shedding some light on what is going on here
here are the program notes for next Saturday the 17th’c Concert at Skolska 28 Gallery here in Prague:
“Multiple Systems of Events, Evolving at Their Own Rates”
With the first word, the second follows, and so it goes with sound. Sound, though it may be caught in a moment, and held, what is held is only an image, a tracing, a sort of footprint of the passing wind on a sandy landscape, or a cross-section of the intensity and pressure moving through a certain space at a certain moment. A sound has an inner life, and evolves in time. We evolve too. The listener, the ear, also evolves, and in the moment the sound is listened to, the mind is changed. With the changing consciousness, the person too changes.
This piece is a collection of models. On the surface, some are obvious. Others more complex. The network of meanings beneath is a matter of ongoing exploration, and I hope it lasts a long time.
Such changes are complex, but sometimes complexity comes for free. At other times it may be hidden. Structure may appear obvious or may need to be sought, at times demanding the most advanced of tools and the searchingest of perceptions. At times all that is needed is a moment, and it is as if the moment itself just pops, as if reality stands up and hums.
Textures of multiplicity, of particle systems, of linear development in time and perceived non-linearity of experience, and this combined with ourselves, with love, anger, anxiety, sadness, pensiveness, hunger, with philosophy and John Cage…and here is the moment of interaction between audience and sound. There it was.
What is the role of the performer in this circumstance? Is it enough for the environment to simply make itself available to be perceived? Is the performer to take on an acrobatic role, providing vicarious physical entertainment for the audience? Must he or she themselves attempt to enter an ecstatic state on behalf of the audience that this may (again vicariously) be transmitted to the audience (presumably through the sounds)? Or is the musician/performer simply an advanced fabricator of sonic textures, which must then be parsed phenomenologically by each audience member? What is the use of these performed moments? What are we doing here? When the environment is ready to stand up and vibrate will we be ready to vibrate, will we hear it?
The totality of the universe can be understood as multiple systems of events, evolving at their own rates. Such systems can interact, or can exist in a sort of state of pseudo-ignorance of one another. Some define their movements, and to certain extent, some can even define their movements in relation to time. Others are borne on, as if moving along the current beneath a river, stretching outwards towards along the edge of universal expansion. Surf’s up.