Like whoa…

November 11, 2006 at 06:23 | Posted in Documentation of things, Grad school update, new york, Performances/Exhibitions, Things related to John Cage | Leave a comment

First:

My colleague Chris Tabron has a new blog: .::Light Matter::. where he posts photos.

Second:

I saw Sekou Sundiata’s the 51st (dream) State earlier this evening at BAM’s Howard Gillman Opera House. New York: you should be there tomorrow and/or Sunday. As you probably know most everything passes through John Cage before it gets to me, so my criticism is usually related to issues of overbearing narrative/message, decisions in production that seek to preserve/achieve meaning that wind up being reductive in regards to meaning’s potentiality to traverse the space between intention and reception, and other such audience-oriented heuristics. Sundiata is an overhwhelming exception to my redundant critiques, and a welcome one for me. He manages to present a context rife with implications of political critique, yet not born out of a desire to instill those critiques; his performance is fundamentally imbued with poetry, yet fails to access the format’s most tired breaths; he sets up a fecund bed in which the audience may rest their minds, and simply goes to work quietly in the corners: the corners of the space in such a way that the work never imposes (neither on the audience or any part within itself), and the corners of our minds in such a way that the work remains tangential and fragmented enough that it only hints at possible realms of thought, it never asks us to step into them. Over the course of the performance I was engaged mentally, intellectually, emotionally, and spatially. Half-way through I felt that I should do productive things when the time to leave would arrive; I came home and thoroughly cleaned a salvaged step ladder. It’s refreshing to be involved in something that can become a state of exception within the structures that mire me in life; thank you Mr. Sundiata and company.

Third:

I have a performance coming up on December 12th at Tisch (721 Broadway) room 636 from 7:00 PM until 8:00 PM. The performance will be the premiere of Music High for Bouncing Balls–a work that I began conceptualizing at some point in the summer. There will be ten performers including myself–five women and five men (these people as of right now): Zachary Moldof, Christopher Tabron, Daniel Coeyman, Sarah Lasry, Montzerrat Contreras Robles, Maria Amelia Franchignoni, (possibly) Biba Bell, and (possibly) Amalia Cordova. I still need two more male performers, and (possibly) two more female performers; holler at your boy. The composition will not be rehearsed before the performance; the performers will alternate between bouncing balls, and reading texts; time brackets, and dynamic parameters will be used. I am hoping to render a composition that is simple enough to not require specialized knowledge in order to be read, and does not have to be rehearsed ahead of time because it seems like a useful way to approach a compositional practice that grows out of an understanding of sound that privileges indeterminacy and the unaccountability of temperospatial multiplicity.

Advertisements

Soon…

October 6, 2006 at 18:32 | Posted in Documentation of things, new york, Performances/Exhibitions | Leave a comment

On October 15th a show of my drawings will start at Ai Ai Gasa in Brooklyn. I will have more info soon.

On October 19th I will be perfroming the second half of Years Later Starfish Meeting Room: How to Meet One’s Self. in Brooklyn at The Event Center.

And on and on…

October 3, 2006 at 17:24 | Posted in Documentation of things, Grad school update, new york, Performances/Exhibitions, Things related to John Cage | 2 Comments

My contributions to this blog have been less than regular of late.

I recently moved into a studio apartment hwere I live by myself; the kitchen is clean, and so is the bathroom. they will stay this way.

My last performance as interesting to say the least. I have discussed it with a few people of late so I think I have an adequate perspective on it.
This was the performance:I had a sneaker. Inside of the sneaker was an ipod shuffle that was playing my latest composition, Not my Brilliance., and a stereo contact mic. The ipod was connected to a set of headphones, and the mics went to a PA. I had a small sign that gave the title of the performance and asked audience member to use the headphones. I was drawing on the sneakers. Most people did not realize that I was performing, many people performed while I performed, and music was played through the PA while I performed. While all of this was difficult for the normatized conception of artist/performer that resides somewhere within me, it was at the same time quite enjoyable. My performances have gradually transformed from a situation where I present a supposedly captive audience with an emobdied artifact/ideology, to situations where I am making equal demands on both myseld and the audience to access the performance. By access I mean that the performances I have created of late do not neccesarily contain any agency tha allows them to becomes spectacle, or even rise to the din of their setting; I have essentially located myself/myperformance within a quiet ontology. The performance becomes challenging for me because I ahve to deal with the fact that no one realizes that it’s going on, and people are even sitting on/standing on portions of it.
Today I spoke with Nelson Hallonquist about this notion of a quiet ontology and he pointed out one common aspect of performance that has always disturbed me: the congratulatory audience. As Mr. hallonquist so deftly pointed out, a quiet ontology provides agency against congratulatory practices, which is a relief, and in some sense a goal.
I will be performing the second half of this work next month, however this time–after Shimpei Takeda–I will add a live feed of the illustration to a big-screen television. I am not entirely sure how this will affect the perceptibility of my performance, but I look forward to it.

Selling beer is a job that I have.

Holler at your boy.

Performance on Thursday night:

September 27, 2006 at 04:07 | Posted in Documentation of things, new york, Performances/Exhibitions, Things related to critical theory, Things related to John Cage | Leave a comment

What you will read below–after this paragraph–is the logistical
information for a
performance that I will be taking part in Thursday night. I will be
performing a new work titled, (I don’t know how to set italics in
gmail) Years Later Starfish Meeting Room: How to Meet One’s Self. This
is what my performance will be: a singular solo that is simultaneously
private and public. I will provide my latest composition–(the italics
issue again) Not My Brilliance–for individuted private listening, and
I will present a pre-parametered improvisation for an audience of
unregulated proportions. The interface of the two performances will
provide a visual event. There are three other performers presenting on
the same night. I hope to see you there.

thur september 28, 2006
8 – 11pm

free drinks from the FREE BAR
free shopping at the FREE BOUTIQUE

The Event Center
257 Nostrand at Lafayette

G train to Bedford/Nostrand
Nostrand/Lafayette exit

these people:
Felicia Ballos
Biba Bell
Laurie Berg and Amanda Stevenson
Jonah Boaker
Megan Byrne
Errin Delperdang
eagleager
Nancy Garcia
Chase Granoff
David Hurwith
koosil-ja
Isabel Lewis
Melanie Maar
Hedia Maron
Zachary Moldof
Rebecca for Serrell
Larissa Velez
Treva Wurmfield
and some others……..

the second set will be comprised of the representatives of the above people.

admission: contribution to the FREE BOUTIQUE/FREE BAR
such as: dvds, trophies, paintings, books, clothes, lipstick,
absinthe, water, soda pop, wine, whiskey

Guilt induced:

September 17, 2006 at 07:11 | Posted in Beer, Documentation of things, Grad school update, Musings, new york, Performances/Exhibitions | 2 Comments

I am writing this post not out of a desire to write a new post, rather out of my guilt in not having updated in some time. Of late my time has become increasingly precious, and this is not a format in which I have felt a neccesity to materialize my time.

Of Late:
I am taking a class on methods in the anthropology of sound and music. I read John Law’s After Method: Mess in Social Science Research. I enjoyed the book. I recommend the book. I am going to a do an ethnogrpahy of skateboarding for the class.

My disdain for the blatant mistreatment of dogs in the city baloons tot he point of outbursts. Many people have the tendency of walking with their dogs on a leash instead of walking their dogs. By this I mean that people pay no attention to the desires of the dog, and merely walk. This often resuls in the dogs being dragged when they stop to smell something or for other reasons. It doesn’t take much thoguht to realize that this must hurt the dogs’ feet as they scrape against the concrete. Disgusting.

The weather has been unpredicatable unless I check it through a widget before I go out.

I’ve been spending time with my friend Danny Coeyman.

I’ve also been spedning time with some friends from school: Yu ni, Sarah, and Maria. Also Maria’s boyfriend Guillermo, and Sarah’s boyfriend Tom.

I enjoy spending time with those people.

I manned a tap at a beer festival last Friday. I had more than enough fun, but not in an beeric consumption way.

I have performances coming up. On Monday the 18th I will be performing in a Cabaret to benefit Richard Schechner’s “Home New Orleans”. I will be performing with Randy J. Hunt. The performance will be at the Village Pour House. On the 28th I will be performing a solo work in AUNTS. Biba Bell–a classmate–has invited me to take part. I will be performing a solo for audience, and playing a recorded composition for one person at a time–seperate from the solo. I’ll provide more info soon.

School is great.

A Melange of sorts:

September 2, 2006 at 01:13 | Posted in Beer, communicative media, Documentation of things, Grad school update, new york, Performances/Exhibitions, Things related to John Cage | 2 Comments

Next week I will be participating in a reading of John Cage’s works at St. Mark’s Church (10th and 2nd Ave.) that commemorates his birthday. It starts at 7:30.

I was thinking about our binary notions of structure yesterday, and came to a realization regarding the notion of deconstruction. I feel that deconstruction is often viewed as an alternative to the reification of structure, however this needn’t be the case; we are better off to engage both reification and deconstruction intermittently: reification maintains structure, while deconstruction subverts structural hegemony.

I have had a lengthy email exchange with some people from the phonography.org listserve over the past week, and some interesting topics have come up. Primarily we have discussed the implication of structure in the practice of phonography, but we’ve also gotten into a lot of the tangential critical theory that goes along with it. My main concern is the enunciation of a proper paradigmatic structure for the medium. What I really wanted to get at here though was a comment that was made in reghards to simulacra; someone mentioned that when we cannot garner a proper message from a simulacrum we assume that something is wrong with the medium or the person who used the medium to create the simulacrum. This seems like a vital concept when we consider the notions of reification and deconstruction within structurality, as deconstruction often fondles the methods for creating meaning through simulacra–by fondle I mean that it investigates it in such a way that it is looking to uncover the limits of its potentialities and formulate a clear assessment of current occupations through various methods of ‘appropriate’ and inappropriate engagement .

I’m still trying to sell my tabla set–to no avail.

I’m still doing a great deal of thinking about the body and its organizations.

I recently began working on a new recorded artifact that employs field recordings and a drone rendered through the Elapsed Isolationism of the Pixies song “Where is My Mind.”

I’m writing a trio right now titled Complete Aegis Trio. I am using methods of indeterminacy that are dependent on crosswalk signals on a pre-mapped path.

I got a job with a beer distributor, and I’ll be helping out pouring beer at the upcoming New York Beerfest next weekend. My job is sales rep. That’s the deal.

Apparently I’ll be making some rap music with Chris Tabron some time soon.

Holler.

Performance tonight:

July 29, 2006 at 14:57 | Posted in Documentation of things, new york, Performances/Exhibitions, Things related to critical theory, Things related to John Cage | Leave a comment

Tonight I will be performing in a Cabaret at Tisch. The even is a fundraising benefit. I am going to be performing a piece with a title. The title of the piece is Preeminent words so much you smother.
6:30 at Tisch hall (721 west boradway, in between Washington and Waverly) room 636. Call me if you want to go. Three dollar donation.

I’m up early on my born day (and more on the body)…

July 22, 2006 at 12:36 | Posted in Musings, Performances/Exhibitions, Process oriented explanations, Things related to John Cage | Leave a comment

to quote Nas. I started a series of recordings today. This series of recordings is titled Quiet New York. As of right now this series consists of binaural sound walks taken at hours when the aural space of lower Manhattan is not so densely occupied.

More on the Body:

Even if one were to assume that the body constituted by one’s flesh, and the point to which that flesh extends into space, is the extent of the human body one then has to consider that the human body is merely an organ, so then what body is the human organ a part of? In this sense the human body is then a part of the Human Body: the entire collection of human bodies as a singular structure. The more egocentric our thinking, the smaller the body is, without doubt. But, when we can begin to think of our individual bodies as organs within a structure we are not so pejorative towards the unabsolute of the self-governance of the body, which I postulate to be the source of an inability to recognize the ‘larger’–to quote Fuller, “The precessional”–organizing principles and executive mechanisms of the Earth-Human life structure. When the body/self is constituted through a reductive means, that is the body/self is organized around the principle of an elimination of undesirable/inconceivable things as part of the body/self, it secedes to the point that there is no body; the structure of self cannot be maintained because self is reduced to the various bodily systems, which are reduced to the organs that compose those systems, et cetera. This notion is a wonderful way to trouble the notion that the borders of the realm of one’s skin constitute one’s body, except that it is usually employed in a manner to support a notion of self wherein the whole of existence is not reduced to nothing–without, within, and through the body, rather the whole of existence is reduced to the point of purported epidermal irrefutability; through reductive means one negotiates what is and is not self to the point that the desirable body/self remains, and thus the body is maintained, through further future reductions, to be that which one desires to be; the fetishized self that is the projected, and delimited manifestation of one’s desires, abstractions, and barrings.

Randy’s Score…

February 17, 2006 at 14:43 | Posted in <i>A Contest is Eminent, communicative media, Documentation of things, Performances/Exhibitions, Process oriented explanations, Things related to John Cage | Leave a comment

Randy H. is:

Player Numer Seven:
Q.–|3′04″O| >A

R.–|1′32″i|

S.–|1′32″O|A

T.–|1′32″i|

U.–|6′08″O|BA

V.–|3′04″i|

W.–|4′36″O|Q

A.–|16′52″O|A

B.–|6′08″i|

C.–|1′32″O|BA

D.–|1′32″i|

E.–|3′04″O|BA

F.–|3′04″i|

G.–|1′32″O|Q

H.–|1′32″i|

I.–|1′32″O|A

J.–|4′36″i|

K.–|1′32″O| >A

L.–|1′32″i|

M.–|1′32″O|Q

N.–|3′04″i|

O.–|6′08″O| >A

P.–|1′32″i|

Scores for Individual players in A Contest is Eminent

February 16, 2006 at 05:21 | Posted in <i>A Contest is Eminent, communicative media, Documentation of things, Performances/Exhibitions, Process oriented explanations, Things related to John Cage | Leave a comment

So far these are the people that I know are playing: Zach M. (player1), Nelson H. (player2), Greg L. (player3), Melissa D. (player4), Adam P. (player5), and Zack J (player6).

Thus, I have six scores here on this page.

If other people are interested in playing, then those people should contact me so that I can prepare a score for them.

Key:

(The following symbols, which are used in the score, represent the volume setting for each instance of sound. Their values are relative in relation to the space in which the composition is performed: if the composition is performed in a busy park then the dynamic values should be adjusted accordingly, and likewise if the composition is performed in a public library.)

BA: This stands for Barely Audible. The player should focus on making their sound-source ride the fence between audible and inaudible. Do not be afraid about slipping into inaudibility. Picture, if you will, a one foot voice.

Q: This stands for Quiet. The player should focus on keeping the sound audible, but its presence should not be forwardly noticeable, also the player should not slip into inaudibility. Picture, if you will, a three foot voice.

A: This stands for Audible. The player should take care in not letting their sound source become intrusive. Although the sound should be audible, it should also be ignorable. Picture, if you will, a five foot voice.

>A: This stands for Barely Louder than Audbile. The player should at no point overwhelm the other sounds, or encompass the space with their sound source. This dynamic range should not be read as “as loud as I want.” This dynamic range falls far short of garnering all attention within the space. Picture, if you will, a clearly perceptible five foot voice in a room of five foot voices.

Brief Explanation:

Let’s look at player one’s first instance of sound to see what the score actually means. Player one’s first instance of sound is: 16’52” A. This means that for 16’52” player one will produce a sound with a dynamic value of audible as described above.

Player One:
A.–|16’52″O| A

B.–|6’08″i|

C.–|1’32″O| BA

D.–|1’32″i|

E.–|3’04″O| >A

F.–|3’04″i|

G.–|1’32″O| >A

H.–|1’32″i|

I.–|1’32″O| A

J.–|4’36″i|

K.–|1’32″O| Q

L.–|1’32″i|

M.–|1’32″O| Q

N.–|3’04″i|

O.–|6’08″O| A

P.–|1’32″i|

Q.–|3’04″O| >A

R.–|1’32″i|

S.–|1’32″O| BA

T.–|1’32″i|

U.–|6’08″O| Q

V.–|3’04″i|

W.–|4’36″O| BA

Player Two:
A.–|4’36″O| A

B.–|3’04″i|

C.–|6’08″O| A

D.–|1’32″i|

E.–|1’32″O| BA

F.–|1’32″i|

G.–|3’04″O| BA

H.–|1’32″i|

I.–|6’08″O| Q

J.–|3’04″i|

K.–|1’32″O| >A

L.–|1’32″i|

M.–|1’32″O| BA

N.–|4’36″i|

O.–|1’32″O| A

P.–|1’32″i|

Q.–|1’32″O| >A

R.–|3’04″i|

S.–|3’04″O| >A

T.–|1’32″i|

U.–|1’32″O| Q

V.–|6’08″i|

W.–|16’52″O| Q

Player Three:

L.–|1’32″i|

M.–|1’32″O| Q

N.–|3’04″i|

O.–|6’08″O| >A

P.–|1’32″i|

Q.–|3’04″O| A

R.–|1’32″i|

S.–|1’32″O| >A

T.–|1’32″i|

U.–|6’08″O| A

V.–|3’04″i|

W.–|4’36″O| BA

A.–|16’52″O| BA

B.–|6’08″i|

C.–|1’32″O| BA

D.–|1’32″i|

E.–|3’04″O| Q

F.–|3’04″i|

G.–|1’32″O| Q

H.–|1’32″i|

I.–|1’32″O| >A

J.–|4’36″i|

K.–|1’32″O| A

Player Four:
L.–|1’32″i|

M.–|1’32″O| Q

N.–|4’36″i|

O.–|1’32″O| BA

P.–|1’32″i|

Q.–|1’32″O| A

R.–|3’04″i|

S.–|3’04″O| BA

T.–|1’32″i|

U.–|1’32″O| Q

V.–|6’08″i|

W.–|16’52″O| >A

A.–|4’36″O| BA

B.–|3’04″i|

C.–|6’08″O| Q

D.–|1’32″i|

E.–|1’32″O| >A

F.–|1’32″i|

G.–|3’04″O| >A

H.–|1’32″i|

I.–|6’08″O| A

J.–|3’04″i|

K.–|1’32″O| A

Player Five:
E.–|3’04″O| >A

F.–|3’04″i|

G.–|1’32″O| BA

H.–|1’32″i|

I.–|1’32″O| A

J.–|4’36″i|

K.–|1’32″O| >A

L.–|1’32″i|

M.–|1’32″O| A

N.–|3’04″i|

O.–|6’08″O| Q

P.–|1’32″i|

Q.–|3’04″O| BA

R.–|1’32″i|

S.–|1’32″O| Q

T.–|1’32″i|

U.–|6’08″O| A

V.–|3’04″i|

W.–|4’36″O| >A

A.–|16’52″O| Q

B.–|6’08″i|

C.–|1’32″O| BA

D.–|1’32″i|

Player Six:
G.–|3’04″O| A

H.–|1’32″i|

I.–|6’08″O| Q

J.–|3’04″i|

K.–|1’32″O| A

L.–|1’32″i|

M.–|1’32″O| A

N.–|4’36″i|

O.–|1’32″O| A

P.–|1’32″i|

Q.–|1’32″O| >A

R.–|3’04″i|

S.–|3’04″O| Q

T.–|1’32″i|

U.–|1’32″O| BA

V.–|6’08″i|

W.–|16’52″O| Q

A.–|4’36″O| >A

B.–|3’04″i|

C.–|6’08″O| BA

D.–|1’32″i|

E.–|1’32″O| BA

F.–|1’32″i|

Please remember to bring a stopwatch so that you can time yourself. I will supply a hard-copy of the score for each player on the night of the performance.

Next Page »

Create a free website or blog at WordPress.com.
Entries and comments feeds.