DA N C E HA L L S I X 01-2012
4 LIMPE FUCHS listen to the sound disappearing: Sound and noise with unconventional instruments
8 ANNE-MARIE COPESTAKE Music pages 12
10 PATRICK FARMER A resistant motion/ getting off the ground –– (getting rubbing, rubbing)
LIMpe fuchs listen to the sound disappearing: Sound and noise with unconventional instruments
In the language of systems theorists, the life of the individual looks like this: â€œOn the level of the individual, heteronomous methods of producing social performance have overshadowed those of self-determination. We no longer learn, we are instructed (particularly via the readymade opinions of the media); we no longer organize our environment ourselves, it is delivered to us by industry; we no longer live healthily, but are looked after by medical professionals; we no longer determine the value of our lives, it is dictated by experts. People who are no longer able to create their own system of intrinsic values will have their values delivered to them. The actions necessary for all of this are increasingly congesting
the social system.â€? (Erich Jantsch)1 This is why I have directed my attention to the possibilities of self-determination. To questions like: What is important to me? What form do I want my life to take? To know oneÂ´s body, its strengths, and its weaknesses; to examine the sphere of communication; to search for variety. To withstand the difficulties of the harsh artistic Dasein [existence/ being]. For me, this means constantly developing the possibilities of my playing - there are no limits here - but it also means bringing order to these possibilities and arranging them in a way that suits me. Over the course of forty years, my collection of instruments has
developed into what it is now, and is above all the product of my collaboration with the sculptor and sound artist Paul Fuchs and through contact with many other musicians influenced by John Cage, minimal art, and soundscape artists. Between 1981 and 1983 I spent three months each year travelling throughout the U.S. and Canada with my family, then in 1986 I was invited to the New Music Festival in Chicago, and in 1989 with Paul Fuchs to a festival in New York. In a 1990 article appearing in Jazzthetik, Dita von Szadkowski describes my understanding of rhythm quite precisely: “No longer is there the rhythmic musician coupled only to the beat. The concept of ‘Rhythm’ has been brought
back into proximity to the music of ancient Greece. Through a very fine understanding, the style of [Limpe Fuchs’] rhythmic-musical range of expression actually comes close to that vision of antiquity which also draw rhythms of personality, of architectural construction, and of a personalized positioning, into its approach.” My music has developed itself around movement; instruments are spatially distributed. In the formulation of Reinhard Schulz of the Neue Musik Zeitung, “the instruments, in passing by them, are caused to vibrate, sometimes apparently without design, sometimes with playful concentration. And after a time, an aura emerges - in a sense, a
living relationship of the sound generator [Klangerzeuger] to its surrounding space and to its listeners. This aura amplifies itself through this tension, as its inner materials are divulged.â€? This openness of interaction with sound materials gives me the possibility to put ever new scales together out of my stockpile of serpentinite stones, which I select for their sound properties from the quarry at Val Di Chiesa (Bernina Alps, Italy). With the Pendelsaite instrument, a large bronze drum is hung from a frame, in the skin of which a bent bronze rod is attached to a piano string. Through this suspension, a double pendulum is formed; the movement is unpredictable. It can be played by using the string - plucking, bowing, changing the sound by raising the bronze rod - or with a stick: hit it soft or hard and let the sound fade, beat it rhythmically with and without intermediate pauses. The noises of movement are another important accent - rolling balls, for example:
emptying of an entire bowlful. A wooden ball comes to a standstill differently than an iron ball or a stone ball, and they sound distinct on different surfaces. The bent tone bar on the Pendelsaite is set in motion by means of rotation, a large rock crystal is set within reach on the floor, the instrument is hit, and the bar turns itself, spinning back and forth in a self-renewing sound, a sound of movement which can last up to a quarter of an hour. The sound materials invite me to this, my active role - touching, beating, bowing, throwing - in order to expand the passive component of independent motion or vibration. This is especially the case when I use a violin or voice to resonate with these broadening vibrations. This luxury of time, the letting a tone decay, the rolling of a ball until it is still, the impact of a stone and its reverberation, brings sounds to blossom. Because of
this, my task is not virtuosity, but rather to convey simplicity and sensitized listening: the equivalence of melodies, rhythms and sounds; aperiodic movement, speech melodies, and the surrounding environment. What makes sound, what makes noise? Listening to, not turning away from listening. I am certain: a listening society can only contribute to the loosening up of our clogged and congested system.
Translated by Ben Atkins and Erin Troseth.
1 Translatorsâ€™ note: See: Erich Jantsch, Die Selbstorganisation des Universums: Vom Urknall zum menschlichen Geist, 1979 (Reprint, Hanser Verlag, 1992). Available in English as The Self-Organizing Universe: Scientific and Human Implications of the Emerging Paradigm of Evolution (Pergamon, 1980). However, this is long out-of-print and, as of yet, still beyond the reach of your translators, who have hastily thrown together their own English version of the Jantsch passage cited.
PATRICK FARMER A resistant motion/getting off the ground –– (getting rubbing, rubbing)
“Apart we are together” Stéphane Mallarmé.
A weather one surface or object encounters when moving over another schism rooted inside engagement of will abrasion–resistance discord opposition attraction a reading of enmity, animus. All surface, all body,, ability of macro of micro, leaning towards illusion, towards simultaneous conflicting measurement. All surface, all body,, always an intensification of environment, amplifying intention, arm in arm miscalculation, a willing indeterminacy in the distance of approach, to familiar degrees of familiarity. A context of no predilection object, object introduced, surface object, median, mind acceptance mind eventuality mentions hyperbolic ingress, a disposition exposed, how one reacts to the minute of instant solitude, encountered subsequent reintroduction of principle, in lieu of duration, insensitive pith of form of disquiet inside form remain behind object object tear from blind skin in a manner befitting removed states of a median. Stratum created as levelled, with one, forever in circles, with one, four ever never touching parallels of sonority–pulled in pulled out of an obsessive embrace. the body is gesture clutching action base rumination response a lunatic sport the main–top the body is drain.
twosurfacesplusandminus introduction are twin.* Listening in method utilised attending to something in common. *Always in mind of a particular resonant property of an individual–found post approach, ears pop in swallowed maltreated convergence.
Surface object does not move. Surface object moves. Median departs. Maintaining absence*. Uprooting object. Neither giving voice to either.
*Existing as consequence, one leaves as does other, behind traces of departure in a coming departure, (perpetual) abandonment beginning, initiate, balanced unwilling enters median.
Pothos – at once motionless the surface object howls Himéros – at once the surface object remains
An absent object framed by the sedentary existence of a median– expressed in hesitant confrontation. A surface of ears. The introduction substitutes itself to an alternative. What I have affirmed a first time, once again affirm, without repetition, affirmed affirmation, minus contingent, begin again.
An accident in the light of perspicacity. In the light of madness. I approach a drum as I would a turntable, it took time to realise neither one is inert neither one is spritely. Thought patterns remain the same in difference, a surface is that, an object is that, they do not exist to please each other,
they are forced together (a violence found crawling inside devout) . Quickness founded sonority. No surface is utilised to decrease, a density of scale pervades, where is a median, placed outside continually resounding. Lost control past a certain point, drawn together in shore like movement. The result subsequent the result.
Subtle permutation of experience as repetition, each approach a different person, a co-dependence sleeps in between subjection and heightened awareness. These relationships exist said exploring ones own silence and the minutiae of homeostasis, self, diet, clothes, walking, sleeping, interaction â€“ abundance of patterns in riot of equilibrium. Everything is surrounded, sitting with object is first and foremost a retelling of difference in difference leading to first and foremostâ€“echo answers echo. Not long past re-iteration, shuffle, of subject of objectâ€“placement observing introduction. Intrinsic elements, everyplace dynamic, find themselves sheer, in mind of no allusion to qualitative measure unearthed in the heightened relationship of presence said absence of weight. It is not a virtue, unavoidable, coalescent in mind of perception . A quality that permeates projective technique in light found surrounded of overlooked corners reserved for tacit refraction, in time unavoidable clutter, stretched thin, layers reveal themselves through themselves filter.
Fountainhead, chance chimeric intrigue of combination, Odysseus whispers to a shore resounding familiar, what has changed in a voice, in this case, is found in the white noise of a handful of stones. A poet statesâ€“ no ideas but in thingsâ€“hands clasped we hear, something, repeating. approaching resonance.
Contributors PATRICK FARMER Patrick Farmer (b.1983) is a musician and sound artist working within improvisation, field recording, and composition. Commonly referred to as a percussionist, Farmer will often enlist the help of a drum or turntable to act as a resonator for natural materials or filtering field recordings. He has performed throughout Europe and America, including concerts at the ICA, Stockholm National Gallery, and The Radiator Festival. He has recently spent time as artist in residence at Q-O2 in Belgium and MOKS in Estonia, with a forthcoming residency at Soundfjord, London. http://ideasattachedtoobjects.blogspot.com/
ANNE-MARIE COPESTAKE Anne-Marie Copestakeâ€™s work encompasses video, film, writing, sculpture, and she has produced several books. She often works collaboratively and is a member of two collective groups in Glasgow: exploring textual and musical ideas in Muscles of Joy, and using the medium of print for collaborative work in Poster Club. The image for Psykick Dancehall is a print of some of my attempts at writing down ideas for drums, and noting what I had played on the drums with Muscles of Joy. I have no musical training, and it became imperative to find some way to make notes.
LIMPE FUCHS Limpe Fuchs, composer of acoustic and visual happenings, works in the theater and musical performance sectors, has produced KlanghĂśrspiele (sonic radio plays/radiophonics/sound documents) for German public radio broadcasters Westdeutscher Rundfunk and Bayerischer Rundfunk, and organizes sound projects for both children and adults. http://www.limpefuchs.de/
BEN ATKINS & ERIN troseth Erin Troseth lives and works in Hamburg. Ben Atkins is in London, studying at Birkbeck and working in Soho.
Dancehall is published quarterly, in January, April, July and October.