology\u00e2\u20ac\u009d designed to calm and stabilize the mind and to cultivate \u00e2\u20ac\u0153attentional stability and vividness\u00e2\u20ac\u009d, and intends the music of Shadows and Reflections to cultivate a similar state. For Adkins, the focusing on a single organ timbre over an extended duration encourages a more attentive perception as the ear is drawn in to the micro-fluctuations within each of the extended phrases. One\u00e2\u20ac\u2122s sense of time is dilated and there is a sense of envelopment within the soundworld.<\/p>\n