[microsound] A series of textual compositions 1

[Adam Davis]

Friends at .microsound

Inspired by those composed by La Monte Young, I have produced a series of
abstract textual pieces which I would like to share with you:

*Compositions for Posthuman/Postposthuman Performer(s)*
**
1.

To play the harmony of interconnectedness.
To play the harmony of self-similarity.
To play them in synchronisation to the rhythm of the strange, feedbacking
loops caused when escaping infinity.
To escape infinity, only to arrive at infinity, for the infinite nature of
infinity must include the area outside of it.

2.

To use whatever you see around you now as three-dimensional graphic notation
and to play it.

3.

This piece requires the performer to wilfully initiate their own existence
and free will, and to subsequently dance, in an improvisational manner, to
the rhythms of the feedback/contradiction of wilfully initiating one’s own
existence and free will.

4.

This piece requires the performer to be transcended of contradiction and
physical nonsense, and proceed to split energy from vibration, whilst
simultaneously and symmetrically splitting vibration from energy for
resultant energy-less vibrations and energetic changelessness.

5.

To be an infinitely long, conical pyramid with an infinitely large base and
an infinitely small summit point.

6.

A singularity is an infinitely small point of perfect harmony. Play and
improvise around said harmony on a harpsichord.

7.

Compose a composition that requires a performer to compose a composition.

8.

Infinite tones of infinite frequencies, infinite amplitudes and infinite
wavelengths in infinite combinations; infinite copies of all said tones
phasing and flanging with them and one another in infinite frequencies,
amplitudes and wavelengths.

9.

For a performer to vocalise in such a manner that the waveforms produced
will form, when scribed onto a flat medium, a discernible self-portrait of
the vocalising performer in real time across time, of which the
self-portrait will have an almost identical facial expression and posture as
the actual artist during the performance.

10.

For a performer to cause an infinite feedback loop by curling up inside it's
own uterus, and for a troupe of dancers of infinite number to dance to the
rhythms of this loop by switching and syncretising infinite genders in
infinite combinations and re-combinations...all choreographed and within
synchronisation to one another.

11.

To let the microsound be the rain that, once torrential, becomes
the blissful choir.              To let the microsound be the rain on your
posthuman skin,                                             and the
nanoprobes that rejuvenate the symphony.

Very best wishes,

AD
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