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’”
Antoine Beuger, Manfred Werder, Michael Pisaro and Tim Parkinson. Chair: Will Montgomery
The following discussion took place at the Centre for Creative Collaboration, London, on the evening of Wednesday, 2nd November 2011. Presented by Polyply, the event served to introduce Cut & Splice, an annual festival of experimental music and sound arts produced by Sound and Music and Radio 3, and hosted by the ICA. Continue reading “Polyproject ‘Poetry as Score’”
Metonymy is a form of figurative language based on contiguity and causality, one that until recently has tended to receive critical short shrift when compared with metaphor, where the figuration depends on relationships of similarity. My PhD research (now available online at http://bura.brunel.ac.uk/handle/2438/4668) involved reexamining those aspects of metonymy customarily considered to be the source of its failings. Most prominent among these ‘deficiencies’ is the historically and socially limited nature of metonymic expressions. I contend that this can, on the contrary, be a powerful resource because of the way that it binds the metonymic expression to the real, which always lies beyond our control. This is in contrast to the way that metaphor risks making an idealist fetish of the individual imagination, viewed as an heroic striving to reshape the world directly through the acts of thinking and writing. I argued for the development of a concept of musical metonymy, characterised by linear dissimilarity, attention to the origins of and agency behind sounds, and an occlusion of the structural middleground. Continue reading “Dominic Lash ‘Inconclusive Paragraphs on Metonymy, Monochromaticism, Materialism’”
It is June 2010 and there is a Spitalfields Music Festival event going on inside east London’s St Leonard’s church, where Shoreditch High Street meets Hackney Road. In the grounds of the church, however, something altogether stranger – and perhaps only tangentially musical – is taking place: a composer is sitting alone a bench. Werder’s six-hour afternoon performance is so unobtrusive as to be almost invisible. He’s sitting towards the back of the grounds. He barely moves during the 40 minutes or so that I am there. He is simply – or not so simply – attending to the world. Continue reading “Will Montgomery ‘Five Ways of Looking at Manfred Werder’”
–What motivation would you say is at the core of your work?
I think what interests me most is to observe how there are always new constellations occurring in which experimental music can move on and keep itself alive. In the projects I have initiated I try to set a frame through which these mechanisms can be magnified enabling me to observe more closely and in detail at what happens, just like the arrangement of a scientific experiment. In my work at Q-O2 I get the chance to observe how communication leads to new constellations, ideas and forms. Continue reading “Julia Eckhardt ‘Collaborating Forever: Auto Interview’”