i’m having the best time preparing for the Mexico show.
today they sent jpegs of the venue so i’m planning to do this
scores in floors 3
scores in floors 2
scores in floors 1
back in shanghai oh land of noise and glorious food. stage one of worldwide sonic bed project gets underway.
Surface Membranes for Bed.
thinking on other surface membranes for prone sonic bed bodies considering the possibility of
1. lying on a trampoline type surface that is moved by air vibrations underneath.
2. lying beneath the surface with the sound.
3. the possibility of the air from the sound holding up the prone body, no solid physical surface. Sound therefore acting like some kind of fountain.
How loud would that have to be?
i am surprised that i am surprised that the majority of people who listen to the music I make refer to it as sound. and why does this bother me?
Well it doesn’t. I mean I can hate music.
Right now, I rarely listen to it.
This morning I listened to Radigue’s Adnos part 1 3 times. I fairly floated to the studio. The night before, I listened to a cd of classical violin hits from China by a top young player (a gift from Bonny) which is surprisingly invigorating played very loud. That morning I had got up and listened to Trevor Watts Moiré Music, Janis Joplin, Hendrix ,Elton Dean’s Ninesense and Arthur Blythe’s Bush Baby.
The thing about sounds is that it seems folk can dismiss it as sounds and not therefore listen to it as they would music. Not give it the attention they would music.
But then is music given attention?
Do people listen to sound as music, I mean hear the musicality in it ? and I guess with that I mean, listen to its flow
Rearrange Annette Works studio as Music For Bodies Laboratory
No longer the solo performance practice needed middle of space.
Relocate mixer, computers, soundcard + 6channel system to north east side.
set big table and chairs by window, north .
install espresso and microwave machines on platform with chaise
clear south west corner for SONIC BED to be installed.
all shelf and contents moving requires sorting work from as far back as 1992.
Midi violin stuff seems dated and retro. a fabulous recording of bees swarming outside a wooden practice hall where Terry Riley’s in C is rehearsed is jammed and destroyed eek.
up and down ladders installing fat green velvet curtains. keep out that cold.
Derek got cremated today. beautifiul light filling North London chapel as his music played. he was really there. freezing outside. gathering in typical old style LMC backroom gig upstairs London pub room for wake after. inspiring to see us all again. full of love. all older and more wrinkled and getting grey and some falling apart but still at it. still making weird music. top.
The only thing that seems important, alive, is the present.
When I see back, or look or listen to past things, I am amazed at what I used to be able to do or where I was, and have no understanding of how I did it or would ever be able to do it again.
It’d be useful to have an organised catalogue of what I have done in immediately accessible filing cabinets all directly linked to each other via immediate super highways in the brain. Memory that could remember and remember and be with that context again.
Its not just catalogue training, more like ‘state’ training too.
Actually, this is probably a very bad idea. desensitizes the now.
Maybe this no memory is what allows the possiblity of absolute absorption and sensitivity to the present of course.
A new year, a Dreamtime gal.
a time of not knowing.
this is good.