Did You Make It Clear?

Don't push the sounds

[imaginarydances]

#1

In the 4.5 years I was in highschool, I think I learned 4, maybe 5 important things that have stuck with me. One of them being a principal technique in Theatre class where you analyse your character’s lines and determine their intention for everything they say or do. You should apply this to your IRL communications.

Interpersonal relationships are about the well-roundedness of communication. If you are to be a good friend/companion/whatever, you have to be many things to that person, not just one thing.

 If everything coming out of your mouth is “informing/explaining” and not, for example, “imagining/inquiring/sympathizing/” you are failing at communication.

 And sometimes our jobs or social roles force us to rely heavily on one mode of communication and neglect others. If you are a manager/boss/parent, you are spending large amounts of time “correcting/disciplining/instructing” and before long you may discover that you are doing this communicating with everyone around you (spouse, friends, parents), which is bad.

I can’t remember where I read this, but it suggested that most casual human interactions are really just “emotional check-ins” and we treat interactions as simply opportunities for selfish self-preservation or validation. Pretty depressing.

There is an interesting Jordan Peterson clip where he was talking about why so many young people are depressed and self-conscious, and JP summarized that the reason is most likely a lack of empathy in interpersonal relationships. If you are self-conscious, the best thing for you is not self-esteem mantras but rather developing opportunities to be empathetic and give your attention to others. 

[imaginarydances]

Hermann Nitsch 

Harmoniumwerk

“Even though my works are overloaded with symbols, they actually have nothing to do with symbols. Even blood is what it is: it is blood and not a symbol at all, and in its reality it is almost above the symbol.”

[imaginarydances]

Maria Wnęk (1922-2005)

Poland

[imaginarydances]

Διόνυσος

It’s officially the Era of Dionysus. Who would have predicted that the erosion of institutional trust would also eviscerate trust in the scientific method? I predict the future will be techno-shamanist in nature. We already spend 90% of our time bewitched by magic (technology). It’s the era where people will look up into the clouds and get their truths there rather than from PhDs and talking heads. 

You should believe in outrageous things because it’s more interesting than not believing in them. The reason I believe in the Sacrificed God-Man is because it is less interesting to not believe in Him. How can art supersede the image of The Crucifixion? ART peaked in the 1500′s because they were closest to that image. It’s been a slow decay since then. 

[nobrashfestivity]

Wassily Kandinsky, Point and Line to Plane, 1926

[imaginarydances]

Crimes on The Dancefloor (1985), Janitor of Lunacy.

Janitor of Lunacy was an Italian trio from Brescia active from 1981-1986. After a few well-received demo tapes, the band broke up as they were recording their first full length studio album. 

[imaginarydances]

Everything about you is a muscle. Your body is a giant muscle. Your intellect is a muscle. Even your soul is a muscle. Every good thing that comes in life arrives through disciplining a muscle. But the point is not to live a life of constant stress, it’s to arrive a point at which things that were once difficult are now easy. If being good and being loving is a challenge, it is because that door hasn’t been opened to you, your soul hasn’t built up the endurance. You will arrive at this state eventually.

[imaginarydances]

[imaginarydances]

Festival Variations : Kali Malone

Kali Malone shares the premier of her new compositions for choir and meantone tempered chest organs performed by Macadam Ensemble, Stephen O’Malley and herself at Variations Festival. Kali Malone’s music implements specific tuning systems in minimalist structure for pipe organ, choir, chamber music ensembles, and electroacoustic formats. 

Kali's music is rich with harmonic texture through synthetic and acoustic instrumentation in repetitive motions and extended durations. The music emits distinct dynamic and emotive hues which bring forth a stunning depth of focus. 

 All music composed by Kali Malone 

Published by Mute Song 

 Kali Malone: chest organ 

 Stephen O’Malley: chest organ 

 Macadam Ensemble 

Conducted by Etienne Ferchaud

 Bruno Le Levreur: countertenor 

Benjamin Ingrao: tenor I 

Matthieu Le Levreur: tenor II 

Jean-Manuel Candenot: bass

[imaginarydances]

Unicornis Captivatur (14th c.)

Lieselot de Wilde - voice and calcant 

Catalina Vicens - organ

The unicorn is taken captive, 

And presented to the king’s chamber 

From the snare of the hunters; 

The serpent is raised up from a rod, 

And the wounded is healed 

From the viper’s poison. 

 Sing Alleluia! 

For the dying lamb 

Sing Alleluia! Shout Alleluia! 

For the conquering lion. 

 Life returns to the wounded Pelican: and hose prostrate 

By wretched death for their sins; 

The light of the Phoenix is burned up, 

And consumed are the ancient Sins of the world 

 Sing Alleluia! 

For the dying lamb 

Sing Alleluia! Shout Alleluia! 

For the conquering lion. 

 The hydeus enters the crocodile, 

Robs him of his entrails, kills him, 

And thence living returns; 

For three days the lion slept, 

He whom the rearing King revived, 

 Sing Alleluia! 

For the dying lamb 

Sing Alleluia! Shout Alleluia! 

For the conquering lion.

[imaginarydances]

“A Kind of Autobiography”, Giacinto Scelsi.

[continuo-docs]

Graphic scores (or visual poetry?) by Romanian composer Costin Miereanu, born 1943.

Silence Tissé, 1974, for unspecified ensemble and/or choir, with pre-recorded tape … “Echo – Vagues de bruit” (Echo – Ripples of noise)

Dans La Nuit des Temps, 1969, aleatory music for unspecified ensemble and pre-recorded tape … “Ombres – L’oubli” (Shadows – Oblivion)

[Source: Daniel Caux, L'Art Vivant, issue #51, France, 1974]

[imaginarydances]

Costin Miereanu (1944-)

I. Jardins Oubliés

II. Jardins Désertés

Costin Miereanu was born and educated in Romania and later became a naturalized citizen of France. In his music Miereanu engages widely with the experiments of the 20th century, including musique concrete, aleatoricism, tape and electronics, and alternate tuning systems. Jardins Oubliés and Jardins Désertés combine many of his interests, including electronic synthesis, alternate tunings and a Satie-like atmosphere. 

[imaginarydances]

Iancu Dumitrescu

[imaginarydances]

http://www.ronsen.org/monkminkpinkpunk/7/id2.html

[imaginarydances]

ORPHISM

Iancu Dumitrescu describes his musical praxis as orphic, that the composer sets up space for a ritual, guides the listener through it, while simultaneously detaching himself from the effects of the ritual itself. In the case of Dumitrescu this makes more sense when you understand that he has his own ensemble to play his compositions, which use alternative notation systems to express this reality, and that he usually conducts his works. 

The Orpheus metaphor is important here. The initiator must not only conduct the ritual, enter the underworld, complete the task, but he also must escape the underworld by not consuming its fruits. There is really no point in creating mature art if you don’t have the fortitude to close the circle, to escape out the portal that you create for yourself (yes, I’m talking about technique). 

[imaginarydances]

How would you name the chord with the pitches A2, B3, C3, and A4?

I think practically this is just an A minor chord with an added 2 (Am add2), although the 5th (E) is missing.