Joseph Clayton Mills

Reading:

Gustaf Sobin – LADDER OF SHADOWS: Reflecting on Medieval Vestige in Provence

COUNTRIES THAT DON’T EXIST: Selected Nonfiction of Sigizmund Krzhizhanovsky.
Edited by Jacob Emery and Alexander Spektor (unpublished manuscript)

Listening to:

Alvin Lucier – String Noise

Yui Nakamura – Blackgrounds

(Re)watching:

Twin Peaks: The Return

What I’ve been doing/thinking:

Forced to move house on very short notice in the midst of the pandemic, I’ve been thinking about place in multiple registers (e.g., place theory in hearing and pitch, place attachment, Bourdieu’s habitus, hospitality and xenia, archaeology). Also thinking about collapse and stress on a personal and more general level (narrative collapse, civilizational collapse, stacks of cardboard boxes collapsing, and me collapsing in exhaustion at the end of the day). 


Joseph Clayton Mills is an artist, composer, and performer working at the intersection of language, composition, and archival practice. His text-based paintings, assemblages, and sound installations have been exhibited in the United States and Europe, including at the Pritzker Pavilion in Millennium Park, the Lincoln Park Conservatory, and the Museum of Contemporary Art in Chicago, and his work has appeared in numerous publications, including The New Yorker. A former Chicagoan, he remains an active participant in the improvised and experimental music community there, where his collaborators have included Steven Hess and Adam Sonderberg (as Haptic), Michael Vallera (as Maar), Noé Cuéllar (as Partial), Jason Stein, Michael Pisaro, Lou Mallozzi, and Olivia Block, among many others. His recordings have appeared on numerous labels, including Another Timbre, FSS, and Entr’acte, and in 2013 in he launched Suppedaneum, a label focused on releasing scores and their realizations. He has received commissions and grants from the Chicago Film Archive, Black Cinema House (Rebuild Foundation), the Illinois Arts Council, the Experimental Sound Studio, and, in 2016, was artist in residence at the Sonic Arts Research Unit at Oxford Brookes University, UK.