Thanks Johannes, I start listening to these now, but already noticed I can't work with them playing :)
Best Annie On Tue, Feb 19, 2013 at 8:22 PM, Johannes Birringer < [email protected]> wrote: > > Hi Annie > > i reposted Alan's writing on the continuous music event; and if look at my > files, he also sent some of the music out here. > [I am sorry for my typo in my posting, the 'Ocean View' long-durational > installation by M Abramovic was in 2002, not 2012. > In 2012 she was merely 'present' in the moma, no view of any ocean] > > > here the sound refs > --------- > about 25-27 hours improvisation from Eyebeam > > http://lounge.espdisk.com/archives/991 (best) > > recorded with the Zoom H2; I'm not certain of the players > (except for myself and I'm not that certain even then). > recorded Dec. 8-11 during the 96-hour improvisation; most > of these recordings are from the afternoon. enjoy. > > http://espdisk.com/alansondheim/4daymusic/01fin.mp3 > http://espdisk.com/alansondheim/4daymusic/02fin.mp3 > http://espdisk.com/alansondheim/4daymusic/03fin.mp3 > http://espdisk.com/alansondheim/4daymusic/04fin.mp3 > http://espdisk.com/alansondheim/4daymusic/05fin.mp3 > http://espdisk.com/alansondheim/4daymusic/2(1)fin.mp3 > http://espdisk.com/alansondheim/4daymusic/2(2)fin.mp3 > http://espdisk.com/alansondheim/4daymusic/3(1)fin.mp3 > http://espdisk.com/alansondheim/4daymusic/3(2)fin.mp3 > http://espdisk.com/alansondheim/4daymusic/4day3fin(1).mp3 > http://espdisk.com/alansondheim/4daymusic/4day3fin(2).mp3 > http://espdisk.com/alansondheim/4daymusic/4day3fin(3).mp3 > http://espdisk.com/alansondheim/4daymusic/4ifin.mp3 > http://espdisk.com/alansondheim/4daymusic/5fin.mp3 > http://espdisk.com/alansondheim/4daymusic/60(1)notmefin.mp3 > http://espdisk.com/alansondheim/4daymusic/60(2)fin.mp3 > http://espdisk.com/alansondheim/4daymusic/60(3)fin.mp3 > http://espdisk.com/alansondheim/4daymusic/70(01)fin.mp3 > http://espdisk.com/alansondheim/4daymusic/70(3)fin.mp3 > http://espdisk.com/alansondheim/4daymusic/70(4)fin.mp3 > http://espdisk.com/alansondheim/4daymusic/8fin.mp3 > > / Dec 13, 2012 at 3:04 am > > This is the result of an event held at Eyebeam - > http://www.newlanguages.org/ - an incredible 96-hour > event. I ran the recorder from an audience seat; the > files might give you some idea of what went on. In the > evenings there were more players but the afternoons (when > I played with others and alone for that matter) had its > own intensities. I want to thank everyone who made this > fantastic event possible - check out the blog, the > Eyebeam site, and Facebook. Thanks, Alan > > > +++++++++++++++ > > with archival regards > > Gregor* > > > > (that's is a joke only the folks from Zagreb will understand, where i just > spent a lovely weekend at the Dance Center) > > > ________________________________________ > From: [email protected] [ > [email protected]] On Behalf Of Annie Abrahams [ > [email protected]] > Sent: Tuesday, February 19, 2013 5:08 PM > To: NetBehaviour for networked distributed creativity > Subject: Re: [NetBehaviour] consonance > > I missed the long review and can't find it on netbehaviour (sorry) > Would be interested in a reposting or a link > > thanks > Annie > > On Tue, Feb 19, 2013 at 2:52 PM, Johannes Birringer < > [email protected]<mailto:[email protected]>> > wrote: > > > thanks Alan, for your response, this is helpful and allows more > conversation here perhaps - > especially since your extended review [Thursday, December 13] - if anyone > is interested in the longer review, we should perhaps post it again. > I had not reflected enough in the past on long durations performance > improvisation; > i only participated in very few marathons, once a 24 hour reading of the > Iliad, with actors, and > once a sleep over in a music/sonic arts festival where the musicians > played all night and we were invited to sleep > on mattresses in the performance space (i was in the audience). I filmed a > long durational drone music concert with Phill Niblock > but have not musically performed in a collective space of the kind you > mention for these 96 hours (but for you the playing > was intermittend, not ongoing -- I often wondered about Hsieh, and how he > was able to perform for a year? Marina Abramovic's > House with the Ocean View lasted for twelve days, I remember going one > afternoon, in November 2012, it was just a year or > so after 9/11 and the mood was dejected and yet oddly sanctified (?), that > installation in my mind did not create a communal > space of improvisation, togetherness, exchange and experience of > consonances and dissonance but was dissinance, in my view, > a faux-ritual, set up for us to admire the daring of the fasting > performing up there on her pedestals. > > Now the concert you described in December seems to have been complex and > exciting and difficult also, in terms of how we receive or can receive > , say, continuous music.... how musicians combine and sustain their > playing, how instruments meet and how vastly differing music styles > can enter confluence. > > Still, Susan was as puzzled as I was by your dejected comment on music > being dead once released, or dead already when not received and feedbacked > or discussed? surely here people on the list, and the many > who know you, listen to or watch what is posted if they have time, or save > it as i do for a good moment to ponder, and there is reception. > > How is radio received? how we we feed back to radio? and why did > Benjamin or Brecht write radical radio theories back then? > > And the dead, of course, are in the majority; so they are hardly useless > but with us. > > > respectfully > Johannes Birringer > > > > ________________________________________ > From: [email protected]<mailto: > [email protected]> [ > [email protected]<mailto: > [email protected]>] On Behalf Of Alan Sondheim [ > [email protected]<mailto:[email protected]>] > Sent: Monday, February 18, 2013 6:14 AM > To: NetBehaviour for networked distributed creativity > Subject: Re: [NetBehaviour] consonance > > 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 - > > +++ > [Suzon Fuks schreibt] > > Yes, Alan, so many things dead, without counting those on hard disks! > Dead things lose their pulse in the ether? > So many cells dying all the timeŠ. Are there uselessŠ? Are dead useless? > No ceremony for these dead. > Šthinking about it, but mostly feeling this strangenessŠ > > I meant to wish you happy birthday, long ago!Š > Bzzzzz Suzon > > +++++ > > 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]<mailto: > [email protected]> [ > [email protected]<mailto: > [email protected]>] On Behalf Of Alan Sondheim [ > [email protected]<mailto:[email protected]>] > > Sent: Sunday, February 17, 2013 8:35 AM > > To: [email protected]<mailto:[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. > > > > _______________________________________________ > > NetBehaviour mailing list > > [email protected]<mailto:[email protected]> > > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > _______________________________________________ > > NetBehaviour mailing list > > [email protected]<mailto:[email protected]> > > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > > > == > 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 > == > _______________________________________________ > NetBehaviour mailing list > [email protected]<mailto:[email protected]> > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > _______________________________________________ > NetBehaviour mailing list > [email protected]<mailto:[email protected]> > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > -- > David Lavaysse " Réconfort infini " (after Annie Abrahams) > Édition 1fusé : 10 cassettes audio > http://aabrahams.wordpress.com/2013/01/26/1fuse/ > . > _______________________________________________ > NetBehaviour mailing list > [email protected] > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > -- David Lavaysse " Réconfort infini " (after Annie Abrahams) Édition 1fusé : 10 cassettes audio http://aabrahams.wordpress.com/2013/01/26/1fuse/ .
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