Posts Tagged ‘chance operation’

Accidental Music

Friday, March 9th, 2007

I was working yesterday and put on some music to listen to. I hit shuffle on my “Unplayed” smart playlist in iTunes and a track came up but no sound came out. I realized the speakers were turned off so I went to turn them on. The tune that came out was this intense fractured jungle track with “Hey Jude” by the Beatles being played on top of it. It was wild. One of the best songs I had heard in a long time. I could not concentrate on the work as the music was so good, so I took a little break.

Then something strange happened to the music, a really odd and awkward transition. I looked at iTunes and knew the song that was on and knew it was wrong. It turned out that Pandora had been playing a DJ Spooky track in the background and what I had been listening to was that and the remix of “Hey Jude” from the Love album played on top of each other.

Getting those two tracks to play in sync like that would be difficult to repeat. In a way that is too bad as it would be wonderful to expose other people to this fantastic aural experience. On the other hand there was something profoundly beautiful about getting to experience an unrepeatable situation.

This is some of why sunsets are so amazing to me. They are wholly unrepeatable aesthetic experiences. Second to second they are something wholly other than they were just moments before. This idea can be extrapolated to all kinds of performance. There is something unique and unrepeatable about it. At least for anything short of the Rockettes.

Most of the time our experience with life and the world is chaotic and unorganized. Sounds appear out of nowhere. We find ourselves immersed in a massive John Cage experimental theatre piece. But then out of that chaos there are moments of order. When the random car horn syncs up with the child crying and a musician in the distance plays perfect counterpoint to the couple arguing down the street.

Chaos and order, it seems, are much more closely knit than we often give credit for. The two are aspects of the same phenomena rather than the discreet and opposing forces we so regularly take them for. Life is just combinations of music. Sometimes chaotic, but often quite beautiful.

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Creating Dynamic Peace

Friday, May 19th, 2006

Momus makes an interesting point about the relationship between art and politics. Using the metaphor of textures and talking of an anti-war noise band he disagrees with the efficacy of their work in saying “I disagree with this. Two quotes here: Susan Sontag said that rock music was “aggressive normality”, a loud noise on behalf of the status quo. And Gandhi said “Be the change you want to see in the world”. (Not “angrily demand it from your representatives”, note: be it.)”

This is an important point for both activists and politically minded artists. At a certain level it is simply a matter of contrast.

Scenario 1:
Person A yells.
Person B yells back.

Outcome:
No difference.

Scenario 2:
Person A Yells.
Person B replies quietly deliberately and forcefully

Outcome:
Person A looks like a bafoon.

This is a simple principal in acting. If everyone yells we lose the drama. If there is variation, the texture in the writing comes out more strongly. It is a good and solid technique. It is also a good way to live life. To get ‘angry’ and flustered and start yelling is to already lose. You are no longer in control. AND you are no longer peaceful.

The same thing is true of fear. If you allow yourself to be consumed by fear you can not be brave, you can only endure. If nothing else this is simply exhausting. But the expenditure of willpower to overcome the fear and the anger and live with peace and stability is ultimately something that can feed your soul much stronger than nearly anything else. It is not about ignoring emotions and being cold. It is being in full touch with your emotions and knowing that like thoughts they are part of the illusion. The necessary illusion of human existence.

Yesterday I had been surfing the internet looking for audio clips of speeches by Che Guevara. I found one and while I was waiting for Quicktime to load the rather large file I pressed play on my iTunes. A Tibetan prayer chant came on and as I went back to work listening to the chant I almost totally forgot about the audio clip I had set for download. Several minutes later the forceful and powerful voice of Che mixed into the prayer for peace. A whole amazing new layer to both emerged from the juxtaposition of the two. An accidental Fugue.

A soft melodic prayer for peace was underscoring a UN speech about how ‘Peaceful Co-Existence’ can not just be between the superpowers. But rather, for peaceful co-existence to be an authentic value it must extend to all peoples of the world. And yes I understand that these words of his exist within the same man who was more than willing to execute any opposition to the Cuban Revolution. And perhaps that is the point. Perhaps his inability to find peaceful co-existance on the micro level contributed to a world where it was not possible on the macro level.

Be the change you want to see in the world

When you live with a set of values deeply rooted in your Self, no matter what language you use or styles you employ, those values will come forth. The radical intellectualism of Beckett for example, holds within it some of the most tender and human emotions. I found the style of the film Derrida rather dull and self conscious. However, a number of the interviews were absolutely fascinating. At one point he is sitting with his wife, in the kitchen I believe, and is asked about why he never writes about love. He gives a wry smile to his wife and says something to the effect of ‘everything I write is about love.’

When you open yourself up to authentic experience there is no part of You that is left out. When you create from a place of total openness and ‘self’-less-ness, the whole of your non-ego Self is allowed to come forth and aid in the creation. Just as a play could not happen without the director, actors, designers, stage managers, riggers, carpenters, PR department, janitors etc. so too is it impossible for an action to happen without the entirety of experience behind it.

So when you create or when you simply act in the world, how you act is as important as what you do. Are you coming from a place of violence and control? Or rather are you acting from a place of calm and peace. Are you the still point around which the chaos of life whirls or an aggressive agent forcing change on an already tumultuous Earth? Perhpas you understand that these dichotomies do not really exist and are nothing more than linguistic constructs.

Be the change you want to see and you will see the world changed.

We must approach creativity as a collaborative process of mutual exploration. There is no end goal, no ideas of progress or success or failure. There is only motion, interaction, curiosity and play. The idea is not to “change the world” ; the world is in a constant state of change. The idea is to direct this change in a way that allows human beings to recognize the reality of their freedom, creativity, and collaboration in the whole process.

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The Poetics of Now

Tuesday, March 14th, 2006

The music of light fascinates me. Watching a sunset is like listening to a symphony. When I first wrote that sentence I mis-typed “Watching a symphony is like listening to a sunset.” I believe the latter is a more true statement. Light and music are, for me, so intertwined I find it difficult to separate them at a conceptual level. They operate upon the same or at least radically similar pathways for me. I would probably have become a sound designer if I played instruments or could compose music. So I compose with light.

I do not think it is true sinaesthesia, but when I hear sounds I most certainly do see colors. Listening to music is like watching a light show. But so too is listening to poetry. Or Hearing Shakespeare. Or Beckett. The musicality of language brings it into focus for me. The words and rhythms determine the colors and intensities. Poetry expressed visually.

I spent a number of years consumed with the idea of visual story telling, at a literal level. Creating visual essays of a sort. A language that must be parsed and close read to be comprehended. It was an interesting series of exercises I set out for myself. I am glad I did them. But they ultimately fell hollow. Some of the work was quite beautiful, but, in general, undramatic. The lighting became episodic. Not in that wonderfully Brechtian way where each episode makes you engage further in the story by filling in the missing pieces, by filling you with a sense of wonder and excitement. No. Just pieces. Perhaps others can do this successfully and for them it is their life project. Not me.

John Cage has been a major influence on my thinking in the last few years. His ideas around composition based in chance operation in particular. I have done a number of projects based around chance operation. One piece I lit about a year ago had the lighting based entirely on chance. A a star field fallen from the heavens. Navigated by a solitary dancer. The light fading and pulsing in a random sequence. Brightness and dimness, darkness and light, left to chance. Some nights it all fell into perfect synchronicity, sometimes perfect counterpoint. Often a mixture of the two. Always a surprise.

The basis for my interest in chance operation goes back to before my encounters with John Cage. In 2001 I moved to New York city to begin graduate school. On the second day of classes, the skies tore open in violent flames. The skies. The sky. That beautiful azure blue sky. It was a perfect fall day. Low wind, cool but not cold, and that brilliant blue sky day. Who would think the background to tragedy would be something so beautiful. That blue sky day.

This kind of juxtaposition has been very strong in my visual thinking. Juxtaposition rather than opposition. Opposites are not necessarily interesting. After all, then it merely becomes a fight. Night is bright and day is dim. Its easy. It works. Once. Twice if you are clever. But opposition is so . . . twentieth century. It feels like the breaking down of those old conventions and oppositions is a project that has already been done. Or can be done by other, older designers. There is no room to play there. There is no dance. It is a formalized system of rules that one must follow. It just happens to be rules set out on opposite day.

Lighting is about directing the audiences eye. Its analogue in film is the Director of Photography. The DP not only adjusts lighting, but frames the shot, determines the focus and a million other details the audience is unaware of. So too does the lighting designer. Foreground and background on stage can operate just as it does on film. Where to look, and how to see when you do look. The lighting designer literally provides a vision for the piece. It is the lens through which all else is viewed.

So what is the vision in our contemporary world? Is it more MTV jump cuts and flashing lights? More dialectics and visual argumentation? How do we see? How should we see? Art, for me, is a view of the future seen from the now. It is the purity of its nowness that determines the purity of its vision. A visual poetics of possibility.

If we no longer need to live in opposition perhaps we can now afford to live in parallel. Simultaneous divergent viewpoints. The beauty in the tragedy and the tragedy in the beauty. A world where everything is true because everything is sympathetic. Can this be done solely with light? No. But no great work is done alone. And theatre certainly has never been done by one person alone. At the very least there is always an audience. It is always a relationship. A Network, as my friend Zay likes to say. That spirit of connection and interconnectedness is the contemporary world. A chance encounter. A new song. Watching the sun rise over the mountain range.

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