T O N B A N D M A S C H I N E U N D S T I M M E
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D O R O T H E A S C H Ü R C H
Kategorie: alle Log
247 Log 250903 In Conversation with Tomomi Adachi
29 September, 2025, Kanazawa
Tomomi Adachi
born in 1972 in Kanagawa is a Japanese composer, performer, voice artist, and instrument builder known for his experimental approach to sound and performance. His work spans extended vocal techniques, sound poetry, live electronics, and the construction of original electronic instruments and sensor-based devices. Adachi frequently collaborates across disciplines, creating works that merge music, technology, theatre, and media art. He has performed internationally, composed for ensembles and multimedia settings, and served as a guest artist and lecturer in Europe, the United States, and Asia. His practice often explores the intersections of notation and improvisation, body and technology, and voice and electronics.
Abstract This text proposes a critical re-reading of Japanese sound poetry through the intersecting lenses of voice, tape, and technological mediation. Drawing on archival research, historical reconstruction, and an extended interview with Tomomi Adachi, the text traces episodic constellations of practice – from prewar futurist phonetic experiments associated with MAVO, through postwar figures such as Suzuki Shiroyasu and Niikuni Seiichi, to Fluxus-related sound and media art.
Central to the argument is the role of recording technologies – wire recorders, magnetic tape, radio studios, and later digital systems – not merely as tools of documentation but as epistemic frameworks that reshape vocal articulation, authorship, and performativity. The essay situates Japanese sound poetry at the threshold between literature, music, and performance, emphasizing non-semantic vocality, corporeal articulation, and the instability of notation. The text frames Adachi’s contemporary practices like live electronics, DIY instruments, 3D textual objects, and AI-generated voices, as a continuation of these concerns, in which voice emerges as both bodily event and technological artifact. Rather than positioning Japanese sound poetry as a derivative counterpart to European models, the essay argues for its constitutive role within a transnational history of vocal and media-based experimentation.
238 Log 250807 In Conversation with Toshie Kakinuma:
Jōji Yuasa, Takemitsu Tōru and Japanese Musique Concrète
September 16, 2025, Kunitachi Library, Tokyo
Toshie Kakinuma
Born in Shizuoka prefecture, Japan, Toshie Kakinuma is a distinguished musicologist, critic, and translator whose work centers on experimental and vocal music of the 20th and 21st centuries. She received her Bachelor of Music in Musicology from Kunitachi College of Music in 1977 and went on to complete her Master’s degree at Ochanomizu University in 1981. Pursuing further research abroad, she earned her Ph.D. in Music from the University of California, San Diego in 1989, where her doctoral studies focused on the American composer and instrument maker Harry Partch. Upon her return to Japan, Kakinuma held teaching positions at several institutions, including Meiji Gakuin University and Takushoku University, before joining the faculty of Kyoto City University of Arts as Professor of Musicology. At Kyoto, she also served as Director of the Archival Research Center, contributing significantly to the development of resources on contemporary Japanese and American music. Her scholarly interests encompass American experimentalism, modern Japanese composition, organology, and the intersections of sound, language, and the body. Kakinuma is the author of American Experimental Music as Ethnic Music (Film Art Sha, 2005) and The Birth of “Atonality” (Ongaku-no-tomo Sha, 2020, The 30th Yoshida Hidekazu Prize), has written extensively on figures such as Yūji Yuasa, Tōru Takemitsu, and Lou Harrison. In addition to her critical and scholarly output, she has produced influential Japanese translations of key 20th-century music texts, including John Cage’s Silence and Alex Ross’s The Rest Is Noise. When she wrote her essay “Yūji Yuasa and the Apparatus Called Language” (Ongaku Geijutsu, October 1984), Kakinuma was an emerging voice in Japan’s critical and academic circles, closely engaged with the evolving aesthetics of postwar vocal and electronic music.
Abstract The conversation with musicologist and critic Toshie Kakinuma focuses on the vocal and electroacoustic works of Jōji Yuasa and Tōru Takemitsu, which she interprets as distinct Japanese articulations of musique concrète. Kakinuma situates these practices in dialogue with the European avant-garde – particularly Pierre Schaeffer, Luciano Berio, and Karlheinz Stockhausen – while emphasizing a critical divergence. Whereas Schaeffer’s concept of the objet sonore relies on analytical reduction and the suspension of linguistic meaning, Yuasa and Takemitsu pursue an approach that repositions the voice in a pre-semantic, corporeal register. The interview further addresses Kakinuma’s research on Takemitsu’s Vocal Trilogy, characterizing his engagement with musique concrète as explicitly anti-analytical. In contrast to European phonematic decomposition, Takemitsu conceives the voice as a bodily, everyday, and pre-aesthetic event, foregrounding experiential immediacy over structural abstraction.
Abstract Part I Toshie Kakinuma’s essay “Jōji Yuasa and the Apparatus Called Language” analyzes the Japanese composer Jōji Yuasa’s 1969 tape piece Voices Coming as a radical experiment in the relationship between sound, language, and communication. Kakinuma situates the work within the postwar avant-garde tradition of deconstructing words and meaning – alongside Boulez, Berio, and Stockhausen – yet argues that Yuasa’s approach is distinct in its phenomenological rigor. Rather than mixing speech with electronic or musical sounds, Yuasa confines himself to unaltered recorded voices, exposing the hidden musicality of ordinary speech. By isolating interjections, conjunctions, and conversational fillers from everyday dialogue, Voices Coming strips language of semantic function and re-presents it as temporal and formal sound material. Through this process, habitual speech becomes defamiliarized: language, usually transparent and functional, regains perceptible form and duration. Kakinuma interprets this transformation as a double act – emptying everyday meaning while enriching non-everyday significance – and as a key moment in Yuasa’s broader search for a synthesis of poetic and musical temporality. The essay concludes that Yuasa’s work transcends the conventional boundaries of `music` and `vocal composition`, revealing how the human voice mediates between sound, meaning, and the possibility (or impossibility) of communication.
Toshie Kakinuma
Born in Shizuoka prefecture, Japan, Toshie Kakinuma is a distinguished musicologist, critic, and translator whose work centers on experimental and vocal music of the 20th and 21st centuries. She received her Bachelor of Music in Musicology from Kunitachi College of Music in 1977 and went on to complete her Master’s degree at Ochanomizu University in 1981. Pursuing further research abroad, she earned her Ph.D. in Music from the University of California, San Diego in 1989, where her doctoral studies focused on the American composer and instrument maker Harry Partch. Upon her return to Japan, Kakinuma held teaching positions at several institutions, including Meiji Gakuin University and Takushoku University, before joining the faculty of Kyoto City University of Arts as Professor of Musicology. At Kyoto, she also served as Director of the Archival Research Center, contributing significantly to the development of resources on contemporary Japanese and American music. Her scholarly interests encompass American experimentalism, modern Japanese composition, organology, and the intersections of sound, language, and the body. Kakinuma is the author of American Experimental Music as Ethnic Music (Film Art Sha, 2005) and The Birth of “Atonality” (Ongaku-no-tomo Sha, 2020, The 30th Yoshida Hidekazu Prize), has written extensively on figures such as Yūji Yuasa, Tōru Takemitsu, and Lou Harrison. In addition to her critical and scholarly output, she has produced influential Japanese translations of key 20th-century music texts, including John Cage’s Silence and Alex Ross’s The Rest Is Noise. When she wrote her essay “Yūji Yuasa and the Apparatus Called Language” (Ongaku Geijutsu, October 1984), Kakinuma was an emerging voice in Japan’s critical and academic circles, closely engaged with the evolving aesthetics of postwar vocal and electronic music.
Jōji Yuasa (1929–2024)
was a Japanese composer and one of the pioneers of postwar Japanese avant-garde music. He studied composition in Japan and Europe and was influenced by Western modernist trends (like Olivier Messiaen, Pierre Boulez, Karl-Heinz Stockhausen). He was known for his experimental, combining Western avant-garde techniques with Japanese aesthetics. He worked extensively with serialism, electronic music, and open-form composition.
Yuasa’s Work with the voice was an exploration of vocal timbre. He was interested in the human voice as a sound source, not just as a carrier of text or traditional melody. He often treated the voice like an instrument, exploring extended techniques (whispering, shouting, overtones, glissandi), integrating it in Musique Concrète and Electronic Music, experimenting with tape manipulation of the voice, cutting, layering, and processing vocal sounds to create textures and sonic landscapes. The voice became material for composition, abstracted from semantic content. He composed pieces for solo voice, mixed ensembles, and electronic setups. Vocal performances were often experimental, and performers had to explore unconventional sounds and interactions with electronics or tape. Like Tōru Takemitsu, Yuasa was interested in the “sound itself”, focusing on timbre, gesture, and expressive potential of the voice. The voice could evoke natural or bodily phenomena or serve as an abstract sonic object in avant-garde composition.
Jōji Yuasa is a central figure in postwar Japanese experimental music who treated the human voice as an instrument and sonic material, exploring both acoustic possibilities and electronic transformation. His work aligns with broader trends in Japanese musique concrète, emphasizing sound over meaning.
Abstract Part II Part II explores how Yuasa’s groundbreaking composition Voices Coming redefined the relationship between voice, sound, and meaning.
Yuasa used recorded human speech rather than newly produced sounds, emphasizing how voice inherently carries meaning. Through fragmentation and editing, he suspended meaning and broke down normal communication, turning language itself into musical material. Dismantling question–answer structures and expose the emptiness of habitual speech. Kakinuma compares Yuasa’s approach to Luciano Berio and John Cage, highlighting Yuasa’s distinct focus on the phenomenology of language. Over time, Yuasa expanded these ideas into live and instrumental works, maintaining speech-like rhythms even without actual words. The essay concludes that Voices Coming forms the philosophical and artistic foundation of Yuasa’s career, revealing how fragile and yet vital communication is in the modern world.
Toshie Kakinuma
Born in Shizuoka prefecture, Japan, Toshie Kakinuma is a distinguished musicologist, critic, and translator whose work centers on experimental and vocal music of the 20th and 21st centuries. She received her Bachelor of Music in Musicology from Kunitachi College of Music in 1977 and went on to complete her Master’s degree at Ochanomizu University in 1981. Pursuing further research abroad, she earned her Ph.D. in Music from the University of California, San Diego in 1989, where her doctoral studies focused on the American composer and instrument maker Harry Partch. Upon her return to Japan, Kakinuma held teaching positions at several institutions, including Meiji Gakuin University and Takushoku University, before joining the faculty of Kyoto City University of Arts as Professor of Musicology. At Kyoto, she also served as Director of the Archival Research Center, contributing significantly to the development of resources on contemporary Japanese and American music. Her scholarly interests encompass American experimentalism, modern Japanese composition, organology, and the intersections of sound, language, and the body. Kakinuma is the author of American Experimental Music as Ethnic Music (Film Art Sha, 2005) and The Birth of “Atonality” (Ongaku-no-tomo Sha, 2020, The 30th Yoshida Hidekazu Prize), has written extensively on figures such as Yūji Yuasa, Tōru Takemitsu, and Lou Harrison. In addition to her critical and scholarly output, she has produced influential Japanese translations of key 20th-century music texts, including John Cage’s Silence and Alex Ross’s The Rest Is Noise. When she wrote her essay “Yūji Yuasa and the Apparatus Called Language” (Ongaku Geijutsu, October 1984), Kakinuma was an emerging voice in Japan’s critical and academic circles, closely engaged with the evolving aesthetics of postwar vocal and electronic music.
Jōji Yuasa (1929–2024)
was a Japanese composer and one of the pioneers of postwar Japanese avant-garde music. He studied composition in Japan and Europe and was influenced by Western modernist trends (like Olivier Messiaen, Pierre Boulez, Karl-Heinz Stockhausen). He was known for his experimental, combining Western avant-garde techniques with Japanese aesthetics. He worked extensively with serialism, electronic music, and open-form composition.
Yuasa’s Work with the voice was an exploration of vocal timbre. He was interested in the human voice as a sound source, not just as a carrier of text or traditional melody. He often treated the voice like an instrument, exploring extended techniques (whispering, shouting, overtones, glissandi), integrating it in Musique Concrète and Electronic Music, experimenting with tape manipulation of the voice, cutting, layering, and processing vocal sounds to create textures and sonic landscapes. The voice became material for composition, abstracted from semantic content. He composed pieces for solo voice, mixed ensembles, and electronic setups. Vocal performances were often experimental, and performers had to explore unconventional sounds and interactions with electronics or tape. Like Tōru Takemitsu, Yuasa was interested in the “sound itself”, focusing on timbre, gesture, and expressive potential of the voice. The voice could evoke natural or bodily phenomena or serve as an abstract sonic object in avant-garde composition.
Jōji Yuasa is a central figure in postwar Japanese experimental music who treated the human voice as an instrument and sonic material, exploring both acoustic possibilities and electronic transformation. His work aligns with broader trends in Japanese musique concrète, emphasizing sound over meaning.
Abstract Part III The final part of Toshie Kakinuma’s “Yūji Yuasa and the Apparatus Called Language” examines Yuasa’s later vocal works – Projection on Bashō’s Haiku (1974), Projection on Onomatopoeia (1979), and Etude for “The” (1983). Kakinuma shows how Yuasa’s exploration of sound and meaning evolves into a deep engagement with the Japanese language itself: its phonetic energy, gestural character, and cultural resonance. Through these works, Yuasa transforms language into a field of play between voice and self, communication and noncommunication. His music thus reveals the voice as an apparatus mediating between individuality, collectivity, and the poetic essence of Japanese sound.
Toshie Kakinuma
Born in Shizuoka prefecture, Japan, Toshie Kakinuma is a distinguished musicologist, critic, and translator whose work centers on experimental and vocal music of the 20th and 21st centuries. She received her Bachelor of Music in Musicology from Kunitachi College of Music in 1977 and went on to complete her Master’s degree at Ochanomizu University in 1981. Pursuing further research abroad, she earned her Ph.D. in Music from the University of California, San Diego in 1989, where her doctoral studies focused on the American composer and instrument maker Harry Partch. Upon her return to Japan, Kakinuma held teaching positions at several institutions, including Meiji Gakuin University and Takushoku University, before joining the faculty of Kyoto City University of Arts as Professor of Musicology. At Kyoto, she also served as Director of the Archival Research Center, contributing significantly to the development of resources on contemporary Japanese and American music. Her scholarly interests encompass American experimentalism, modern Japanese composition, organology, and the intersections of sound, language, and the body. Kakinuma is the author of American Experimental Music as Ethnic Music (Film Art Sha, 2005) and The Birth of “Atonality” (Ongaku-no-tomo Sha, 2020, The 30th Yoshida Hidekazu Prize), has written extensively on figures such as Yūji Yuasa, Tōru Takemitsu, and Lou Harrison. In addition to her critical and scholarly output, she has produced influential Japanese translations of key 20th-century music texts, including John Cage’s Silence and Alex Ross’s The Rest Is Noise. When she wrote her essay “Yūji Yuasa and the Apparatus Called Language” (Ongaku Geijutsu, October 1984), Kakinuma was an emerging voice in Japan’s critical and academic circles, closely engaged with the evolving aesthetics of postwar vocal and electronic music.
Jōji Yuasa (1929–2024)
was a Japanese composer and one of the pioneers of postwar Japanese avant-garde music. He studied composition in Japan and Europe and was influenced by Western modernist trends (like Olivier Messiaen, Pierre Boulez, Karl-Heinz Stockhausen). He was known for his experimental, combining Western avant-garde techniques with Japanese aesthetics. He worked extensively with serialism, electronic music, and open-form composition.
Yuasa’s Work with the voice was an exploration of vocal timbre. He was interested in the human voice as a sound source, not just as a carrier of text or traditional melody. He often treated the voice like an instrument, exploring extended techniques (whispering, shouting, overtones, glissandi), integrating it in Musique Concrète and Electronic Music, experimenting with tape manipulation of the voice, cutting, layering, and processing vocal sounds to create textures and sonic landscapes. The voice became material for composition, abstracted from semantic content. He composed pieces for solo voice, mixed ensembles, and electronic setups. Vocal performances were often experimental, and performers had to explore unconventional sounds and interactions with electronics or tape. Like Tōru Takemitsu, Yuasa was interested in the “sound itself”, focusing on timbre, gesture, and expressive potential of the voice. The voice could evoke natural or bodily phenomena or serve as an abstract sonic object in avant-garde composition.
Jōji Yuasa is a central figure in postwar Japanese experimental music who treated the human voice as an instrument and sonic material, exploring both acoustic possibilities and electronic transformation. His work aligns with broader trends in Japanese musique concrète, emphasizing sound over meaning.
OCFL-Kurzbericht / Report
– Oxford Common File Layout
– ZIP format, das normiert ablegt, archivkonform
– Änderungen wurden in den internat. standard aufgenommen
Zenodo
– disziplinübergreifendes Repository
– das auch Forschungsdaten als Datentyp unterstützt
– vom CERN betrieben wird und vom SNF anerkannt wird
BLOM
– Binary Large Objekt
– kann normalerweise nicht angucken werden
– z. B. eine Datenbank, die nur eine Datei ist aber keine Suchoberfläche hat etc. oder eine virtuelle Maschine (= datei), die ein altes computersystem simuliert bzw. virtualisiert und in dem laufen dann die Programme. Aber wenn man keinen Player für die VM hat, kann man nicht direkt drauf zugreifen…
ePub
– interaktivere Form von PDF
– die medien auch multimedia besser aufnehmen kann als PDF
– dadurch aber schwer wird und lang braucht, bis es geladen wird.
– Voraussetzung: Player-App / Kindl, um ePubs zu lesen.
– keine community für die Online-Präsentation, daher gibt es limits
225 Log 250407–250710
Open Research Data & Forschungsdatenmanagement
Kurzschulungsmodulreihe zu Open Research Data & Forschungsdatenmanagement
Unterlagen zu den Präsentationen unter
225 ORD und DMP – 250407 ODR_Prinzipien und Praktiken – 250430 Datenmanagementplan DMP – 250522 Organisation und Dokumentation – 250605 Repositorien
07.04.2025 Prinzipien &Praktiken
– Open Science
– FAIR Prinzipien (findable, accessible, interoperabile, reusable)
– Repositorien
– Lizenzen
– Rechtliches
– Metadaten: technische und deskriptive
→ Swissguide, Open Metadaten Generator
– DMP speichern eines pdf A
30.04.2025 Data Management Plan (DMP) Unterlagen der ZOOM-Präsentation im Archiv
was ist ein DMP?
– was sind Forschungsdaten
– es gibt keine Def. von Forschungsdaten
– Nachvollziehbarkeit
– Datenzyklus
Bestandteile eine DMP
– Datenerhebung und Dokumentation
– ethische, rechtliche und Sicherheitsfragen
– Datenspeicherung und Erhalt
– Austausch und Zugänglichkeit
22.05.2025 Organisation und Dokumentation Unterlagen der ZOOM-Präsentation im Archiv
250506
Coaching by Datastewardessen
Baumgartner Luise
Ambord Nora Christa
SNF
– Standarts und Empfehlungen und Erwartungen
– welche Daten gehören dazu → Relevanz
Grundprinzip
Daten mitliefern
in eigener Verantwortung: was sind Forschungsdaten
Webseite wird nicht als Publikationsform der Daten akzeptiert
Interviews
wie werden sie publiziert?
transkribiert?
Anonymisierung nur, wenn es auch tatsächlich anonym bleibt
zB wäre es ein Einfaches herauszufinden, wer als Daten-Steward(essen) mit mir zu tun hatte
3 Punkte
öffentliche Forschung: Öffentlichkeit hat Anrecht an den Daten (das soll keine Schikane sein)
Empfehlung: nicht versuchen, als www akzeptiert zu sein
es braucht keine Verdoppelung
alles ablegen und archivieren
Langzeitarchivierbarkeit
schlanke Auswahl
Metadaten sind wichtig, was sind metadaten?
was, wer, wie
Qualitätskriterien bez. Repositorien des SNF
doi-Adresse ist entscheidend
Eingabemaske
Emfehlung der BfH bez. Repositorien?
SwissUBase ist sehr populär…
222 Log In Conversation with Ian Stonehouse on Lily Greenham: Stranger in a Strange Land – Lingual music,Radiophonic Art, voice performance and conceptual art
Ian Stonehouse, British artist, educator, and researcher and experimental Music Archivist and former Head of the Electronic Music Studios (2004–2017) at the Department of Music, Goldsmiths, University of London, where he has taught since 1999. Trained in Fine Art at the University of Wolverhampton, he previously worked at London Electronic Arts (later the Lux Centre), collaborating with artists including Jane & Louise Wilson and Gillian Wearing. Since 2004, he has directed the EMS, focusing on electroacoustic composition, sound design, and media arts.
Abstract
This conversation with Ian Stonehouse (Head of EMS, Goldsmiths) explores the legacy of Lily Greenham (1924–2001), a pioneering sound poet, composer, and visual artist. It focuses on her invention of lingual music – a voice-based sound art form – and her collaborations with the BBC Radiophonic Workshop, notably the award-winning piece Relativity (1974). Stonehouse highlights Greenham’s multilingual performances, her technical mastery of tape editing, and her later shift toward electroacoustic composition in works such as Polar Polaris and Borges. The discussion also addresses her wide network of collaborators, challenges in archival preservation, and her lasting influence as an interdisciplinary artist who fused poetry, performance, and studio innovation.
Mail: […] Ja es ist sehr hallig, aber für Töne transparent. Mit der Stimme eher schwierig, wenn es Text hat. Ausser die Leute sind nahe. Es hätte auch ein PA […] auch gute Monitor Lautsprecher, mit denen man leicht verstärken könnte. […]
Gedicht mit der Rückseite nach oben auslegen
Strophenweise umdrehen (Rückseite Strophenanfang markieren)
Nur einzelne Worte aussingen, Rest stumm artikulieren
Stimmimpro ausgehend von sich versäumen und versäumen und versäumen
Ende:
Vers1
Es setzt auf mich
Da ist ein Werkstück wartet
Werkstück in mir wartet
Vers 2
Beinahe täglich kommt wer oder was, lenkt ab
In mir heischt es, zürnt es
Spürt. Wirkt. Werkstückt
Keine Lockung, kaum guten Muts…
Bridge
Es ist nicht sicher, dass es eine Chance hat
Offengelassen haben, ob es eine Chance hat
Wird zu seinen Vorzügen gehören, wenn es eine Chance hat
Vers 3
Hoffnungslosigkeiten tagen:
frühere, viele, auch erloschene, Perspektiven
Tagen wie Tagesicht
So ungerufen und unführbar
…Oktober 2004, Elke Erb
Kommentare
das Gedicht wird zur Nebensache degradiert
die Stimme wuchert, laut, heftig
nicht wie im Schwaderhof von der Bewegung ausgehend
Schluss s. schön gesungen
Anfang grässlich
Sublim! aus dem was sich so zuträgt II theatral vergl. mit aus dem was sich so zuträgt III Impr. Musik
gefällt sogar noch besser
250314 Perf. die Stimme hat übernommen
vom ersten Moment an
bis auf den Schluss, da war ich wieder dabei
tatsächl. während des Songs gespürt, wie’s ist zu singen
gerne! gesungen/crooning, neue Töne in jeder Hinsicht
üben lohnt sich
stimme mit C überein
dieser Umgang mit dem Gedicht
so nicht
die Auslegeordnung geht nicht
dass die Leute hinzutreten müssen, um zu lesen
so nicht
Bewegungs“kommentar“
weil zu hallig, was gar nicht der Fall war
nicht stattgefunden! – weggeblasen
die Stimme aufgedreht
war nichts zu machen – gut?!
besser das Sagen haben als getrieben sein
219 Log 250221 Score-Denken
Workshop «Diffraction Works – Score Workings»
by OOR Saloon in collaboration with Irene Revell
Sunday 2.3.2025 at Walcheturm Zürich
«Diffraction Works – Score Workings» Ausschreibungstext:
The event focuses on cosmologies of non-separability, attentive and situated listening, joint improvisation, reading and discussion. The format thinks itself diffractive with and through the scores as relational propositions for embodied political negotiations, as temporally non-linear possibilities of gathering otherwise.
Diffraction Works – Score Workings_1
Diffraction Works – Score Workings_2
Diffraction Works – Score Workings_4
Diffraction Works – Score Workings_5
Diffraction Works – Score Workings_5b
Diffraction Works – Score Workings_6
Diffraction Works – Score Workings_7
Diffraction Works – Score Workings_8
Diffraction Works – Score Workings_9
Diffraction Works – Score Workings_10
Diffraction Works – Score Workings_11
Diffraction Works – Score Workings_13
Diffraction Works – Score Workings_14
Diffraction Works – Score Workings_15
Diffraction Works – Score Workings_16
Irene Revell
Her recent focus has been on the curatorial challenges posed by text instruction scores and related live ephemera, developing the workshop as a curatorial format amidst the wider notion of the embodied curator. She is interested in the development of such curatorial formats that may be iterative, extra-institutional, and of modest scale in terms of labour and other resources, she continues to research the use of text instruction in contemporary practices.
(zit n. Royal College of Art: Irene Revell und OOR Workshop)
weiterführende Links: Her Noise Archive Preemtive Listening
Ausschreibung (Auszug)
How to hold attention collectively for a tiny moment in space-time?
Wie können wir gemeinsame Aufmerksamkeit für winzige Momente bündeln?
Score als temporäre Vereinbarung
niemals eine Einigung, sondern eine Einladung
Schmerz, Unbehagen, Unsicherheit, Missverständnisse werden angesprochen bevor sie auftauchen
ein vereinbarter gemeinsamer Erfahrungsraum
«Score-Denken» politischen Ästhetik des Textscores
queer-feministisches und dekoloniales Zuhören
Behindertengerechtigkeit und erweiterte Formen der Praxis
Bsp: spekulative feministische Geschichten der Performance-Partitur
Textinstruktions-Arbeiten, vgl. Pauline Oliveros in den frühen 1970er Jahren
Form(en) von Text Scores und ihre Geschichtlichkeit stehen im Vordergrund
250303 Zusammenfassung und weiterführende Kommentare
situatives Hören ←→ analytisches Hören
Vgl. Recorder (Oliveros)
das Mikrophon (die Aufzeichnung) fokussiert nicht
während unser Hören störende Geräusche ausblendet (zB Flugzeuggeräusche)
weghören/wegschneiden/filtern
Musik
Diffraction: es geht nicht um Musik, sondern um geteilte Aufmerksamkeit für WINZIGE Momente
Partitur reduziert auf das Wesentliche
Video/Tape zeichnen ALLES auf
Fokus – stellt sich nachträglich, was ist wichtig?
der Score wird vorgetragen
um den Score auszuführen wird der Score vorgelesen
der Score, ungleich einer Partitur, kann nicht gleichzeitig gelesen und aufgeführt werden
der Score wird vorgetragen
wie spricht man zu 40 Leuten?
Versammlung vor dem Walcheturm unter der grossen Platane
in einem Kreis stehen
geschlossene Augen
eine Predigerin, die keine sein will und die sich unverhofft in dieser Rolle findet
liest vor
ausgestellt sein
Besucher/Zuhörer
Versch. Besuchende (IGNMVorsitzender(?), Mitveranstalter IGNM, Kurator Walcheturm)
Zuschauen/Besuch/Public werden ignoriert
eigentlich gibt es kein «aussen», es wird nichts geprobt, es sind keine Proben, weil es auch keine Aufführung gibt.
Bzw. keine Aufführung für ein Publ.
es geht ums Machen
merkwürdig unangenehm der Besuch
wird ignoriert
ansonsten wurde alles bedacht: auch eine Ruhezone
Unbeteiligter EH sitzt auf einem Stuhl
Was-ist-los?
der Score wird ausgesprochen leise vorgelesen, suggestiv, zart, empathisch
demonstrativ fein?
Müssten Scores auswendig gelernt werden, damit sie umgesetzt werden können?
Was ist mit den Zeitangaben?
nirgends eine Uhr
1 Minute, 2 Minuten, nur approximativ oder nicht?
auch drinnen sind die Score-Stimmen leise und weich
einschläfernd
Score
…einen Gegenstand in der Nähe in die Hand nehmen
seine Textur, sein Gewicht – was jetzt?
Textur oder Gewicht?
auch vor dem Walcheturm:
sich verbinden mit Tieren, Gräsern, Himmel
mit allen was (nicht?) da ist
oder liebhaben oder nicht lieb
sich verbinden – unverbindlich.
Warum nicht mit den Würmern?
Was kreucht und fleucht unter den Füssen
Vor lauter Auswahl keine Bestimmung, keine Ausrichtung
offen lassen zu offen lassend
im Sternzeichen der Ambivalenz
des Niemanden-mit-einem- Vorschlag einschränken
Space oder Raum oder Möbelierung
Die Räume bequem eingerichtet
eine Ecke um zu chillen, um sich zurückzuziehen
diese Vorsicht kippt zu einem Anzeichen könnte etwas hereinbrechen
Unwohlsein, Überforderung, ein langer Tag
wohlbedacht vieles vorwegnehmen und damit aber auch anwesend machen
Schluss
…dass alle vorbehaltslos mitgemacht hätten
da wäre keine Zurückhaltung spürbar gewesen, wie sonst oft
dass jemand, oft, öfters einzelne…hier, nein
well, es sind viele Leute und die einzelne Zurückhaltung zurückhaltend..
Fachjargon
Kein Fachjargon: decrescendo, pitch, was ist ein pitch?, ein Sound, Ton, Intervall, Puls, Rhythmus, keine musikspezifischen Begriffe herbeiziehen, um eine Partitur zu erklären. S’wird zwangsläufig langfädig, weil alles muss umschrieben werden. «Ich spiele nicht Klavier» they sitzen und drücken die Tasten. Nicht nur spielt they nicht Klavier (und tut es doch), they hört auch nicht was they spielen, damit beschäftigt die Töne zu drücken.
Es soll vermieden werden, dass jemand eine Erklärung braucht: was ist ein decrescendo? Anstatt einzuladen, dass die Leute hörend verstehen, was gemeint ist.
Scoring
Scoring ist allen zugänglich, keine Vorkenntnisse
im Workshop nennen sich die Vortragenden/facilitator
das hingehend ein Begriff der meine Alarmglocken läuten lässt.
Wie auch immer.
Lesend sind die Scores schwellenlos zugänglich
in der Aufführung gibt es doch wieder Dirigat, Zeigen und Zeichen und einige wenige die sich richtig freuen draufzuhauen.
