The music/soundwork I do is all improvisaqitonal, as has been the work we did with Foofwa d'Imobilite a few years ago - we worked together for close to 18 years. There were always sites and negotiations. The video as well is improvisation, as are the texts that accompany them in-world. Theory is another thing, but it's also a continuous meditation on phenomenology, the digital, the body, etc. It flows that way. When I give a public talk, it's the same - I'll have a rough outline and improvise from that. Soome of this stems from jazz; certainly free jazz is real-time and a complex negotiation between musicians, instruments, technologies, etc.; Schutz wrote an essay on making music together and Valerie Wilmer among others captured the spirit of it all. When I put up a piece of music or sound- work, I usually accompany it with an 'explanation' of a kind of basis, for example rev rev in terms of sonic architectures and anticipatory music, which are in flux. The work I did for the Interrupt festival was also improvised within and among virtual worlds; I'm still working through the documentation, and even the Cave performances were improvised, although Kathleen Ottinger's pieces weren't. So much of this, for me, stems from altered mocap sessions, which again were real-time negotiations with the limits of the software. All of this makes it difficult, at times, for others to work with me, since there's only a certain 'sense' of what will happen, and that can be hard for people used to operating within or among certain forms, which might be pre-established or even compositions. I do want again to apologize for not participating more in the discussion or the upcoming event; March has been particularly bad, with too many things coming due.

Thanks for reading, the discussion is really stimulating!, Alan

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current text http://www.alansondheim.org/tc.txt
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