EHDOTUS JOHAN TALGRENILLE MUSIIKIN AIKA FESTIVAALILLE
Sellaisen ehdotuksen voisin julkisesti tehdä missä tekisin markkinalähtöisen yhteisöllisen esityksen, ala Simon Denny (NZ taiteilija joka tutkii start-up kulttuureja sisältäpäin, mm. Venetsian Biennalessa tänä vuonna), mutta musiikiteatterilla ja musiikille/musiikista.
Mulla on yks sävellys mikä on puheäänien käyttämisestä valuuttana, ja olisi mielenkiintoista jatkaa tätä ideaa laajemmin ja tarkemmin.
Osallistuvassa tilanteessa (situation) joka olisi itsessään musiikkiteatteria (eli siis tapahtuu lavalla yleisön edessä) voisi tapahtua sessioissa niin että muodestattaisiin ryhmiä jotka ottavat tavoitteikseen jonkin osa innovaatiokehittämisestä. Toimisin itse kiihdyttäjänä ja toimisimme niin että kehittelystä tulisi konkreettinen tuote joka liittyy musiikkin jollain tavalla.
Esitys tapahtuisi useamman päivän yli ja se olisi rakenteeltaan niin että ensiksi kehitettäisiin ideoita erikseen, sen jälkeen eri ryhmät pitchaisivat niitä toisilleen (peer review) ja tätä kehitettäisiin sen jälkeen yhdessä jonka jälkeen lopullinen tuote julkastaisiin TedXmäisessä konfferenssissa. Tuote voi olla niin digitaalinen kuin perinteisempää teknologiaa, tai sitten vaan jotain minkä ihmiset haluaisivat ostaa.
Esitys on siis yhteisöllinen, mutta ymmärrän että ei pakosti löydy tarpeeksi ihmisiä joten olisi myös mahdollista sisältää muusikkoja ensembleistä varsinkin puheäänestä kiinnostuneet.
Tuo oli aika yleinen selitys, jos tämäntyyppinen esitys kiinnostaa ja sopimus toimii niin teen tarkan suunnitelman toimintamallista (jonka on todennäköisesti hieman erilainen) ja suunnitella valmiiksi eri ideoita jotka toimisivat pohjina minulle esitystilanteiden eteenpäinviemiseksi.
Budjetti ei olisi kovinkaan suuri, vaatii vähintään 2kk duunia tehdä perinpohjainen suunnitelma ja tähän saan apua mm Sitran business konsultilta ja muilta joita tunnen jotka pitchaa jatkuvasti mm Tekesille. Kenties tuote voisi yrittää olla jotain minkä voisimme sitten yhdessä viedä Tekesille, varsinkin jos liitän siihen oikeat asiat.
Itse esitykseen tarvitsisin tilan jota käytää useampana päivänä ja projektorin power point esityksiä varten.
Tähän voi myös liittaa kunnon markkinointisuunnitelman jonka voin tehdä niin itse esitykselle kuin itse tuotteelle, se lisäisi noin kuukauden työaikaa, (etukäteen mietityistä ideoista voi helposti muodostaa suunnitelman jota on sitten helppo muuttaa kun lopullinen tuoteidea on valmis.)
ps. Simon Denny: http://momaps1.org/exhibitions/view/396
WAR INJURIES INSTRUMENTS
PHD war injuries reference
http://www.ncbi.nlm.nih.gov/pubmed/8953262
http://www.amputee-coalition.org/military-instep/war-injuries.html
Reading list:
Jean-Luc Nancy, Corpus (no) & Listening (no)
Jacques Derrida, On touching (yes)
Daniel Heller-Roazen, Inner Touch (no)
Mark Paterson, The Senses of Touch (no)
Derrida, 'Tympan', in Margins of Philosophy & On Touch Jean-Luc Nancy (yes)
Sloterdijk's Spheres project, (3 books)
Guattari's Schizoanalytic Cartographies. (yes)
Judith Butler, Gender Trouble and Bodies that Matter (yes to both)
http://scholarship.law.berkeley.edu/cgi/viewcontent.cgi?article=1463&context=facpubs
https://paulojorgevieira.files.wordpress.com/2013/01/aqui.pdf
Sloterdijk's Spheres project,
Chris Swithinbank's music
Hugh Davies's instruments
Heidi Fast. https://reseda.taik.fi/Taik/jsp/taik/Research.jsp?id=243622621
Aleotoric Instruments:
What amounts to a mapping? How could information about specific musical situations and actions be encoded into an instrument as a method for composing something specific?
- Psyche and touch?
Thinking the impossible. Being touched by the immaterial: love, touching, kissing as intermediary of the transcendental. What the hand cannot the mind can, yet only through the hand.
This work has been a long time coming. I first started developing alternatives to visual thinking in my undergraduate years at Brunel University. As a synaesthete and a highly visual thinker the visualisation of sounds was very tempting and I remember the first time I ”drew” music in a conscious way was when I was 15, working by placing score paper on the wall and drawing notes around them in a nonlinear and un-timed fashion. Once I arrived at university almost 10 years later I started to understand better the relationship one needs with others and with time in order to make music happen, Morton Feldman was my muse, and like him the more I worked with graphics and visualisations the more I realised that there is something, that for me, did not function correctly at translating ideas into music. This was also the time I came to terms with my synaesthesia and started to actively engage in understanding exactly what it is, I was lucky that at Brunel there works Noam …, a highly respected synaesthesia researcher, and we talked many times about what it is. These talks, and the subsequent thinking I have made, proved to me that synaesthesia is not a special condition but a necessary condition of the human body, and the first synaesthesia is speech and the ability to name. This discovery quickly cascaded into others, like the discovery, with the help of the late Bob Gilmore, that what my mind heard when it wrote music onto paper was not in tune with how tuning functions and this led me to a long research into microtonal and eventually associating with the Xenharmonic music community. But like visualisations this also helped me develope as a staple of the language of music which I believe in, and I have subsequently abandoned the need for xenharmony, with the exception that I believe that this should be the pedagogical basis for all musical teaching. I think my interest in xenharmony peaked at a point when I was able to singularly perform pieces where there was a overlaying of three types of matrixes of pitch, I developed this method through improvisations on two guitars simultanuously, one 12edo and one 19edo, the third being the natural harmonies of strings, and where I was constantly retuning the guitars by ear through new tonal landscapes. I have grown dissillusioned to this improvising and am currently working towards something new of which I know little of. This ”little of” brings us up to date and to this current research into the sensual mixing I am undertaking.
This was in a way my purely music journey, but there have been others. I have always loved opera and always had the ability to visualise a scene when writing music based on text, thus both my undergraduate final works were musical theater, and I subsequently wrote and directed a film opera, which is currently unfinnished and in editing. This interest in text, literature and writing has also led me to write several novels as well as work as an editor and publisher in the Alternative Literature scene. And I think what for me is the most interesting work is when these three, writing music, writing films, and writing books or stories combine into a single element.
A third road I traveled during my postgraduate year was working with Katie Keeble a contemporary dancer and choreographer, film maker and student of Rosemary Butcher. This collaboration opened up a new vista of corporeality unlike the one described by Harry Partch or anyone else in dance, and I have always had an affectionate relationship with contemporary dance. Working together brought me face to face with what I later came to see as the main problems in contemporary music, namely the dismissal of embodied experience and alternatives to understanding what score is, something of a continuous argument we had.
TOUCHING SCORE
Sellaisen ehdotuksen voisin julkisesti tehdä missä tekisin markkinalähtöisen yhteisöllisen esityksen, ala Simon Denny (NZ taiteilija joka tutkii start-up kulttuureja sisältäpäin, mm. Venetsian Biennalessa tänä vuonna), mutta musiikiteatterilla ja musiikille/musiikista.
Mulla on yks sävellys mikä on puheäänien käyttämisestä valuuttana, ja olisi mielenkiintoista jatkaa tätä ideaa laajemmin ja tarkemmin.
Osallistuvassa tilanteessa (situation) joka olisi itsessään musiikkiteatteria (eli siis tapahtuu lavalla yleisön edessä) voisi tapahtua sessioissa niin että muodestattaisiin ryhmiä jotka ottavat tavoitteikseen jonkin osa innovaatiokehittämisestä. Toimisin itse kiihdyttäjänä ja toimisimme niin että kehittelystä tulisi konkreettinen tuote joka liittyy musiikkin jollain tavalla.
Esitys tapahtuisi useamman päivän yli ja se olisi rakenteeltaan niin että ensiksi kehitettäisiin ideoita erikseen, sen jälkeen eri ryhmät pitchaisivat niitä toisilleen (peer review) ja tätä kehitettäisiin sen jälkeen yhdessä jonka jälkeen lopullinen tuote julkastaisiin TedXmäisessä konfferenssissa. Tuote voi olla niin digitaalinen kuin perinteisempää teknologiaa, tai sitten vaan jotain minkä ihmiset haluaisivat ostaa.
Esitys on siis yhteisöllinen, mutta ymmärrän että ei pakosti löydy tarpeeksi ihmisiä joten olisi myös mahdollista sisältää muusikkoja ensembleistä varsinkin puheäänestä kiinnostuneet.
Tuo oli aika yleinen selitys, jos tämäntyyppinen esitys kiinnostaa ja sopimus toimii niin teen tarkan suunnitelman toimintamallista (jonka on todennäköisesti hieman erilainen) ja suunnitella valmiiksi eri ideoita jotka toimisivat pohjina minulle esitystilanteiden eteenpäinviemiseksi.
Budjetti ei olisi kovinkaan suuri, vaatii vähintään 2kk duunia tehdä perinpohjainen suunnitelma ja tähän saan apua mm Sitran business konsultilta ja muilta joita tunnen jotka pitchaa jatkuvasti mm Tekesille. Kenties tuote voisi yrittää olla jotain minkä voisimme sitten yhdessä viedä Tekesille, varsinkin jos liitän siihen oikeat asiat.
Itse esitykseen tarvitsisin tilan jota käytää useampana päivänä ja projektorin power point esityksiä varten.
Tähän voi myös liittaa kunnon markkinointisuunnitelman jonka voin tehdä niin itse esitykselle kuin itse tuotteelle, se lisäisi noin kuukauden työaikaa, (etukäteen mietityistä ideoista voi helposti muodostaa suunnitelman jota on sitten helppo muuttaa kun lopullinen tuoteidea on valmis.)
ps. Simon Denny: http://momaps1.org/exhibitions/view/396
WAR INJURIES INSTRUMENTS
PHD war injuries reference
http://www.ncbi.nlm.nih.gov/pubmed/8953262
http://www.amputee-coalition.org/military-instep/war-injuries.html
Reading list:
Jean-Luc Nancy, Corpus (no) & Listening (no)
Jacques Derrida, On touching (yes)
Daniel Heller-Roazen, Inner Touch (no)
Mark Paterson, The Senses of Touch (no)
Derrida, 'Tympan', in Margins of Philosophy & On Touch Jean-Luc Nancy (yes)
Sloterdijk's Spheres project, (3 books)
Guattari's Schizoanalytic Cartographies. (yes)
Judith Butler, Gender Trouble and Bodies that Matter (yes to both)
http://scholarship.law.berkeley.edu/cgi/viewcontent.cgi?article=1463&context=facpubs
https://paulojorgevieira.files.wordpress.com/2013/01/aqui.pdf
Sloterdijk's Spheres project,
Chris Swithinbank's music
Hugh Davies's instruments
Heidi Fast. https://reseda.taik.fi/Taik/jsp/taik/Research.jsp?id=243622621
Aleotoric Instruments:
What amounts to a mapping? How could information about specific musical situations and actions be encoded into an instrument as a method for composing something specific?
- Psyche and touch?
Thinking the impossible. Being touched by the immaterial: love, touching, kissing as intermediary of the transcendental. What the hand cannot the mind can, yet only through the hand.
This work has been a long time coming. I first started developing alternatives to visual thinking in my undergraduate years at Brunel University. As a synaesthete and a highly visual thinker the visualisation of sounds was very tempting and I remember the first time I ”drew” music in a conscious way was when I was 15, working by placing score paper on the wall and drawing notes around them in a nonlinear and un-timed fashion. Once I arrived at university almost 10 years later I started to understand better the relationship one needs with others and with time in order to make music happen, Morton Feldman was my muse, and like him the more I worked with graphics and visualisations the more I realised that there is something, that for me, did not function correctly at translating ideas into music. This was also the time I came to terms with my synaesthesia and started to actively engage in understanding exactly what it is, I was lucky that at Brunel there works Noam …, a highly respected synaesthesia researcher, and we talked many times about what it is. These talks, and the subsequent thinking I have made, proved to me that synaesthesia is not a special condition but a necessary condition of the human body, and the first synaesthesia is speech and the ability to name. This discovery quickly cascaded into others, like the discovery, with the help of the late Bob Gilmore, that what my mind heard when it wrote music onto paper was not in tune with how tuning functions and this led me to a long research into microtonal and eventually associating with the Xenharmonic music community. But like visualisations this also helped me develope as a staple of the language of music which I believe in, and I have subsequently abandoned the need for xenharmony, with the exception that I believe that this should be the pedagogical basis for all musical teaching. I think my interest in xenharmony peaked at a point when I was able to singularly perform pieces where there was a overlaying of three types of matrixes of pitch, I developed this method through improvisations on two guitars simultanuously, one 12edo and one 19edo, the third being the natural harmonies of strings, and where I was constantly retuning the guitars by ear through new tonal landscapes. I have grown dissillusioned to this improvising and am currently working towards something new of which I know little of. This ”little of” brings us up to date and to this current research into the sensual mixing I am undertaking.
This was in a way my purely music journey, but there have been others. I have always loved opera and always had the ability to visualise a scene when writing music based on text, thus both my undergraduate final works were musical theater, and I subsequently wrote and directed a film opera, which is currently unfinnished and in editing. This interest in text, literature and writing has also led me to write several novels as well as work as an editor and publisher in the Alternative Literature scene. And I think what for me is the most interesting work is when these three, writing music, writing films, and writing books or stories combine into a single element.
A third road I traveled during my postgraduate year was working with Katie Keeble a contemporary dancer and choreographer, film maker and student of Rosemary Butcher. This collaboration opened up a new vista of corporeality unlike the one described by Harry Partch or anyone else in dance, and I have always had an affectionate relationship with contemporary dance. Working together brought me face to face with what I later came to see as the main problems in contemporary music, namely the dismissal of embodied experience and alternatives to understanding what score is, something of a continuous argument we had.
TOUCHING SCORE
