ARTICULATING MUSIC + STAGE CRAFT-MIND METHODOLOGIES

Remember that if focus can't be regained with determinism, go for a walk. What was it that D+G wrote in Anti-Oedipus? Better to be a schizo out for a walk than a neurotic on the analysts' sofa..?

By putting all of the notes and voice memos in chronological order I hope to observe an emergent structure within the material, as opposed to projecting an ideal structure over the material. This META TEXT could serve into categories of the libretto, structural engineering, or research fundament for individual activities. By combining it all into a single source - a book - I can dismiss it more easily and keep moving on to other projects.

Emerging from the text structure will be a visual form which represents it. A personal art-historical timeline, representing the aesthetic and philosophical parallel evolution in relation to a nested modeling of the self. X/Y/Z axis on a grid of sensuous experience.

Nested tripartite model for reflexive fidelity:

DEFINITION

USER / TIME / SPACE

VELOCITY / FIDELITY / COMPLEXITY

SELF / OTHER / CONTEXT

The visual structures model the narrative sequences coursing through the text: arborial/rhizomatic architectures of thought illustrated diagrammatically in a >1:<1 relation between the perception of complexity and the comprehension of meaning.

*These ratios of fluctuating qualia can be made of/for any attributes being compared.

Various visual languages are evoked to increase the fidelity of the abstract representations, feeding back into the complexity of the oral-textual articulations, so that:

THOUGHT > ORATION > TEXT > DIAGRAM

as also } (((oscillating)))

DIAGRAM > TEXT > ORATION > THOUGHT

From this "narrative of thought" emerges the potential of a musical sequence of notation.

Tree of Knowledge: classical diagram for illustrating the flow of information through generations of humans, across the threshold of USER/TIME/SPACE, accumulating into categories of disciplines and archived for posterity to be accessible to future generations.

Maca Mamma Matrix (as defined my ___): an effluvial, efflorescent, etheric/atmospheric mass emerging from the collective experience - at the intersections of relationality - of/for a sublime/ineffable sensing of nature. It represents the mother/source/origin of meaning and the actor/user-network (or matrix) of relationships between coagulating in response to the primordial rootedness (what Heidegger would call the "fundamental attunement") of human meaning in the material substrate of the earth. The language emerges as a process of naming the aleatoric sound of creation, an alliterrative echo of consonant and vowel sounds carving out a clearing in the dense hot jungle of proto-thought.

To the extent that music is composed of/from/with/for concepts it is oriented towards a non-linguistic non-visual embodied praxis of the narrativity of thought. Improvisational strategies of music making evoke knowledge structures already in place, calling upon knowledges already known (recalling scales, evoking sounds previously heard, sonically illustrating behaviors already learned through other means). Improv is not creation - does not form novel forms from a void - rather, it demonstrates a preference and primacy of praxis by embodying and enacting a conscious choice of knowledge and particular method of expression, put to the test through the dynamics of lived experience to observe what kinds of reaction-based (ie: linguistic) attention driven (ie: conscious/conceptual) scenarios might emerge.

Music is performed in the moment, but it is not time or life itself. It is as theatrical as philosophy, serving as a model of experience and an abstraction of affect as much as any discipline whose sense (reason) and sensibility (embodiment) are dependent upon the space between actors/performers in a matrix of relations. Music creates a context, a substratum, a supplement in our striving to hear ourselves hear, and to this extent is an extension of the project of thinking about thinking, and of thinking well ("thinking soundly"). At least for the audience! For the musician herself, directly interfacing with the world of sound-sense, music is the corporeal praxis of thought served up hot and direct - like any craftsperson shaping their raw material into forms that will later become functional, aesthetic, or conceptual objects, it is the craft-mind which defines its own purpose.

What is the goal of our music? To directly engage, with the instrument, with sound, with an audience, with a space, with a concept? This would imply a strategy of reducing alientation, separation, time lag, and/or spatial disorientation between (subject) + (object) - to craft a certain relational engagement between elements. Or, is the goal to create a conceptual paradigm which allows for the corporeal experience of a concept, idea, image, language, or meaning which arises through relation, beyond the pure expressivity of the medium? What strategy is most capable, bares the greatest potential, to advance our knowledge of ourselves and our modes of expression, of music and language in general, and all of the "technologies" of sound we employ through our music-crafting forms?

Is this a humanist project, or is it founded upon some other ideological proposition? If so, what?

Music seems to be on a fulcrum point, flanked on one side by the procession:

MUSIC > DIAGRAM / IMAGE-NOTATION > POETIC / TEXT-NOTATION > ORATED / ENTROPIC-EXPRESSION > THOUGHT } process of increasing stasis

and on the other side to:

STAGE / FRAME < MOVEMENT-FORM < MUSIC } process of increasing flux

How might we articulate a strategy of musical awareness maintaining focus upon both fronts?

How to move beyond purely conceptual frameworks and "begin playing"?

Does it matter what it sounds like? Are there any aesthetic considerations, how can they be articulated, why do we defend them?

It doesn't matter what it sounds like. The techne is ___'s territory.

Examples of concepts projected upon playing scenarios:

• Separation of tones which correspond to the distance between points on a philosophical diagram, architectural model, or other spatial array. >> Time/Space can be used as reference points on an open matrix of experience displaying parameters which we can define and redefine continuously. There is also always already a user, either 1 + 2 or 1/2 + (another performer we must direct) or (ensemble) + (audience).

• A combination of tones for a specific affective response: doom sting for an ominous affect, just intonation for evocations of mathmatical perfection, specific detunings for discordant/dissonance.

• Applied framing for performers: a set of rules/limitations in what notes/chords can be played, how they can be played, in relation to what conceptual modality of playing or evocation of a sound/image/form. Akin to language games: talking about Love without using words like sex or romance... the necessity of finding other words trains the attention upon other parallel routes for achieving the intended goal - essentially a process of controlled improvisation. For guitar, this could be a restriction of certain territories of the fretboard, certain picking styles, certain spacing between notes, or particular expressive attributes in style of play (like in traditional notation). Can be given as visual direction (finger positions or abstract movement meridians) or text descriptions (like a narration of how to hold a yoga pose or swing a baseball bat).

• Shifting the attention of the performers off of themselves, or the internal relations of the ensemble, and onto external factors of the space (like folly work for soundtracks) or a an aspect of another unfolding narrative.

• A shifting orientation to the Stage/Space - to the room, the dynamics of performance, to the infrastructure of amplification or projection, of the architectural acoustic properties, or of the aspects of a crafted space like walls, corners, curtains, or other impediments of sound or vision. Or perhaps it's factors such as: who is in the ensemble and how is outside of it - where is the threshold of the band? Where is the audience in relation to this perimeter? Where is the individual frame of any given performer in relation to the framing mechanism of their peer, or of the collective ensemble, or of frames they may not be able to perceive directly but feel or sense indirectly? What is the spatial-temporal relation of an individuals body to the source of their sound emission (where is their amplifier located and how does it determine what/how they play)?

For the sake of the collaboration, it is essential that both 1 + 2 benefit from the arrangement, which is to say get out of it what they want and feel as though their contributions are building towards a worth while goal. If this is lost, the project is already over as the dynamic will shift towards a negative (unproductive) friction. It should be each individuals responsibility to articulate their own needs, limits, and aspirations so that no individual takes on the weight of the entire project, either in conceptualization, performance, documentation, or ongoing definition.

QUICK NOTES ON MOVEMENT + STAGE:

___ + ___ + ___ = self-documenting movements in response to a personalized discourse, to the extent that it can be justified as interesting or useful to their purposes. How could I serve as a presence within their already unfolding dynamic process? How does the OOFKAUU interact with them as autonomous artists?

Through me! = craft a letter which invites another mode of communication - not necessarily an involvement with the opera itself. Use the material towards preparing a more stable firmament for future articulations of OOFKAUU movement in relation to the other media forms.

These interactions exist in multiple spaces, multiple simultaneous stages, a combinatoric time scale transpiring across various data outlets, with multi-perspectivalist lenses and more microphone ears than a conventional observer could contain.

The roadtrip in August will instigate a return to parents house (both mine & ___'s), a return to the origins. The car will serve as a mobile stage through which we may conduct conversations (which must be recorded!!!) concerning our ongoing real relationship, as well as the possibility of interplay with OOFKAUU elements, a setting not confined to place or time. Also the presence of ___, as the non-speaking third creature-presence. To chart the shifting/changing conversations over/through these places as we continue to chart the VELOCITY/FIDELITY/COMPLEXITY of our very real relations to each other.