ScottOpus PRODUCTIONS
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TRINTY
Kerry R. Scott (1949 - )
Trinity, by Kerry R. Scott, is an interactive Multimedia composition comprising of kinetic and solid sculptures original slides and electronic music. The order and juxtaposition of the various parameters of the composition is controlled by M.O.S.E.S. M.O.S.E.S. (Multiple Option Switch for Electronic Signals)was designed and built by Rev. Dr. Kevin F. Scott -- the composers brother -- from specifications provided by the composer. It cannot be emphasized more strongly that the success of the performance of Trinity can be attributed to the expertise of Dr. Scott in the design and construction of M.O.S.E.S. All the parameters of the composition are controlled by M.O.S.E.S. -- nothing happens during the composition without the knowledge and consent of M.O.S.E.S.
For a more detailed description of M.O.S.E.S. including circuit diagrams, reproduction of the users manual and photographs of the instrument please click on the icon.
For a more Information on Rev. Dr. Kevin F. Scott please use the links above.
There follows an excerpt from the Trintiy program explaining the background to the composition and what each element represents. It should be pointed out that this composition was written in 1976 when the multi-media technique of composition was in it's infancy -- further, although the computer was used for music it was to a large extent a main-frame computer and thus too cumbersome to use in a performance setting.In addition software for music was limited to Music4 (a Fortran program) and others of similar and slow approach. Lastly the DIGITAL TO ANALOGUE CONVERTER (neccesary to convert binary code to electrical signals) was the size of a large wardrobe, obviously not convenient to use in a performance setting.
"TRINITY"
"Trinity" is a multimedia presentation of sculptures, music and slides.The basic structure of "Trinity" is a cross and a triangle and the symbolism contained therein. The work is continuous in nature and is designed to fit into an art gallery where the public can enter and leave at will.
Although the name "multi-media art" is new, the concept is not. Opera is an obvious example where the media of drama, music and sometimes dance have been combined.
Approximately ten years ago "multi-media art" seemed to the budding artist/musician/sculptor to be the perfect way to cater to every sense at once an thus make his art have more emotional impact. Alas, that was not the case. A sculptor is not necessarily a musician and even if he were it would be unlikely that he be as fluent and creative in a time oriented art form as he is in a space oriented one.
Further, with some exceptions, the individual art forms have developed autonomously. They have, in doing so, created independent concepts of quality which, although change somewhat with the time, remain generally consistent. For instance, in music the concept of timbre and its quality is generally established. Although we may not be conscious of it, the oboe has been technically developed in order to produce sounds that are subjectively pleasing to us. Further, budding oboe players are trained to play with a certain "sound" thus conforming to that socially subjective concept of quality.
Each art form has its own set of values and its own traditions. Further, when fusion of art forms was undertaken, such as in dance and opera, a new set of values was developed to apply to that particular form. As an example, we see the Italian Opera form where music had a particular place (Aria) and drama had a particular place (Recitative).
Artist were, therefore, soon disillusioned with their liberation from their independent art form. They found, firstly, the arbitrary synchronization of events was baffling to their public. Secondly, each art form was not appreciated. Thirdly, they tended to detract from one another instead of enhancing one another. Further, the works of artists tended to be strong in their natural medium and weak in the others. Collaboration of artists was not successful as their public was not ready,nor able,to concentrate on two or more emotional stimulants on different scenes [senses?] at the same time. It therefore becomes apparent why the multimedia movement, after an initial start, was, and is,slow to improve.
There is, however, one further problem which has presented the multimedia art form from developing: technical knowledge. The concepts of multi media art are deceptively simple, especially when they deal with the synchronization of events. Artist have found that it is one thing to conceive of slides or film in synchronization with sound and quite another to realize it on the performing area. The technical expertise, expense of the equipment made of purchased is prohibitive.
Moreover, when there is direct link or control between two mediums, the artist is likely agian to be disappointed, For example, in the case of sound controlling the parameters of light (in whatever form) the artist will quickly realize that simple wave forms (sound) produce the most impressive light configurations. Further in some cases subsonic wave forms produce even more understandable light configurations. Subsonic wave forms are, of course, inaudible and simple wave forms are, in the most cases, banal to our concept of the quality of timbre. A situation arises, therefore, that if the sound is interesting the light form are not and vice versa.
Without the public learning and the artist forming set concepts of the multimedia art form and without technical advancement sufficient to realize the artist's ideas, multimedia art will continue to stagnate and eventually pass into oblivion.
It certainly appears the multimedia art has not "pass[ed] into oblivion", although even with significant technical advancement and the advent of the PC, multi media art does not, even today seem to have fulfilled the expectations of those forward thinking artists of the 1970s. The remainder of the introduction to "Trinity" concerns the composition itself and it's background philosophy.
It was with all these concepts in mind that I undertook "Trinity". I am not trying to prove the validity of the multimedia art form as I do not believe that time oriented art form (music, drama, film) can be effectively combined with space oriented ones (painting, sculpture, drawing). Therefore, the art forms contained in "Trinity" (namely, music and film)have been modified to conform to the space oriented art form.
The musical events are complete in themselves. There is no traditional climax and relief an no discernible overall form. Each musical event (series of sounds) should be understood individually and thought of as creating shapes and forms in space. Similarly, the slides are and entity in themselves.
This modification allows the components of "Trinity" to fuse together instead of functioning at philosophical odds as would be the case if conceptually different art forms are contained in one work.
"Trinity" can be viewed upon two planes or levels. Firstly, it can be that of a series of individual sculptures (some movable, some stationary) and a slide show. Secondly, it can be one complete entity where the different components act and exist not individually but in conjunction with each other, thus forming a complete statement.
The first level of understanding is self-explanatory. As one views the four Prefabrications, one notices how they progress from two triangles to two crosses in a series of four sculptures.
The second level of "Trinity" is on of symbolism and philosophy based in the cross and the triangle.
Webster's Dictionary defines the work "Trinity" as "state of being threefold; the unity of Father, Son and Holy Spirit as three persons in one godhead; any union of three in one; triad". "Trinity" therefore has three components: The slides, The Sound Sculptures and the Sculptures.
Each component is also divided into three. The Slides represtn the natural environment,the secular envirionment (man made) and the religious environment.
There are three sound sculptures at the front of the church representing the facets of religion. They are firstly, that of reflection, inner thought and individual meditation - the individual; secondly, that of control, organization and regimentation - the society; and thirdly, that of glorification and worship of a mystic power, the God. Each of the sound sculptures are accordingly named "Reflection", "Control" and "Glorification".
With the exception of "Reflection", the sound sculptures affect each other. "Control", for instance, produces the sounds which organize the light patterns from Reflection. Thus has symbolizing the effect the organizational aspect of religion has on individuals and the way they perceive and understand phenomena outside the area of religion. Similarly, "Glorification has power (unseen through the use of photoelectric cells) to control both "Control" and in turn "Reflection".
"Glorification" is the only sound sculpture which has human participation. This takes the form of a dancer standing with arms outstretched representing the from of a cross. The dancer controls the other sound sculptures representing man's misunderstanding of glorification and his attempt to replace it with a form of idol worship, thus indicating that glorification is the most powerful and corruptible concept that man has."Glorification" has been portrayed in this case not as something mystic but as human, not as a god but as frail and open to temptation.
During the thirty years since "Trinity" was composed both the composer's ideas have changed and matured as have society's in general. It is interesting to note, however, the indications of the "Glorification" sculpture, and to compare the sentiments contained therein to the problems the Anglican Communion is having with the Episcopal Church USA today. That is not to say that "Trinity" is an Episcopalian based composition -- it is not; but rather to point out that an ecumenical composition -- which is what "Trinity" is, can have relevance and insight into particular facets of any denomination and perhaps those problems the Anglican Communion is facing at present may resound onto other Christian churches.
A photographic reproduction of the program for the performance of "Trinity" can be viewed by clicking on the link below:-
A photographic reproduction of the program for the performance of "Trinity".
As can be seen from the first page of the "Trinity" program there are four stationary sculptures located in the congregation area of the church or the public area of a gallery. The idea was that the "audience" could move all around them. They are called "Prefabrication I" through "Prefabrication IV" and represent a four stage visual sequence from a "cross" and a "triangle" to two "crosses". The titles "Prefabrication" were chosen particularly. Firstly the name represented the sentiment of a "disposable" or "replaceable" concept -- a religious sentiment prevalent in the 1970's when religion was only of use during hard times or times of stress. Secondly the word "prefabrication" was usually not used in connection with religion and certainly was not in the sacred vocabulary. It therefore had a "shock value" much used in the 1970's to gain attention and was in fact a "buzz word" of the time and area.
There follows a photographic reproduction of "Prefabrication I" through "Prefabrication IV" with a short description of each.
Prefabrications 3 and 2.
Prefabrications 4 and 1.
During the performance at the Ridgebury Congregational Church the positioning of Prefabrications I through IV were as indicated by the positioning of the photographic reproductions seen above. That is: the audience enter from the back of the sanctuary on the right and proceeded to the front of the church, crossed the church and returned to the back of the church, exiting at the back on the left. Between the two isles (entrance and exit) there was adequate seating for the audience to stay and listen and watch the slides as well as the kinetic sculptures. Obviously this configuration of audience movement and sculpture placement is not at always possible in all venues. The only constraint the composer places on the positioning of the Prefabrications is that if any member of the audience wishes, he or she can experience the sculptures in the following order -- Prefabrication 1, Prefabrication 2, Prefabrication 3, Prefabrication 4 (as seen above).
Another, but possible obscure, reason for the name Prefabrication was that they could be taken apart and reassembled at another location. After the performance in 1976 the sculptures were indeed dismantled and then stored. Unfortunately when the composer relocated to the United Kingdom in the early 1980's the dismantled sculptures were disposed of. Detailed dimensions, specifications and product lists are, however, available from the composer for serious individuals or organizations intending to put on a performance of "Trinity". Each Prefabrication was approximately 15 feet high and was constructed of half inch round steel stock. Each sculpture had a four foot square base made of half inch construction plywood attached to a 2 inch by 8 inch wooden framework. The whole sculpture including the base was painted matt-black. The sculptures all were designed to be self-standing -- that is balanced. The original of Prefabrication 4 was in fact self-standing even with only an eight inch support at the base.The others were in reality not self-standing and needed nylon fish-wire attached from the sculpture top to the four corners of the four foot square base. It should be pointed out, however that Prefabrication 4 was constructed using "hardened steel stock" whereas the others were constructed with "soft rolled steel stock". It became apparent during the construction that, although balanced, the weight of the sculpture was at the top of the cross and the "soft rolled steel" was not strong enough to support the weight and tended to "bend". It is suggested therefore that all the prefabrications be constructed out of "hardened Steel Stock" or even stainless steel, thus removing the need for the nylon guy-ropes.
One other facet of the Prefabrications was that the "cross members" were attached to each other by stainless steel machine nuts, bolts and washers again allowing for dismantling and reconstruction.
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