Archive for the 'culture' Category

« Previous Entries Next Entries »

A Way of Offering Things to the World

pattern-man-books

Over the past months I’ve been watching, reading and listening to the poet Rick Holland prepare to release his new work: Pattern Man. It’s almost impossible to pick up an individual thread that would mark the beginning. All the nervous pacing back and forth, the throat clearing, the chance meeting, the phrase that leapt from a notebook, entered the eyes, exited the mouth, as the microphone cocked its ear dispassionately.

At some point you look up and realize that even you are in the middle of it. For me, it was listening pre-release versions of the audio tracks on my daily commute to work. On the tenth listen, it was as though I’d always known this music, this voice, these words floating through my consciousness as I sped down the freeway. The physical objects that herald the release of the work are now moving through the global postal system, making their way to an audience.

chrononautz

The Quietus has a nice interview with Rick Holland where he discusses both the poetry and the music in Pattern Man. I particularly like the section where he discusses his collaboration with Chrononautz, the live hardware techno improvisation outfit.

I really like space. Just responding to the sound, there was a groove there – an undeniable groove that I was drawn to – it wasn’t just straight four-to-the-floor.

To the uneducated – and I count myself in that group – looking at the table of gizmos that they’ve got, it’s quite hard to judge who’s doing what and how much control there is over the whole process. The joyful reality of it is: there isn’t that much control over it. It’s very hard to recreate the same conditions more than once and I am strongly interested in that as a way of offering things to the world.

There’s much more to say about Rick Holland and Pattern Man, but reading about this slightly out-of-control process embraced as a strongly interesting and joyful reality, makes me smile. This is strong poetry inscribed on the surface of improvised music. Music, as Yo Yo Ma and others, have said, is the space between the notes.

For some time now, poetry has enjoyed the stable surface of the blank sheet of paper. Rick Holland’s poetry challenges this convention. For Rick, the inscribed surface is always music.

You’ll want Pattern Man. Highly recommended. Get yours here.

Pattern into Pattern

PierreBonnard-Twilight

At the exhibition of paintings by Pierre Bonnard, called “Painting Arcadia,” there were about five rooms filled with work by the artist. Early in Bonnard’s career he belonged to a gang known as “Les Nabis.”

In the first room, there’s a painting called “Twilight, or The Game of Croquet.” This was one of my favorites. I only want to draw your attention to one thing. Look at the pattern on the clothing against the organic patterns of the garden. There’s no solid, dark line separating one pattern from the other. The patterns are distinct, but flow into each other. That’s a beautiful way to look at objects. And you may think this is a step too far, but it’s an ecological way of looking.

Super Intelligence

Some people, some very smart people, believe that through the magic of genetic engineering, we'll soon have a new generation of “super intelligent” people. There may even be a legal requirement to optimize the designated genetic make-up of new humans. Sounds like a science fiction novel, but the technology is close to making this kind of scenario practical.

Of course, it would take a “super intelligent” person to create a new generation of “super intelligent” people. And certainly, replication of “super intelligence” would appear to be the intelligent goal. How will we ever solve the great problems that confront us without a greater and greater supply of super intelligent people?

Apparently, no one is working on a genetic model for creating super compassionate people. Mostly because super compassionate people aren't a dominant force in the science of gene editing. And, after all, compassion isn't going to solve global warming, seas filled with plastic or the sixth mass extinction.

I wonder what would happen if you took two planets and filled one with super intelligent people and the other with super compassionate people of varying intelligence? After a few hundred years had passed, which planet do you think you'd prefer to live on?

 

McBurney’s Encounter: Real-Time Complicity

simon

You are complicit. Or, you could be. We say this phrase from a stance of pure innocence. You didn’t personally commit an evil act, but some of your actions and attitudes are so resonant with this evil, that you must be complicit. Because I am not complicit, I can say that you are. But complicity is a slippery thing. It jumps the gaps and implicates us when we least expect it.

I like this definition:

Involvement as an accomplice in a questionable act or a crime.

As an “accomplice” your participation may be direct or indirect, but what I particularly like is this idea of a “questionable act.” An act of uncertainty—is it an evil act or not? “The Encounter?” Is it a questionable act?

We all have the opportunity to be complicit, in real time, on Tuesday, March 1, 2016, at 7:30pm GMT (11:30am PT). That’s when Simon McBurney’s extraordinary theater company, “Complicite” will perform “The Encounter” via live stream.

The cutting-edge technology of the virtual reality headset attempts to give you a virtual world in a bottle. But what McBurney and Complicite offer is more than that, they’re playing with the stuff of reality itself. The audience is required to wear a headset, but in this case, it’s a pair of headphones.

“…my hand, groping around the universe, has torn a corner open… why did I tear the corner open, if I’m not prepared for the encounter?”

Twenty years ago Simon McBurney was given a book.

Written by a Romanian who escaped the Ceaușescu regime to reinvent himself as a Los Angeles screenwriter, the book, Amazon Beaming, tells the story of photographer Loren McIntyre, who, in 1969, found himself lost amongst the remote people of the Javari Valley, on the border between Brazil and Peru. It was an encounter that changed his life: bringing the limits of human consciousness into startling focus.

Complicite’s technical team has wired the performance space with 600 pairs of headphones. Simon McBurney performs to a microphone that looks like your head. He whispers in this ear, then he moves around the space, and whispers in the other ear. (If you tune in to the live stream, be sure to wear headphones. That way you can experience “spooky action at a distance.”)

Here is a clip from The Guardian to give you an idea of what it’s like:

Judged purely as a sonic experiment, the show is an astonishing technical feat. Amiably chatting to the audience and asking us to put ourselves in the mind of McIntyre, McBurney asks us to don headphones that relay information from a binaural microphone. This results in a complex aural mix of live and recorded sound. At one point, we hear the whirr of the Cessna aircraft that deposits McIntyre in the jungle. At another, McBurney simulates the sound of walking through the forest by trampling on a mass of recording tape. But the heart of the story concerns McIntyre’s encounter with the nomadic Mayoruna tribe, and his dependence on his close relationship with the head shaman, known as Barnacle, with whom he communicates in a way that transcends language.

This is what real-time technology has the capability to create. But technology only gives what we ask of it. McBurney and the Complicite team ask for the moon, the stars, and the jungle. A work of this magnitude begs the question, who should be asking technology for the next new thing? Should it really be the technologists themselves?

« Previous Entries Next Entries »