Developed from April 5 to May 7, IMPERMANENCE is a work that explores and examines the concept of ‘mix tape’ as diaristic and narrative means, and the materiality and formats utilized by such processes. This work began as a reflection of my personal experiences through the past three decades, beginning with witnessing mix tape communications between adult relatives and those of friends in the 1970s, from a youthful gaze. This progressed through the 1980s, where my teenage experiences began to utilize incorporated mix tape narratives within my own personal relations and need for communication, relying on direct and indirect abstracted means. Then finally, progression from adolescence into adulthood, where the ability to draw upon and compile congruent song narratives furthered complex, loaded, and effective means of expression and communication. The ability for music to act as not only a means of entertainment and therapy, but that of vicarious story telling, reflection, direction, and more, demonstrates the power, strength, and importance of such media, and why it has and continues to play an important role in western culture. Many, including Geoffrey O’Brien, are said to regard the mix tape as “the most widely practiced American art form”. Nick Hornby’s High Fidelity is another example of the usage and importance of music and mix tapes as communicative means. When examining the types and materiality of such varied media, especially that of contemporary online nature, such as You Tube and other video formats, the possibility of further complex and articulate expression seems to grow exponentially. The combination of recorded sound and video picture theatrics, concepts, etc. seemingly allow for greater and sometimes more sophisticated possibilities for juxtaposition, counterpoint, contrast, congruence, and reiteration of points of interest or linear narratives. Visual motifs become as important and usable for cross referencing as do recurring lyrics or themes, for example. As the title suggests, IMPERMANENCE is not only making suggestion to the nature of love, romantic desire, relationship complexity and dynamic, and loss, but also that of the medium temporality itself. This compilation was completely created by compiling material from other online sources, which are bound to and often do change very quickly, are deleted due to current copyright issues or changed due to host migration, changing tastes, suitable post duration, and other such reasons. This means the diary and linear narrative in this case, lasts only as long as the video play list in succession. Not only does this particular compilation mean much to me in terms of anthology, chronicle, and personal relationships, but also makes reference to the nature, means, and materiality of my current and newly developed series, which will be shared more in the months to come.

IMPERMANENCE (found internet music video footage diary- April 5 to May 7, 2012) by Alan B. Brock-Richmond