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Arriving at inspiration
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Content
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
MASTER OF ARTS — SPECIALIZED JOURNALISM (THE ARTS)
UNIVERSITY OF SOUTHERN CALIFORNIA
AUGUST 15, 2018
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
2
TABLE OF CONTENTS
INTRODUCTION: FINDING INSPIRATION ............................................................................ 3
AUDIO SEGMENT LISTING WITH DIRECT LINKS ................................................................ 4
TRANSCRIPT OF INDIVIDUAL AUDIO SEGMENTS
TRANSCRIPT: PART ONE: CATHERINE ADELL ............................................................ 5
TRANSCRIPT: PART TWO: HANS-JOACHIM ROEDELIUS ........................................... 8
TRANSCRIPT: PART THREE: MAD MIKE ................................................................... 11
TRANSCRIPT: PART FOUR: GUILLERMO GALINDO .................................................. 15
BIBLIOGRAPHIES
BIBLIOGRAPHY: PART ONE: CATHERINE ADELL .................................................... 18
BIBLIOGRAPHY: PART TWO: HANS-JOACHIM ROEDELIUS .................................... 19
BIBLIOGRAPHY: PART THREE: MAD MIKE ............................................................... 20
BIBLIOGRAPHY: PART FOUR: GUILLERMO GALINDO .............................................. 21
ACKNOWLEDGEMENTS OF SUPPORT ................................................................................ 22
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
3
INTRODUCTION: FINDING INSPIRATION
When I started this project about inspiration, I wasn’t sure what I would
learn. I only knew that I had known artists who, either directly or as an admirer,
have filled me and a good many others with an overwhelming sense of awe. These
individuals seem to tap into something that is utterly mysterious, that carries an
incredibly potent effect on the observer.
I spoke with the artists featured here about a subject that at times seems
elusive even to the creator. The interview process was, at times, difficult. It was like
a direct affront to that famous René Descartes notion of “I think, therefore I am.”
What I was essentially asking each interview subject to answer is the question: Why
are you? It is not an easy question to answer. Yet I was incredibly humbled by the
willingness of each participant to achieve deep introspection and to give the topic
serious thought. After all, they could have just been creating art instead of sitting
with me talking about it.
As I interviewed these artists and musicians, I began to realize the
complexity of the topic. On its simplest level, inspiration is a loyal friend who is
always by one’s side, and asks only for a gracious host. Like any good friend, it
doesn’t care where you’ve come from, only where you are going. Being aware and
ready for the next cue is all that is asked.
But inspiration is also a process. Instead of occurring as a single, quickly
passing moment in time, it is the result of a lifetime of learning, observations and
openness. No matter who the person is — whether a visual artist, performance
artist, puppeteer or musician — inspiration is a culmination of events that build up
over time to finally turn the corner to arrive at a new perspective. Where the artist
ultimately succeeds is in not only drawing from his or her own inspiration, but in
transferring that inspiration to the observer, in a ripple effect. The possibility for
exponential growth beyond that one person is endless.
I like to think of inspiration as the finding of one’s true humanity, or at least
the earnest attempt in order to do so. Each of the remarkable subjects featured in
these four vignettes provides a glimpse into the process of creation that is
transformative. My hope is that sharing these stories will amplify the idea that each
one of us possesses the possibility for new discoveries, and that we never know who
we could positively impact along the way. The biggest challenge is to simply let
inspiration exist and to let it work its wonders.
— Liz Warner
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
4
AUDIO SEGMENT LISTING WITH DIRECT LINKS
PART ONE: CATHERINE ADELL
https://soundcloud.com/audiointerference02/catherineadell-thesis-draft04-
mixdown/s-Rd7NY
PART TWO: HANS-JOACHIM ROEDELIUS
https://soundcloud.com/audiointerference02/thesis-roedelius-draft03-
mixdown/s-YKlpd
PART THREE: MAD MIKE
https://soundcloud.com/audiointerference02/thesis-madmikedraft03-
mixdown/s-6twoX
PART FOUR: GUILLERMO GALINDO
https://soundcloud.com/audiointerference02/thesis-galindo-draft03-
mixdown/s-tuDp7
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
5
TRANSCRIPT OF INDIVIDUAL AUDIO SEGMENTS
TRANSCRIPT: PART ONE: CATHERINE ADELL
SOUND:
MUSIC: Innerzone Orchestra “Timing” Programmed (Planet E)
HOST INTRO:
“Arriving at Inspiration”… The process in the words of artists. Part one: Puppeteer
Catherine Adell…
SOUND:
MUSIC: DJ Food “Nocturne” Kaleidoscope (Ninja Tune)
CATHERINE ADELL:
Inspiration. It comes in so many forms. It comes from so many places it’s hard to
distill it down to just one thing, I guess. Inspiration really drives a lot of the work I
do because it always starts with a seed that is usually the inspiration.
It’s not just one thing. And when inspiration comes, oftentimes it’s hard to pinpoint
because it is so visceral and it’s not like, “Oh there’s a coffee cup that is – that’s the
thing. It comes from a lifetime of experiences and the way I have processed things
throughout my life and what I see. What can inspire me doesn’t necessarily inspire
someone else. So there’s a lot behind the inspiration that is very personal I guess.
SOUND:
MUSIC: Mary Lattimore “The Warm Shoulder” Collected Pieces (Ghostly
International)
CATHERINE ADELL:
Well, I’ve always made weird things. I really liked Shel Silverstein when I was a kid. I
would put on little plays and act out the Shel Silverstein poems. I would make little
things, little costumes, little props.
It came pretty easy as a kid. Then adulthood happened and as I started taking art
more seriously, it kind of came back in this more grown-up way of, “Oh, this is an art
form.” It’s something I can respect and create from. It’s not just this goofy thing I did.
I went to school for theater, for acting. Tucked within the theater school was
puppetry school. Your first year at acting school, you have to do crew, which means
your work backstage in props or lighting. And my first crew assignment was to work
spotlight on this puppet show. The show was called “Invisible Glass” and it was a
huge production.
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
6
SOUND:
EXCERPT FROM PERFORMANCE: Janie Geiser “Invisible Glass (excerpt)”
https://vimeo.com/38139048
CATHERINE ADELL:
I saw the possibility that puppets brought to performance, and it wasn’t just this
thing for children. You can translate the narrative into something that’s more
expansive. The puppets could give you this glimpse into a different way of telling the
story.
It felt liberating in a way that I had never felt with my acting. Suddenly seeing these
puppets inhabit different planes on the stage and they can take flight. They can
literally take flight and experience a separate journey that I cannot experience as a
human person.
SOUND:
MUSIC: Aphex Twin “Jynweythek Ylow” Drukqs (Warp)
CATHERINE ADELL:
It was incredible to think that things could go so deep. Through a puppet, I could
also experience a child, an animal… It was incredible.
In this puppet show the sets would move with the puppets. And the puppets, they
would walk on glass. They would walk up the walls, which as a human person I can’t
do that, no matter how much I train I will never just be able to walk up a wall
because that’s what I want to do. It allowed for different feelings and different ways
to tell a story because it’s much more visual in the way it can express its emotions.
SOUND:
MUSIC: DJ Food “Minitoka” Kaleidoscope (Ninja Tune)
CATHERINE ADELL:
The Bunraku puppeteers in Japan are they’re like masters of puppetry and have
devoted their lives and it’s an incredible process. You’ll usually have a rod on the
head, who is usually the head puppeteer, the main puppeteer. And then there’s a
person who will do arms. And then there’s a person who will do feet.
There’s usually three people on one puppet and you have to be able to move that
puppet as one character, as if you are all that one body. When you can get your flow
going and you can just feel where the other people are going with the puppet and
you just move as a team, it’s incredibly fulfilling.
SOUND:
MUSIC: Lusine “Chatter” Sensorimotor (Ghostly International)
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
7
CATHERINE ADELL:
It’s not so much that I embody it that it flows through me to the puppet. If the
puppet is sad, I’m not going to cry but I have to feel the movement of sadness. It has
to come through me to be portrayed by the puppet.
The ability to put yourself in another’s shoes. The ability to see things in a different
way. Sometimes I’ll work with puppets that have static eyes, their eyes don’t move.
But people in the audience will swear that they saw the eyes move and saw the eyes
focus on different things. There’s something beautiful in that.
The audience and their willingness to believe and to go with you on that journey is
very much a part of puppetry.
And the ability to imagine yourself as something other than what you may think
you’re supposed to be is a gift. I think that’s how people change lives and grow and
better and become something more amazing than they ever dreamt of. Just seeing
the possibility there. Oh, I can, I can be that, I can inhabit that life.
HOST OUTRO:
This has been “Arriving at Inspiration,” a podcast series exploring the creative
process. Recorded and produced at the Annenberg School for Communication and
Journalism at the University of Southern California. Special thanks to Sandy Tolan,
Tim Page, Josh Kun and Sasha Anawalt. Also to Innerzone Orchestra for the theme
music. I’m Liz Warner. Thanks for listening.
SOUND:
MUSIC FADES TO END: Lusine “Chatter” Sensorimotor (Ghostly International)
END
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
8
TRANSCRIPT OF INDIVIDUAL AUDIO SEGMENTS
TRANSCRIPT: PART TWO: HANS-JOACHIM ROEDELIUS
SOUND:
MUSIC: Innerzone Orchestra “Timing” Programmed (Planet E)
HOST INTRO:
“Arriving at Inspiration”… the process in the words of artists. Part three: musician
Hans-Joachim Roedelius…
His training in physical therapy led him to experiment with music therapy, and
collaborations with notable sound innovators from the beginning. He continues his
work today through music and with an annual gathering near his home in austria.
Here is roedelius playing piano on a song he composed with Brian Eno and Moebius
called “By This River”…
SOUND:
MUSIC: Brian Eno “By This River” Before and After Science (Island)
HANS-JOACHIM ROEDELIUS:
I have early music when I was a child. I’m protestantly baptized but I went with my
Aunt to Catholic Church, and I loved the singing in the Catholic Church. It dismantles
the smoke. This is my first so-called impression of cultural things.
Every situation in my life is very inspirational, because I’m open. I don’t think I have
to do something very special. What I found that I have to do is mine. Nobody can
steal it. It’s authentic. It’s always authentic.
I think it’s more than only music. It’s more than only meeting people. It’s much
more. Just being here and doing what I like to do, it’s very complex. Sometimes I am
thinking about it and I am dreaming, “What’s going on? What’s happening? What are
you doing? ”
SOUND:
MUSIC: Hans-Joachim Roedelius “Poetry” Pink, Blue and Amber (Captain Trip)
HANS-JOACHIM ROEDELIUS:
Every concert was to study how it would work out, so every time we played was a
sort of experiment.
I’m not proud of what I’m doing, because I know I have to do it. It’s my profession.
So I can’t put it on my flag that I am the one who’s doing it. I feel I’m just a medium
to do something that is more than I am.
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
9
HANS-JOACHIM ROEDELIUS:
It’s a gift of the moment. I’m living out of the moment. I don’t think about what’s
going to happen in the future. I don’t think much about the past.
SOUND:
MUSIC: Hans-Joachim Roedelius “Twilighttide” Tace! (Prudence
Cosmopolitan)
HANS-JOACHIM ROEDELIUS:
I think nobody can really understand why I am so happy and glad to do what I’m
doing and how much I like it.
It’s always soundscaping. It’s always creating an imaginary soundscape for people to
fall into it and stay with themselves. Not to catch their attention with drones or
something like that or loud stuff… Just to let them be in the stream of what’s going to
happen when I’m playing. I think that’s a good therapy. Many people tell me that it’s
a sort of healing, what I’m doing. I’m a PT myself, it’s my profession. Also music.
SOUND:
MUSIC: Roedelius + Alquimia “White Dream” Move and Resonate (Prudence
Cosmopolitan)
HANS-JOACHIM ROEDELIUS:
I open doors. Not me, my music opens doors and keeps people coming down from
their stress, daily stress, hard working and fighting against reality. Because it’s not
easy to survive and especially not now. It’s not easy to survive for the normal
people. They really have to suffer because it’s so hard… Everybody loses their soul…
There’s too much other stuff that takes them away from what they are and what
they could be.
SOUND:
MUSIC: Hans-Joachim Roedelius “Wenn Der Südwind Weht” Wenn Der
Südwind Weht (Sky)
HANS-JOACHIM ROEDELIUS:
I think my music and all what I am doing is based in people and which way they
helplessly do what they are doing without knowing what they are really doing in
some unconscious way. They fixed my view to reality, to what’s going on in reality.
Helped me to become what I am now, of course. They were my teachers.
We invite people from science, from theology to speak about it…
…In a beautiful environment on a stage on a lake, beautiful. The right place to bring
people together to make them aware of themselves. And to share with them the “Gift
of the Moment.”
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
10
HANS-JOACHIM ROEDELIUS:
It’s just a sort of nucleus of becoming aware of which way we have to go and what
we have to do to make the world a better place.
HOST OUTRO:
This has been “Arriving at Inspiration,” a podcast series exploring the creative
process. Recorded and produced at the Annenberg School for Communication and
Journalism at the University of Southern California. Special thanks to Sandy Tolan,
Tim Page, Josh Kun and Sasha Anawalt. Also to Innerzone Orchestra for the theme
music. I’m Liz Warner. Thanks for listening.
SOUND:
MUSIC FADES TO END: Hans-Joachim Roedelius “Wenn Der Südwind Weht”
Wenn Der Südwind Weht (Sky)
END
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
11
TRANSCRIPT OF INDIVIDUAL AUDIO SEGMENTS
TRANSCRIPT: PART THREE: MAD MIKE
SOUND:
MUSIC: Innerzone Orchestra “Timing” Programmed (Planet E)
HOST INTRO:
“Arriving at Inspiration”… the process in the words of artists. Part four: musician
and community leader Mad Mike.
Mad Mike grew up in Detroit at a time when the city streets were filled with drugs
and violence. It was the voice of a late-night radio host, The Electrifying Mojo, that
stood out to him as a voice of hope.
In the late 1980s, Mad Mike co-founded Underground Resistance, commonly
referred to as U-R. As part of U-R, the Submerge building opened, a creative space
and museum dedicated to Detroit’s techno culture.
Over the years, he forged a mentoring friendship with The Electrifying Mojo that’s
driven his vision.
This is the start of The Electrifying Mojo’s nightly radio show…
SOUND:
RADIO SHOW INTRO: The Electrifying Mojo “Midnight Funk Association”
https://www.youtube.com/watch?v=qXu3Alw0-Hw
WORDS: “The metro Detroit area, there are thousands and thousands
and thousands and thousands, and more about to join now. Will the
members of the Midnight Funk Association please rise…”
SOUND:
MUSIC: Drexciya “Welcome to Drexciya” Various Artists: Depth Charge 2
(Submerge)
MAD MIKE:
It was a combination of two things that inspired me. Of course, it was the music from
Electrifying Mojo’s radio station. But more so his uh poetry and um… I felt like he
was a survival teacher for the hood.
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
12
SOUND:
POEM: The Electrifying Mojo “Adversity” (excerpt) The Mental Machine (J-
Stone Audio Books)
WORDS: “Adversity is your teacher in every respect. Losers, it
punishes. Winners, it teaches lessons in life. But most of all, winners, it
respects.”
SOUND:
MUSIC: Underground Resistance “Amazon” Various Artists: Depth Charge 1
(Submerge)
MAD MIKE:
The other inspiration is the street.
The crack came, and weird things started happening. The police kind of cleaned the
streets of the gangs. The real tough guys that got off went to prison, and that made
room for uh this different type of crime spree that was about to happen with this
crack.
But all the time, Mojo was talking. He’s talking…
SOUND:
POEM: The Electrifying Mojo “Will You Just Dream” (excerpt) The Mental
Machine (J-Stone Audio Books)
WORDS: “Without a dream, don’t expect to be here long. If you want to
live, if you want to stay alive, if you want to prosper, not just survive,
you must dream great dreams. Dreams are… “
SOUND:
MUSIC: Underground Resistance “Jupiter Jazz” Various Artists: Depth Charge
1 (Submerge)
MAD MIKE:
He’s guiding those who listen away from it. Away from it… Mojo was that parent that
may or may not been present in your house. He knew what us as kids was up
against, and he cared.
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
13
SOUND:
EXCERPT FROM VIDEO FOOTAGE OF CBS NEWSCAST, 1983:
https://www.youtube.com/watch?v=AKnYd6ETA1k
[43:26-43:45]
WORDS: “Whenever police raid a crack house, they say they’re bound
to find some heavy fire power. Drugs and guns are a heavy mixture,
and together they’ve given Detroit the highest murder rate of any
American city.”
“This is a war. This is an epidemic. I’ve been to Vietnam, but this is our
Vietnam.”
SOUND:
MUSIC: The Martian “Ghostdancer” Various Artists: Depth Charge 4
(Submerge)
MAD MIKE:
The music actually was a backdrop for righteousness. That’s what the guy was sayin’
on the air better than any preacher I know, and I’ve been in plenty of churches. You
know church is telling you, Hey boy, do the right thing, but it’s only a certain amount
of people in the room. This man had the ears of the whole city. What better way to
talk to kids than with their music with some good ass theory behind it?
Mojo was like “there’s alternatives. There’s the future, there’s alternatives he offered
as well as many, many sad stories. The one I remember was about crying mothers.
SOUND:
POEM: The Electrifying Mojo “Mothers in Black” (excerpt) The Mental
Machine (J-Stone Audio Books)
WORDS: “Another mother in black, will leave the cemetery looking
back at another child shot down.”
SOUND
MUSIC: Andre Holland “Vector Research” Various Artists: Depth Charge 3
(Submerge)
MAD MIKE:
I know when I met him… Even now when I talk to him. He is my elder and I respect
him and I respect the career he gave me.
It could be said that he had a large hand in developing Detroit techno. In fact, I think
he is the ‘sup. I think most of my colleagues would say yeah, Mojo was a huge
influence in what they did.
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
14
MAD MIKE:
When I was building this building… The building was in bad shape, bad
neighborhood and people were skeptical. And he stopped by and he said this street
had magic on it. This place going to be so successful Mike. It’s going to be beyond
you. And man, he couldn’t have said a more right thing. I understand now that this
isn’t my building. It’s everybody’s building. And the museum in it is for the future.
Yeah, there’s an archive downstairs but it’s always music upstairs. We still got new
artists and new people that we sponsor. I’m very proud that the building functions
in that way.
A lot of the people’s signatures downstairs in the store when they sign the wall, lets
me know we’re doing the right thing. The words, the love from the people and Mojo
never ever, he’s always, Mike, keep building, keep building, that’s what you do.
SOUND:
MUSIC: Underground Resistance/Mad Mike “Alpha UR-040” Various Artists:
Depth Charge 4 (Submerge)
MAD MIKE:
That separation that 8 Mile was supposed to be, that shit got erased, just like the
Berlin wall. That shit got erased like nothing. Music tears down shit that took a
hundred years to build that much racism. It just tore that shit down in 5 or 6 years.
We knew the power of what music could do, and more than the music because
music changes, but it’s the inspiration.
HOST OUTRO:
This has been “Arriving at Inspiration,” a podcast series exploring the creative
process. Recorded and produced at the Annenberg School for Communication and
Journalism at the University of Southern California. Special thanks to Sandy Tolan,
Josh Kun, Tim Page and Sasha Anawalt. Also to Cornelius Harris, The Electrifying
Mojo, and to Innerzone Orchestra for the theme music. I’m Liz Warner. Thanks for
listening.
SOUND:
MUSIC FADES TO END:
Underground Resistance/Mad Mike “Alpha UR-040” Various Artists: Depth
Charge 4 (Submerge)
END
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
15
TRANSCRIPT OF INDIVIDUAL AUDIO SEGMENTS
TRANSCRIPT: PART FOUR: GUILLERMO GALINDO
SOUND:
MUSIC: Innerzone Orchestra “Timing” Programmed (Planet E)
HOST INTRO:
“Arriving at Inspiration”… The process in the words of artists. Part two: Mexican
experimental composer and visual artist Guillermo Galindo…
SOUND:
STUDIO RUMMAGING
GUILLERMO GALINDO:
I cannot, like, pin down inspiration for me.
SOUND:
MUSIC FROM VIDEO: Guillermo Galindo “Cucarachas” Border Cantos
GUILLERMO GALINDO:
You have to confront your fears. You have to confront what you don’t like, what you
don’t know, because that only opens your horizons to discover new things. If you
stay in your place, you never go further away from where you are.
I think we all have a magician inside, have the possibility of doing that.
There’s two things. There’s ego and the material world and there’s the unconscious,
no? So we have to be in touch with both of them. There has to be room between
creativity and reality, physical reality.
A lot of the pieces are comment on western art. The borderless people that throw
bikes over the fence, over the wall, to the other side, and once they get into the U.S.,
the person rides a bike. Aside from going faster than walking, the bikes are not
perceived by the sensors. So what they do, the border patrol runs over the bikes.
SOUND:
MUSIC FROM VIDEO: Guillermo Galindo “Limpia/Cleansing” Border Cantos
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
16
GUILLERMO GALINDO:
You’re using a bike that was found at the border for what’s happening now. And I’m
just giving it a different meaning that is more accurate with what my life looks like.
The paper that I made the score with is made with immigrants’ clothing. The braille
is data and it’s of bodies that were found dead in the desert. It explains where the
body was found, what the possible cause of death is and the coordinates and the
name of the town. This is turned into braille and that’s how I made the score. The
braille translates into visual concept. And the visual concept translates into sound.
SOUND:
MUSIC: gal*in_dog “Humitt (excerpt)” s_nd (North Pacific Music)
GUILLERMO GALINDO:
You’re making it visible. I think that that’s the role of the artist: to make things seen.
People see things or hear things…
You can create something that I cannot create because you have different
experiences, different life, different gender, you know. Each of us is unique. You can
create things that are unique to you.
What you have in your mind is not what comes out, ever, at least not for me.
SOUND:
MUSIC: Pat Metheny “Electric Counterpoint – 1. Fast” Reich: Different Trains,
Electric Counterpoint (Point)
GUILLERMO GALINDO:
That Kronos Quartet that I wrote. I fought so much to not make it sound like
anything I heard before. When I went to the rehearsal, “Wow, this is awful!’ And it
wasn’t that it sounds awful, it meant that I achieved what I wanted. It doesn’t sound
like anything that I can relate to.
“Maybe I should change something because it sounds really bad.” But then I said,
“No, my goal was always to make it sound like this.” So that’s a surprise that you get.
What future are you going to have with music is nobody’s listening to it? Or with
visual arts? A sign of success for me is being able to communicate something. You’re
not communicating something concise. You’re not saying, This is a table. You’re NOT
saying, This is a table and an airplane and a planet and a telephone and my mother.
It’s all the same thing. You immerse people into this universe and they say, Oh, I get
it. This is how they connect. But you’re not instructing the way they connect things.
People connect any way they want.
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
17
SOUND:
MUSIC FROM VIDEO: Guillermo Galindo “Effigy” Border Cantos
GUILLERMO GALINDO:
It requires some sort of openness. Some people understand that as having
instructions. You don’t need instructions to understand anything. If you need
instructions then it’s not worth anything, unless it’s part of the piece.
You have to become like a child. You have to connect things in a way that you
connect them in dreams.
SOUND:
MUSIC: Guillermo Galindo “Sonic Botany” Huntington Library live
performance
GUILLERMO GALINDO:
…Driving in traffic in Mexico City. You have nothing to do. When you have nothing to
do, you arrive in this stasis. I’m stuck in traffic, it’s going to take me two hours to get
there. There’s nothing else to do and you’re like [brummmm] and something comes.
We forget that we are all children. We forget to be children. It’s really good to keep
being children. An artist is like a grown-up child (laughs). With the mentality of a
child, but a healthy one.
HOST OUTRO:
This has been “Arriving at Inspiration,” a podcast series exploring the creative
process. Recorded and produced at the Annenberg School for Communication and
Journalism at the University of Southern California. Special thanks to Sandy Tolan,
Tim Page, Josh Kun and Sasha Anawalt. Also to Innerzone Orchestra for the theme
music. I’m Liz Warner. Thanks for listening.
SOUND:
MUSIC FADES TO END: Guillermo Galindo “Sonic Botany” Huntington Library
live performance
END
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
18
BIBLIOGRAPHIES
BIBLIOGRAPHY: PART ONE: CATHERINE ADELL
Aphex Twin. “Jynweythek Ylow.” Drukqs, Warp Records, 2001. CD.
Catherine Adell (puppeteer), interview with author, Los Angeles, CA, February 6,
2018.
DJ Food. “Minitoka.” Kaleidoscope, Ninja Tune, 2000. CD.
DJ Food. “Nocturne.” Kaleidoscope, Ninja Tune, 2000. CD.
Innerzone Orchestra. “Timing.” Programmed, Planet E Communications, 1999. CD.
Janie Geiser. “Invisible Glass (excerpt).” Vimeo video, 3:35, March 7, 2012.
https://vimeo.com/38139048
Lattimore, Mary. “The Warm Shoulder.” Collected Pieces, Ghostly International,
2017. CD
Lusine. “Chatter.” Sensorimotor, Ghostly International, 2017. CD.
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
19
BIBLIOGRAPHIES
BIBLIOGRAPHY: PART TWO: HANS-JOACHIM ROEDELIUS
Eno, Brian. “By This River.” Before and After Science, Island Records, 1977. CD.
Hans-Joachim Roedelius (musician), interview with author, Los Angeles, CA, October
11, 2017.
Innerzone Orchestra. “Timing.” Programmed, Planet E Communications, 1999. CD.
Roedelius and Alquimia. “White Dream.” Move and Resonate, Prudence
Cosmopolitan Music, 2000. CD.
Roedelius, Hans-Joachim. “Poetry.” Pink, Blue and Amber, Captain Trip Records,
1996. CD.
Roedelius, Hans-Joachim. “Twilighttide.” Tace!, Prudence Cosmopolitan Music, 1993.
CD.
Roedelius, Hans-Joachim. “Wenn Der Südwind Weht.” Wenn Der Südwind Weht, Sky
Records, 1981. CD.
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
20
BIBLIOGRAPHIES
BIBLIOGRAPHY: PART THREE: MAD MIKE
Drexciya. “Welcome to Drexciya.” Depth Charge Two, Submerge, 1995. CD.
Electrifying MOJO, The. “Adversity.” The Mental Machine, J-Stone Audio Books, 1995.
Audio cassette.
Electrifying MOJO, The. “Mothers in Black.” The Mental Machine, J-Stone Audio
Books, 1995. Audio cassette.
Electrifying MOJO, The. “Will You Just Dream.” The Mental Machine, J-Stone Audio
Books, 1995. Audio cassette.
Holland, Andre. “Vector Research.” Depth Charge Three, Submerge, 1996. CD.
Innerzone Orchestra. “Timing.” Programmed, Planet E Communications, 1999. CD.
Mad Mike. “Alpha UR-040.” Depth Charge Four, Submerge, 1996. CD.
Mad Mike (musician), interview with author, Detroit, MI, December 30, 2017.
Martian, The. “Ghostdancer.” Depth Charge Four, Submerge, 1996. CD.
mcmorris55. “Electrifying Mojo, Midnight Funk Association.” YouTube video, 8:40,
Feb. 20, 2008. https://www.youtube.com/watch?v=qXu3Alw0-Hw.
Sektum Panca. “Drug Wars in Detroit: Dangerous Gangs Crime Documentary 2015
[NEW].” YouTube video, 1:50:35, Aug. 6, 2015.
https://www.youtube.com/watch?v=AKnYd6ETA1k.
Underground Resistance. “Amazon.” Depth Charge One, Submerge, 1995. CD.
Underground Resistance. “Jupiter Jazz.” Depth Charge One, Submerge, 1995. CD.
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
21
BIBLIOGRAPHIES
BIBLIOGRAPHY: PART FOUR: GUILLERMO GALINDO
Amon Carter Museum of American Art Fort Worth. “Guillermo Galindo: Cucarachas |
Cockroaches.” YouTube video, 3:43, Oct. 14, 2016.
https://www.youtube.com/watch?v=eg-JqXT910s.
Amon Carter Museum of American Art Fort Worth. “Guillermo Galindo: Limpia |
Cleansing.” YouTube video, 3:26, Oct. 14, 2016.
https://www.youtube.com/watch?v=6BOrmmXbH_8
Amon Carter Museum of American Art Fort Worth. “Guillermo Galindo: Efigie |
Effigy.” YouTube video, 4:12, Oct. 14, 2016.
https://www.youtube.com/watch?v=oAZDAc9t2Sw
gal*in_dog “Humitt (excerpt).” s_nd, North Pacific Music, 2004. CD.
Guillermo Galindo (performance artist), interview with author, Oakland, CA,
December 3, 2017.
Human Nature: Sonic Botany, by Guillermo Galindo and Amber Stucke. Rose Hills
Garden Court, The Huntington Library, San Marino, CA. Nov. 4, 2017.
Innerzone Orchestra. “Timing.” Programmed, Planet E Communications, 1999. CD.
Reich, Steve, Kronos Quartet and Pat Metheny. “Electric Counterpoint: 1. Fast.”
Reich: Different Trains / Electric Counterpoint, Nonesuch Records, 2006. CD.
“ARRIVING AT INSPIRATION”
AN AUDIO THESIS BY LIZ WARNER
22
ACKNOWLEDGEMENTS OF SUPPORT
I wish to thank the featured artists that participated in the “Arriving at Inspiration”
thesis project:
Catherine Adell [http://www.catherineadell.com/]
Hans-Joachim Roedelius [http://www.roedelius.com/]
Mad Mike [http://www.submerge.com/]
Guillermo Galindo [http://www.galindog.com/].
Additional thanks to Cornelius Harris and Chandra Shukla for helping to make the
interviews for Mad Mike and Hans-Joachim Roedelius possible.
Special thanks to the University of Southern California and the Annenberg School for
Communication and Journalism for this opportunity. The professors who served as
my thesis committee, Sandy Tolan, Josh Kun and Tim Page, were incredibly
generous with their support and informed each decision for this project. None of
this would have been possible without the support of Sasha Anawalt. Extra support
team credit is due to Edward Lifson and George Lavender.
These record labels and publishers contributed to bringing these stories to life:
Captain Trip Records [http://www.captaintrip.co.jp/]
Ghostly International [https://ghostly.com/]
Island Records [http://www.islandrecords.com/]
J-Stone Audio Books
Ninja Tune [https://www.ninjatune.net/]
Nonesuch Records [http://www.nonesuch.com/]
Planet E Communications [https://planet-e.net/]
Prudence Cosmopolitan Music [https://www.bscmusic.com/]
Sky Records
Submerge [http://www.submerge.com/]
Warp Records [https://warp.net/]
Gratitude to The Electrifying Mojo for inspiring through generations.
This work would not have been possible without the endless support from my
family: Clark, Kion and Nikolette Warner. You are my true inspirations. I am grateful
to be able to share this journey with you.
Thank you for being out there.
Abstract (if available)
Abstract
This audio study argues that inspiration is a process. Instead of occurring as a single, quickly passing moment in time, it is the result of a lifetime of learning, observations and openness. Through the collaged, interview format, we learn that no matter who the person is — whether a visual artist, performance artist, puppeteer or musician — inspiration is a culmination of events that build up over time to finally turn the corner to arrive at a new perspective. The words and works of puppeteer Catherine Adell, musician Hans-Joachim Roedelius, musician and community leader Mad Mike of Underground Resistance and visual artist and composer Guillermo Galindo are asserted to find that where the artist ultimately succeeds is in not only drawing from his or her own inspiration, but in transferring that inspiration to the observer, in a ripple effect. No matter what the medium, background or time frame — which in this case takes four different types of artists from three countries, and spans nearly 50 years dating from the late 1960s until today — the possibility for exponential growth beyond the individual creator and mode of creating is endless.
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Asset Metadata
Creator
Warner, Liz
(author)
Core Title
Arriving at inspiration
School
Annenberg School for Communication
Degree
Master of Arts
Degree Program
Specialized Journalism (The Arts)
Publication Date
07/28/2019
Defense Date
07/28/2018
Publisher
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
Acting,actor,Adell,Artists,border,Botany,Bunraku,cantos,Change,Communication,Community,composer,creativity,Detroit,DJ,electronic music,Galindo,Gangs,inspiration,Krautrock,Kronos,Mexican,Mojo,music,Musicians,OAI-PMH Harvest,physical therapist,puppeteer,Radio,Roedelius,soundscape,techno
Format
application/pdf
(imt)
Language
English
Contributor
Electronically uploaded by the author
(provenance)
Advisor
Tolan, Sandy (
committee chair
), Kun, Joshua (
committee member
), Page, Timothy (
committee member
)
Creator Email
edwarner@usc.edu,partyshuffle@mac.com
Permanent Link (DOI)
https://doi.org/10.25549/usctheses-c89-40579
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UC11669765
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etd-WarnerLiz-6557.pdf (filename),usctheses-c89-40579 (legacy record id)
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40579
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Thesis
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Warner, Liz
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University of Southern California Dissertations and Theses
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The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...
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Tags
Adell
border
Bunraku
cantos
creativity
DJ
electronic music
Galindo
Krautrock
Kronos
Mexican
Mojo
physical therapist
puppeteer
Roedelius
soundscape
techno