Jan. 1, 2013
there was a sound in my dream last night. i was set on a large rock semi-surrounded by a body of water, hearing some sort of horn sound, a long hanging note like a trainwhistle but slower in pitch. up above my head in a cliff face was an opening where i could see a camp site, and someone there was blowing a plastic horn, repeatedly. the sound came out of the opening with a bit of force, the opening serving as an extension of the horn’s flare. i thought (in the dream) of those horns that people blew at soccer matches awhile back. i remember reading about the practice, how it was characterized as an annoying sound, but i always found it fascinating. all those untempered notes massing together. Continue reading “Jeph Jerman ‘Sound Diary January 2013’”
Michael Pisaro, Carol Watts, Drew Milne and Paul Banister.
Chair: Will Montgomery
What is Field? took place at the Centre for Creative Collaboration, London, on the evening of Monday, 12 November 2012. The event was presented by the Royal Holloway Contemporary Poetics Research Centre and was intended as a follow-up to an event on poetry and Wandelweiser scores co-produced by the research centre and UK arts organisation Sound and Music at the same venue a year before. (A transcript of the round- table discussion at the 2011 event appears in Wolf Notes #3.) Continue reading “Michael Pisaro ‘What is Field?’”
Setting Out (Looking at Listening)
Where do I see people listening?
What is it I should be looking for?
An ear propped somehow against the air?
Is it anything as overt as a cupped hand placed beside the head? As the hair momentarily pulled back?
When do I see people listening? And at what times of day should I be looking?
Of course, there is always hearing.
What does listening really look like? Continue reading “Loren Chase ‘Paths for a Listener’”
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.
Continue reading “Patrick Farmer ‘To Observe the Absence of a Star of a Specific Constellation’”
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’”