2 - Pain   2023 by Dan Senn	Staking 4k Video with Stereo Sound (See sample video) Duration = 4:50   -> Read "RKM Interviews Dan Senn"
Pain Staking (2023) was filmed in mid-May at St Paul's Episcopal's near Studio FMEra in Watertown, Wisconsin and is the 2nd work derived from the church's stain glass windows. There were similarities in the shooting/editing of these videos and yet they are distinct. The slightly older work, Taking Pains, was edited in silence and allowed to float freely over the sound track. This work was edited, in part, to strictly follow a "ghost" sound track that was then withdrawn leaving its rhythmic imprint on the video. Integration occurred via micro-adjustments when the final sound track was added as if to tie down the video like a canopy or tent. This work was preceded by 1 - Taking Pains and followed by 3 - Staking Pains, all later collected under the title of Three Panes. The "heard" sound track for this work, like that of the previous work, is improvised but this time using a cloth bag of canning jars (unwashed) from the fruit cellar, now a wine cellar, located beneath Studio B at FMEra where I am now writing. The sound track is untouched post-performance except for a pinch of compression with the stereo sound location of events remaining as recorded.	The sound track for Pain Staking is by chance  in C-major (a bit sharp) accompanied by lots of unpitched percussion all subliminally affecting the route of my improvisation, this, just in case you find yourself inexplicably whistling the all-white-keys. When shooting beautiful and evocative  source material (i.e. images of Jesus), one must accept that meaning will spin helter skelter, in sundry directions. For this I am not responsible and, yet, fully responsible as I do not allow such concerns to mess with my childlike attraction for beauty in fear of reprisal from McSnooty Two Shoes and company. In Pain Staking, as in the first work, Taking Pains, the paths followed are instinctive, this, for no other reason than it is the only reliable cognitive system that is complex/intricate/fast enough, assuming a clear mind. So I too must reckon with the subject of the panel, on some level, even the Christian Messiah. It has the effect, if only to notice, for example, His hair is red and that He has one long fingernail. Still, OK, it unnerves me some, a little, a tiny bit, maybe a lot, as I further avoid thinking-thinking, as the work unfolds. I thus charge forward crusader-like for this is art now and then and not bad for a teeny tiny mid-19th Century town 3 blocks from where I was born. We are all idiots. DS 060323.	Dan Senn (Prague-Watertown) is an intermedia/fluxus artist working in music composition and production, kinetic sound sculpture, experimental and documentary film. He has been a professor of music and art in the United States and Australia and travels internationally as a lecturer, performer and installation artist. He lives in Prague where he directs the Echofluxx media festivals, and Watertown, Wisconsin, the USA, with his partner-collaborator, Caroline Senn. Dan's work moves freely between expressive extremes and languages depending upon the aesthetic joust at hand. Dan is cofounder of Roulette Intermedium in New York City, Cascadia Composers of Portland Oregon, and the Echofluxx festivals in Prague. (read more).