[microsound] A series of textual compositions 1

[Paulo Mouat]

Looks a lot like Stockhausen's Aus den sieben Tagen cycle (deliberately?
coincidence?).

//p
http://www.interdisciplina.org/00.0

On Thu, Nov 12, 2009 at 6:00 PM, Adam Davis <technohead3d at googlemail.com>wrote:

>
> 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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>
>
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