Glenn Gould’s musical idealism is exemplified in his “sublime INSTRUMENTAL INDIFFERENCE”. He shunned the works of composers who were overly concerned with the specific sonorities of the piano and focused instead on music which could potentially be transferred intact from instrument to instrument. While this particular idea of instrumental indifference appears intrinsically linked to Western art music, it highlights a universal issue ” the relationship between the musical idea and the instrument, between the ideal and the empirical. Continue reading “Jane Dickson ‘Instrumental Indifference’”
The eight objects of this article are the start of an ongoing series. Many thanks to Dimitra Lazaridou-Chatzigoga for her kind help. The list of her objects is in my own hand.
A thing like the cup on my table is an actual object, it is real in the most primitive sense of the word: I can touch it, it has a function and a form, and guarantees and locates my experience: to be thirsty, to drink tea – to which I relate a value and a name in which is placed the authority of the cup as object. If the cup was broken or if it were in a museum, removed from its primary function, unable to hold tea or highlighting its decorative nature instead, that would be another thing altogether. It would be a possible cup, if only it was not broken or if only it was not an artwork, but remains actual as a broken piece of crockery or as an exhibit. The broken or exhibited cup is still actual but differently real and it is also still an object with its own name and location, not just a thing. Continue reading “Salomé Voegelin ‘The Possibility of Sound’”
As I write these first words about George Brecht’s half-a century old Water Yam project I am listening through Cornelius Cardew’s The Great Learning, and for the first time since accepting Patrick and Sarah’s invitation to contextualize their Compost & Height round up of current realizations of Brecht’s event-cards, I feel completely overwhelmed with the possible links and ligature between Brecht’s Fluxus work, Cardew’s Scratch Orchestra, and the current field of composers and improvisers contributing over the next eight months to this project. This is perhaps the greatest realization I experience when undertaking a new writing project – the sense of what Buddhist phenomenology calls inter-being, the connectedness and copula of things that were thought to be disparate and discrete, until we turn our attention to them with a long, loving gaze. All I do is bring things into evidence, but they’re already there, Brecht said. Continue reading “Jesse Goin ‘All I Do is Bring Things into Evidence’”