Mark So
Nothing is Very Simple
G. Douglas Barrett
A Few Silence
Mark So
Some Forgotten Day
Francesco Gagliardi Film 4: East of Eden Francesco Gagliardi Two Homes Amnon Wolman
Imaginary Piece – February 1999
Kerstin Fuchs
Viktoriapark Berlin-Kreuzberg August 2008
G. Douglas Barrett
A Few Voices (Polyphony I-III)
Adam Overton
Duet (For Tashi Wada)
Kerstin Fuchs
Viktoriapark Berlin-Kreuzberg August 2008
Amnon Wolman
Imaginary Piece – April 18, 1999
Francesco Gagliardi Reading 4 ……… Adam Overton
For Performer and Hidden Object
Nothing is very simple (remembered with affection) mark so
[any number of people, each with ordinary means [a quiet room, open to the outdoors [daytime, natural light
Each day as the sun wends its way Into your small living room and stays You remember the accident of night as though it were a friend. [...] life is like an ocean: sometimes the tide is out And sometimes it's in, but it's always the same body of water Even though it looks different, and It makes the things on the shore look different. – John Ashbery, “Kicking Around�
each on her own conjures a fond memory of some incident that took place a few nights ago, outdoors each chooses a single detail from this recollection and realizes it with means available once for some duration, independently precise, gentle, unhurried and still free to overlap with any other(s)
[failing an adequate memory, simply do nothing
23-24 april 2009 park city
A Few Silence (location, date, time of performance) for any number of performers
Preparation Each performer provides a battery of instruments/objects with a range of sound-producing abilities including but not limited to: sustained noises, sustained tones, pitched or nonpitched percussive sounds, metallic sounds, wood sounds, plant sounds, brief tones or noises. A stopwatch is required for each performer. I The piece starts with a duration of five minutes in which the performers listen to the "silence" of the performance space while creating written scores based on their observations of sounds that occur within this time span. A list of timings should be created, each timing to correspond to a textual description of a sound occurring at the given moment. Included in each description should be features such as the overall shape or contour of the sound, dynamic level, duration, etc. An occasional reference to a sound’s source is ok but should not predominate.
Examples:
“low sustaining tone”; “soft sustaining noise”; “quick
percussive sound”; "noisy descending glissando". [See also the included example score.] II At the end of the five minutes the performers reset their stopwatches and perform their respective scores, creating the indicated sounds to the best of their ability using the instruments at hand. The piece ends at the end of this, the second five-minute duration.
G. Douglas Barrett, 2008
Some forgotten day (sparse winter) mark so
[1 person, using ordinary means [an ordinary open place, indoors
The poem of these things takes them apart – John Ashbery, “Five Pedantic Pieces”
very simple and soft realize 1 word at a time from the following page any sequence, each once for some duration spaced freely in time
22 april 2009 park city
cloud
snow
horizon
fir
hare
Film [progressive number]: [Title of the Film] Record the audio from a film scene. Play it back trying to recollect the scene. Freely stop, rewind and replay.
*** A set duration for the piece should be decided upon prior to its execution. It is recommended that the duration of the piece is at least three times the duration of the scene. If a satisfactory recollection of the entire scene is arrived at before the end of the predetermined duration, wait silently until the time expires. Any number of performers smaller than or equal to the number of characters in the scene can take part in the performance. If the scene has no characters in it, the piece should be performed as a solo. Any number of modes of recollecting can be attempted, but each performance should be built around a single mode. Modes of recollecting include the embodied recollection of a character’s movement through the space of the frame, the recollection of all the cuts, camera angles and other structural and formal details, etc. If the mode of recollection involves reconstructing or re-embodying characters’ movements, positions in the frame, etc. each performer should work on one single character throughout the scene. No more than one performer should work on each character. The performer(s) can put as much preparation and study as they choose into committing the scene to memory. Any number of props, costumes and accessories can be used in order to facilitate the recollection.
The title of the piece should be indicated as: Film (progressive number): (Title of the Film).
As of June 23 2009 the following realizations have been performed: Film 1: La Dolce Vita (12.8.08, The Wulf – Los Angeles; 1.14.09, Miss Micks – Berlin) Film 2: Rope
(3.1.09, The Wulf – Los Angeles, with Adam Overton)
Film 3: The Birds
(5.23.09, LISTEN/SPACE – New York, with Jennifer Walshe)
Francesco Gagliardi
Los Angeles, March 1 2009 – Torino, June 23 2009
A noise. A dainty, vintage noise. [February 1999]
Viktoriapark Berlin-Kreuzberg August 2008
th
On the top of Viktoriapark Berlin Kreuzberg, Tuesday 12 of August 2008, about 8:30pm A crazy ruby sunset, a black cat, a child, other people taking pictures of the sunset or filming it. Doug told me how P.Kotik would speak with his students about music. Something like (in Doug’s words)…..You can’t write better music…a G Flat is a G Flat….it can’t be a better G Flat…it makes it not better with all the explanations (maybe of expressions…or techniques?)…. My idea to this: Play a G Flat Write a couple of explanations/ expressions/ technique advises over it, which the performer has to follow while playing the G Flat once
Doug’s favourite performance for this would be for piano
Kerstin Fuchs Berlin, 12.08.2008
Viktoriapark Berlin Kreuzberg August 2008, (realization score for guitar, g. douglas barrett) Kerstin Fuchs, 12.08.2008
I Lugubre, Intimo, Insistendo
20” Guitar
&
sul tasto
n˙
U
˙
20”
Viktoriapark Berlin Kreuzberg August 2008, (realization score for guitar, g. douglas barrett) Kerstin Fuchs, 12.08.2008
II
Poco Animato, Eroico, Poco Agite
20” Guitar
&
poco sul pont.
n˙
U
f molto
˙
20”
A Few Voices (or Polyphony I) Two or more performers. Beginning and ending together, each performs a single sustaining action or sound to remain consistent throughout.
A Few Voices (or Polyphony II) Two or more performers. Beginning one after another, each performs a single sustaining action or sound to remain consistent throughout. Each performer discontinues her respective action in the same order of entrance.
A Few Voices (or Polyphony III) Two or more performers. Beginning one after another, each performer sustains a single action or sound to remain consistent throughout. Each performer discontinues her respective action in the reverse order of entrance.
G. Douglas Barrett, 2009
DUET (FOR TASHI WADA) Adam Overton, February 2008 for Christa Graf and Orin Hildestad inspired by Tashi Wada's Duet series ... for two violinists or a pair of any other instrumentalists or vocalists especially (though not limited to) those with a large, continuous range trustingly, intuitively, not at all logically ... Stand back to back, perhaps touching, eyes closed Player One - somewhat randomly/intuitively choose a tone on your instrument you would like to play Picture it in your mind, but don't play it yet Player Two - try with all your psychic might to sense what Player One wants to play Prepare to play your predicted tone, and when ready, sound it Player One - when Player Two begins to sound their prediction, begin immediately to sound yours Hold the two tones for around 10 seconds... If Player Two is correct, and the two tones are the same (or very very very close), the piece may end... (Or you may continue...) If Player Two has not sensed the correct tone, the piece shall continue with the performers alternating as Player One and Player Two The piece might last until someone has sensed the other's tone correctly, or until the two players desire to stop (either stopping intuitively, or at a predetermined time) ...
A long, elastic sound, not too high yet seems to be growing in time. I am not sure if its growing in volume or in pitch, but suddenly I am aware that another very quiet, scratchy sound is in the background too. It has been there for a while. It all stops and I am aware of the sound of the rain. April 18, 1999
Reading 4 Reader A (silently) reads from a book ringing a bell every time she reaches the end of a page. Reader B (silently) reads and re-reads the first paragraph of the same text, ringing a bell every time he reaches the end of the paragraph. When reader A rings the bell, reader B finishes reading the paragraph he is reading and moves to the next one. Reader C (silently) reads and re-reads the first sentence of the same text, ringing a bell every time she reaches the end of the sentence. When reader B rings the bell, reader C finishes reading the sentence she is reading and moves to the next one.
Note: The sound of A’s bell should be qualitatively different from the sound of B and C’s bells.
Francesco Gagliardi
NYC, October 2008
FOR PERFORMER AND HIDDEN OBJECT for Johnny Chang Adam Overton, Jan 2006 / April 2007 ... hide a mildly uncomfortable object of your choice somewhere where it will be hard to forget its presence e.g. mouth, anus, nose, armpit, wedged against your foot, etc proceed to perform simultaneously any other piece you wish, never revealing the presence of your hidden object to the spectator during the performance feel free to remove the object upon completion of the performance ...