Hi Johannes and thank you,
There was only verbal feedback mainly from the participants - we had
50-70. It was an odd event, because musicians came in at different times
and played in different groups; I think I mentioned I was there in the
afternoon and so played with very few people - most of the musicians came
in at night. But I logged 28 hours. What I really want to do now (working
on it) is a 24-hour event, which is a lot shorter, but the concept is that
the musicians who participate would remain for the duration. Jackson Moore
who with Chris Diasparra and Edward Schneider (and me) ran the four day
event at Eyebeam, talks about sonic citizenship, and I relate that to
Alfred Schutz' writing on musicians playing together - there are complex
feedbacks and phenomenologies at work in all of this, of course, but
there's also the grace of withdrawal or silence at times. So if we have a
group running and working for a day (with sleep when necessary), I think a
really interesting organic form will emerge - and in fact I can imagine
this in dance, stand-up comedy, all sorts of forms that might lend them-
selves to improvisation. So we're thinking through this, which is really
about thinking through the body in a situation or situations, perhaps
prosthetic, perhaps as raw as iat its moment of birth, etc. etc.
And maybe a dialog will emerge out of this, not a long form and not a long
formlessness, but a long in/formation. I was just reading something by Eve
Fox Keller on slime molds (one of my favorite organisms) in Sherry
Turkle's Evocative Objects, and she touches on these issues, these modes
(or modelessnesses) of organization.
And tuning is continuous and difficult for me, always another form of
feedback, always moving from in- to out-of tune, which is reminiscent of
catastrophe theory's notion of the fragility of the good...
Again, thank you!
Alan -
On Sun, 17 Feb 2013, Johannes Birringer wrote:
>
>
> thanks Alan for sending your music to us
> - i am listening to, and enjoying the consonances
> and it is good that you have passed them on,
> so they won't die and are not already dead or unheard at all.
> I am in fact listening to them and will take them
> to the dance studio later, greetings to all of you here from
> Zagreb and the Dance Center in the old part of town.
>
> need to talk to you about retuning ("retuned sarangi
> / retuned tamburi") and how this works for you.
>
>
> your long review of the improvisation concert you were involved in,
> the 96 hour continuous performance at Music Factory (back in December),
> was so inspiring to me, i was trying to imagine it all,
> also as the "unbroken collective statement " that you called it thinking
> of the particular shape of this "durational event."
>
> did you receive feedback after your writing on this event?
>
> with regards
> Johannes Birringer
>
>
> ________________________________________
> From: [email protected]
> [[email protected]] On Behalf Of Alan Sondheim
> [[email protected]]
> Sent: Sunday, February 17, 2013 8:35 AM
> To: [email protected]
> Subject: [NetBehaviour] consonance
>
> consonance
>
> http://espdisk.com/alansondheim/conson1.mp3
> http://espdisk.com/alansondheim/conson2.mp3
> http://espdisk.com/alansondheim/conson3.mp3
> http://espdisk.com/alansondheim/conson4.mp3
>
> alan sondheim with viola and retuned sarangi
> azure carter with retuned tamburi
>
> i realize the uselessness of these pieces; for
> a long time, there's been little or no comment
> and they tend to die. these are made to die,
> these are already dead, slipped into consonance
> of one sort or another, gathered together like
> dead boys and girls in the woods, listening to
> grandmothers' and grandfathers' tales before
> the blow of the axe, these are just unheard
> pieces of music, like me dead before they were
> born, disliked and abandoned miscarriages.
>
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>
==
email archive http://sondheim.rupamsunyata.org/
web http://www.alansondheim.org / cell 347-383-8552
music: http://www.espdisk.com/alansondheim/
current text http://www.alansondheim.org/rt.txt
==
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