I recently performed Luke Nickel’s [factory] for the first time during a house concert. Luke’s piece is part of a ‘live archive’ project in which I receive information from Mira Benjamin (one of the archives) about a collection of scores within [factory]. Here is a short video excerpt from my somewhat manic performance wherein I obsessively trace the outline of my hand overtop hands in a book on the history of palmistry.
During this portion of my performance, the film My Dinner with Andre was hovering in the back of my mind.
I recently performed Charlie Sdraulig’s few as part of a house concert hosted by David Pocknee and I. Leading up to the concert I wrote about the preparation process and my initial approach towards staging a public performance of an inherently private piece. What follows is a reflection on my first realization of the piece.
Before reading on, I suggest taking two minutes to listen to an excerpt of few recorded in a semi-anechoic chamber for an idea of the piece’s sound world. A recording of the live performance was not made.
few was programmed in the second set of the evening and performed immediately after I performed my listening/sing-along piece, urtext (with live imitative vocal stylings by me alongside recordings of Amanda DeBore Bartlett performing Various Terrains and Sean Dowgray imitatively playing percussion overtop sounds of infants curated from youtube). More information on Continue reading
Rodrigo Constanzo and Angela Guyton recently came around to mine and David Pocknee’s cellar to make music videos for Everything. Everything at Once. Once (3). David and I worked with dynamic lighting and apathy, while Rod laid down some groovy music and Ang got us to wander around barefooted. The videos are calftastic.
Read what Rod has to say about this portion of the series here.
My favorite take:
I’m co-hosting a house concert and am preparing pieces for performance by Jessie Marino, Luke Nickel, David Pocknee, Charlie Sdraulig and myself. While I’ve been working on Charlie Sdraulig’s few (for solo voice) I’ve been getting an itch to reflect on the preparation process. The following is an attempt to work out some of the tangled connections of associations twisting around in my head as I engage with the piece. My plan is to write about the piece as new ideas and thoughts emerge.
I’ll let Charlie’s description of the piece set the scene:
few is for a person listening and responding to the sonic environment around them. Responses include: breath filtered through a variety of mouth shapes as well as tongue clicks, hums and whistles. These barely externalised sounds are an almost imperceptible trace of concentrated perceptual effort. There is often only a risk of these sounds being produced and then heard.
In October of 2014, cellist Seth Woods and I conducted an exploratory workshop for a new collaborative work: beauty acts by relaxing the solids of the whole system producing an inward sense of melting and languor. Here is a short video from our workshop:
deviser / performer: Seth Woods
deviser / invisible performer / composer: Michael Baldwin
camera operator: Daniel Porteli
sound assistance: Beavan Flanagan