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Archive of the written documentation made during the first 46 experiments of Sound. Like 90 Problems.

Experiment (score)
1) Dance instant choreography. Get as close as possible to the music.
2) Immediately write continuously and automatic an answer to the question "How have you experienced getting as close as possible to the music?”

Johann Stamitz (1717-1757)
Symphonia in D. Major, Melodia Germanica, 1750-1754.
October 15, 2015.
It’s like the architectural clearness of the music-composition is transposed within, it becomes physicality. There is not so much gravity, but a more enlightened, balloonesque vividness of a courtship relation. The space is organized by linear and more round shapes. The body, like a peacock looking around, favoring catching sight of those who are willing to share its gaze. Rhythmically I have a very playful up and down elasticity in combination with a horizontal loops of suspension. What guided the dance the most were overarching bows. They were helping the performativity of the dance not only in understanding the phrasing, but also in telling the narrative of the dancer, imaginary provocations. There was no clear time for pause or posture to develop.

Domenico Scarlatti (1685-1757)
Salve Regina in A. Minor, 1757.
October 16, 2015.
Sometimes it is better to find out what you need, before doing it. Before jumping into the massive, Classical periodicity. Like tables that need to be served for the guests. People, music, architecture and molecular sound wavesn they are like mountains. You can see their contours and even when visualized, they will always remain at a certain distance. The new studio determines a strict spatial use. An intrusion in the performance space; everything becomes very round about itself. Centered on the new and the unknown. In music the new is the unknown. For the body it is not. Addressing the psychology, like a warning sign, an aloness to disperse, the self in the act of trying to recognize. To loose the boundaries as in dance happens. Music seems to be an invitation to do what dance already manifests: the duplication of a remediation.

François-Joseph Gossec (1734-1829)
Introduzione, Requiem Aeternam, Te de cet hymnes, Exuadi orationem meam, from Grande Messe des Morts, 1760.
October 24, 2015.
As yet to be determined, maybe there is a possibility of letting go the task or the contract at hand. One should not loose oneself. One should rather forget momentarily what has been told. Instantaneousness is not rooted in the materiality of time, but finds its source in how it is ephemerally fluctuating. Understanding what is happening by doing one thing at a time. Specifying what is not done. Can I write choreography through what is not being done? Is the dance in the 0°0°0°-environment, in disorientating places of embodiment and an a-temporal no-times. Who is structuring what has not been done? Writing is making visible, so how to write the invisible? Therein lies the paradox of the choreographic practice. Classical analytical empowerment, with a dissociative energy as it loses contact so fast with the cognitive emotional tool. Faster than one can make explicit. Explication of what is anticipated in cognition, before letting it exit through the dancing body.

Christoph Willibald Gluck (1714-1787)
Dance of the Blessed Spirit, from Orfeo ed Euridice, 1762.
October 21, 2015.
Allure and softness in a non-performative dance. Non-performative, as it was relating purely to what was apprehended when bringing the mind as close as possible to the body. How does one feel, a question already answered. Dancing con-fronts: it is the first betrayal to a clear understanding. Still I am wondering how this all relates to the notions of instant-composition and instant-choreography? How to answer these questions towards tension or stature; concentration of a wholeness of being? Overcoming the pledge of destructive failure. There is no failure in performativity, it is based on an individual force or on a group sharing strong forces. Undergoing some fake mastery of physics by creating scores. To be understood as that what one is processing. Progressive processing, already betraying any upcoming strategy by inscribing it in sentences.

Antonio Salieri (1750-1825)
Piano Concerto in C. Major, 1773.
October 21, 2015.
How soft is the touch of the piano to the skin. On the side one is wondering who is indulging in the reverberating box? The studio turns into an amplifying box. It is ready to out its exemplary study of what is internally being pushed from one wall to another, through this creating the performance and its active agents. The closeness, or the flirting, becomes something somatic. The music is the abject: the thing that fascinates by being off, or being implicitely more then what it refers to. It cannot be objectified, it is too close and even into the body. Laying sleepless, harnessing a playground of notes, the performer tries to be as close as possible without moving hairs. The skin of both players unfold, they are exited.

Johann Michael Haydn (1737-1806)
Horn Concerto in D. Major, MH 134, P 134, 1775.
October 27, 2015.
What occurred in specializing the task: easiness and more openness towards the integrity of the dance(r). The hairy space needs to be visualized like an ocean or lets say an aquarium. This will help to realize the movement and the interactions of the hairs inside this environment. Off course, it takes away the possibility of small electric frictions, as the water/liquid/oceanic space is an environment that is, more clearly, giving the body its density. It makes sense to relate the liquid body (80% water) to a liquid environment. It closes down a complex relation to the awareness of decibels that wrinkle, or make knots in the hairy body and the hairy space? Conquering what is coming after, specializing the reactive body, not only a reaction on its environment, but – and maybe first – a reaction to itself, oneself.

Wolfgang Amadeus Mozart (1756-1791)
Piano Concerto No. 24 in C. Minor, K 491, 1786.
October 28, 2015.
Focusing on the 3 oscillations in the inner ear, one is tempted to loose focus on the outside space. It is not to be overcome. When realizing that, one can find one’s focus again. The joints are cliffs to fall into, affording rushing fasciatic waterfalls to tumble into deepness. In correspondance to that are the big movements rushing the body into a vertical direction. The psyche and emotions are as one, very activated in a constant relation of falling and recovering. Deploying an answer to the fullness of being aware. Verifying the dry space, verifying it before entering it is a call from the outside. Be clear what distances you fall into and than catch the falling body. Still attempting to open up the space in-between, not only transposing an inner-reaction into an environmental conditioning of the body. Painting the space doesn’t mean it opens your relations to it, white and grey are neutral colors and only this neutrality will suspend any possible hierarchy between the dance- and the music-composition.

Franz Schubert (1797-1828)
Sonata in A. Minor, Op. 42, D. 845, 1824.
November 05, 2015.
The density-top – or the placement of the pitch in relation to the (psychological) body – can be transferred to the shifting planes of the body in relation to their environment. To become aware of the different relations of emotional and memorial in-between places means to get loose from the music composition. This temptation mainly exists in associating darkness with lowness. There is a very basic movement-materiality that focuses on the shifting of planes in relation to the ex- or implicit activation of the facial or skeletal muscle-tissue. Don’t make it too large, stay honest to one’s historical and Futuristic score-interpretations. What is ‘of performance’ is the fading in and out of different tools that make up the task. When spatial awareness becomes empty, because there is no immediate provocation of memory, one just has to wait. Rhythmicity of popping thoughts is a next step to address. An opening up towards what the environment, and thus the sound-pitch, is doing to disturb the image of this projected memory.

Johann Nepomuk Hummel (1778-1837)
Allegro e risoluto assai (1st mov.), from Piano Quintet in E. Flat, Op. 87, 1802.
October 15, 2015.
Trying to figure out how the landscape is triggering the body. Themes of four notes allow the dancer to get lost in the dance, like turning the pages of a book one reads, it is an ‘appél’ for the performance’s clarity. The large studio is a phenomenon that is playing a big role in the experiments. The dispersion of the music is fuller. So, it seems there is an equivalent between the space and the expression. Now how to address this tool? Largeness and smallness in space and time. How big and massive can you make a hair, the inner ear, the volume (Bpm – like a classic rave party, bouncing of its gravitational force)? Difficult in clearing out what has been developed so far but accepting that music will never become stable. Like the dance it ephemerally fluctuates in the ‘wholeness’ of the skeletal body.

Gioacchino Rossini (1792-1868)
Overture, from The Barber Of Seville, 1816.
October 16, 2015.
How very joyful and dramatic is this music composition. Revolving, loaded like a flower-gun. The studio doesn’t seem big enough to handle this drama. The unknown is taking over. The Medieval space is conquering the abstraction of the body. Wherefrom and whereto in time and space is guided by our psychology. Our psychology infused by everything we would like to address. One addresses the expressionist apparatus. Together alone with different people. Foreigners to oneself, to the other medium that is a hospitable host. It can be pushed back into its amplifying box; even when this is unnecessary. As a lonely, preventive callback from the dance to the music. Staying alive, staying alive, no pauze-button or hold. Even when some big hollows and craters are in sight, it seems to be an excursion into what architecturally is unfolded to the blind.

Niccolo Paganini (1782-1840)
No. 7-9, from 24 Caprices for Solo Violin (Flute), 1802-1817.
October 16 2015.
Like writing a children's game. You know it ought to be something like fun, but how to engage? There needs to be clarity of rules in order to find out how to overcome the boundaries that tie the game. The sound of music is soft and aerial; so it is intervening quite directly with the body’s membrane. Oxygenizes the structure and the brain-body so it can activate with a full awareness of its capacities and potentiality. Only, (just) doing is not enough. Only-just, just-only, are ways of covering up, they are avoidable. Every note has its value, so none have. Wherein lies the anker-point of that? 0° Celsius means forgetting what one wants. Overarching with a soft explicitness that could render the atmosphere of a joyful experience.

Carl Maria von Weber (1782-1826)
Konzertstück in F. minor, op. 79, 1821.
October 21, 2015.
What started out like a very costal soundtrack developed in a dreamscape wherein my body was in first place confronted with its limits. But through the use of an open board for scores one can refine instantly how one is making the seductive action of dancing. The seduction of the music through dance is thus to be found in the archeology of the medium. How does the dancer feel is the question that is resolved, not being answerable. Where is the lover's pit when medial fuse? The sensorial changeability, the sensual-cycle, the periphery around the skull or head, they are a source for knowledge and movement. To be out of your mind, lost in love for music. To have an out-of-body-experience is to relate to oneself, in order to materialize one’s standing ground opposed to other architectural objects or bodies and territories.

Ludwig von Beethoven (1770-1827)
Meastoso, Allegro con brio ed appassionato, from Piano Sonata no. 32 in C. Minor, Op. 111, 1821-1822.
October 27, 2015.
How to relate to the materialization of the pitch is a complex question, but it provoked an awareness of how one strategizes the body in relation to the music. The performance place is a field of loving and hating. Pushing the pitches against each other. The awareness of distance is in the power of the performer. Where do you want the (p)itch to take place and how do you think this relates to the harmoneous structures it is inducing in. Dancing with a smile as the dialogue becomes very open and clear. Doing one thing at a time and saying it (in silence) to oneself helps. What emotions does this manipulation provoke? The music composition becomes a playful puppy looking to find its tail, a cat that is trying to catch the shadowbody of the dancer. Manipulating, strategizing and misleading. With a smile, as though one cannot play with the feelings of the music, it doesn’t realize what it provokes. It only provokes.

Hector Berlioz (1803-1869)
4th and 5th movement, from Symphony Fantastique, Op. 14, 1830.
October 24, 2015.
The imposturous Romantic style is giving the body the masses to choose from. An invitation for mass-deployment. Openness towards a group fantasy. Like colliding with what centers the body. Speaking to the mind in an almost erotic way. Flavoring what is there with the salt of the hairy body sweating its contract away. We could all duplicate our bodies to the amount of instruments that are in play. Just to see what is there, just to make an imaginary groupmeeting. Flirting in a music bar with a GUT on the side, fucking up the intoxication of bitter psychological sounds. Lets ride this train to where all movements are made like children’s toys. Full of what is in general a topic of conversation. The call is out, the meetings postponed, like all the environments meet eventually. Like throwing it aside. Like something is splitting open the censors.

Jacques Offenbach (1819-1880)
Overture, from Orphie aux Enfer, 1858.
October 29, 2015.
Working on the reflective, emotional pitching of the psyche through movement is a very dramatic and performative act. One starts to analyze tools to fake emotions. Those are psychological expressions that can be of help but are not evoking any internal and psychological coherent associations when the pitch starts to rush up and down. The placement of the body became very frontal and upward. Not relating to the psyche at all, to its resonance in the full body or the full space, a reason why the relation to the music – in a first set – seems to be fading and becomes hierarchic. Try to overcome these formalities by again, very easily, trying to materialize the pitch on the line that is in reflection. Not only on the floor but also in different planes and angles in the environment, how do they come there? Well, that is more a dramaturgical question linked to a project or a future sharing moments.

Camille Saint-Saëns (1835-1921)
Introduction and Rondo Capriccioso, Op. 28, 1863.
November 05, 2015.
Where do you situate the three joints? Make one choice and look into what exactly the Db., Hz, pitch responds to. It is a bit unclear. The trio-joints are mainly working on a physical level, on top of which there is the sound box of the skull, reverberating in the activity of the jawbone. Big pulsations are trying to affect the elasticity of the performance place. Jumping on top of them or being pushed away is the first interpretation this provokes. Artistry is in the clearness of making choices, not so much in what is chosen. Belonging to oneself in a space of re-articulation. Not being lost in-between the negative space, but moreover being able to shift through them. Shape-shifting, fade-shifting and overall transitions as choices in reflection and reflexion of what is happening. Catching up with the mind, catching up with the body. Your thoughts are a part of the dance process, not necessarily of the expression of the music composition.

Edvard Grieg (1843-1907)
In Herbst, Op. 11, 1865.
October 15, 2015.
Very thankful in a cinematic majestic way. It is more difficult to not completely enter this dramatic space, than it is to enter the space whereon the cogni-emotive body is relying. The hairy body surfaced again and hairs are spreading now, on the nipples and the legs. Not as much is experienced on emotional level, the music is taking that more than enough into account. The majestic body is not that aware of its smallness but infiltrates via the grotesque. It relates to masses and is surrounded, more angular than circular. Is the rhythm, … I am wondering about it? Cold-hearted in smallness and juvenile in grandiosity. Make it giant, so they will see it. Let it overgrow the architectural space co-created by body-music, like Alice in the Wonderland.

Georges Bizet (1838-1875)
Suite no. 1, from Carmen, 1875.
October 20, 2015.
What a playful entity and energy to fool around with. Not as in a joyful understanding but more in the way it addresses the imagination and characterization of the performance/performer. The architecture that was addressed, proposed relations into which I could unfold an adult pleasure. Like a masquerade, like a pride. Some of them were more direct or even culturally linked interpretation. Tambourines, bells, small percussions are very performative. Long bows, tension, sentences and lines are more theatrical. So how do you want to address the music? How to seduce this or these beautiful surrounding(s)? Is there a magnetic field that draws you to its chemistry? Playing golf as a zombie, playing football like a penguin… It all is in the impossible that is and will not be annoying or frustrating.

Richard Wagner (1813-1883)
Act 2 (part 1), Götterdämmerung, from Der Ring Des Nibelungen, WWV 86, 1876.
November 25, 2015.
That was not easy. First of all this exercise is shifting the relation to an inside-space. So, the music-composition is internalized and therefor the relation to the dancer is being complicated. The environment has no longer an outside atmospheric gesture to offer, but infuses the skull. The 3-joints in the inner ear activate and they are all very unsettled by how they micro-manage the small movements provoked. From an inner ear awareness, what happens is that the performer can start to develop and spread this oscillatory awareness of the joints, so making connection to the back of the head and the jaw bone. The provocation and the smooth relation this has to the sound is one of utter understanding. With too much liberty one is addressing the inner space. The question even surfaces how to relate this material to the other tools in the composition-exercise?

Anton Bruckner (1824-1896)
1st movement, Allegro Moderato, from Symphony no. 7, 1881-1883.
November 25, 2015.
The reoccurring softness of the hair is something that is reoccurring, off course but it is not a necessary module. The ticklish atmosphere of caressing the skin is an inside negative volume. The hairiness of the body equals the softness of the space. But off course hairs can be stylized, is that something of interest? This quality can be further examined and should always be addressed as a continuum. Likewise concerning states. There can be no soft friendliness without hardness in being. Sugarcoating is chemicalizing. Having a hair in-between the bone-structures or the teeth and the joy of feeling the grass between one’s feet. Be patient, feel what is there and remember. Don’t push sensations, for they will conquer any sense of composition. The roundness of hairs, the curly environment can through rising temperature be straightened out.

Giacomo Puccini (1858-1924)
Love Duet, Act 1, from Tosca, 1900.
October 20, 2015.
All tools in play considered music wherein the human voice appears seems to be gesturing to the body in another way. What happens is that one has the choice either to relate to it on a narrative level, or to make a physiological and spacious interpretation. I opted for the last one and materialized the height in pitch as if the space was the liquid line triggered in the inner ear. The sexuality of voices is to be considered. Not in the eroticism of the voice but in the oral space it activates and the full body vibration it desperately tries to stimulate. Taking into account the gesture of the vocal chord, like a vagina or an anus opening and closing, relaxing and tensioning, only to be stopped when the holes either are stuffed or they excrete that what has already been processed by the body or the person.

Franz Lehar (1870-1948)
Vilja Song, Act 2, from Die Lustige Witwe, 1905.
November 05, 2015.
There seems to be a basis that needs to be put in play in order for this task to be fully operational in the field of choreography. When one has achieved relating to the temporal distance of memory and future fantasies, one can start to relate to the task in another fashion. Then it becomes possible to embody certain states (not so much interest in the forms) of the future self or memorial self. Again, letting this tono-topic and emo-topic awareness of the environment be clearer. Drying up or cooling down the body with the first pitch of now-psychology or -emotionality. If the state is moving the planes in which the body moves, the direction of the projections moves along. In a way what happens is one is creating a temporal mapping and finds ways in which the now-performance is in relation to the map that, through the unfolding of the composition is being put around the body and in the thoughts of the performer.

Alexander Scriabin (1872-1915)
Sonata no. 5, Op. 53, 1907.
November 05, 2015.
What is this zero-line or zero-point or zero-volume? Like a black hole it is sucking up everything, it is non-existent. But to refer to it... It is the place where the sound/music and the movement/dance disappear. It is the pressure inside the water-volume that is the studio. The distance from where one is relating to the pitch and the sound. How kinespherical is the music-composition. The different axes of the body are in relation with this zero line. The volume that the last posture in dance has taken is the zero-volume. The connectivity to the spatiality; the spatial structure should be enlivened and heightened, in order for dance to be composed. The negative space not only kinespherical, but also an environmental record of one’s structural space awareness. Which is the density of the tonotopic map of the environment?

Jean Sibelius (1865-1957)
Overture and Act 1, from The Tempest, Op. 109, 1925-1926.
October 28, 2015.
The pressure of the environmental pitch-density can be translated to the body. How to pitch a continuum of emotional range, and secondary how to relate this to memory, to what has been closer and what has been more far away? The danger over course of action is to fall inside, or to be in a state of self-loving dance-therapy. So, allow for darker sides of oneself to surface. Where to position oneself in the gaze and in the space? The performer is ànd abstract ànd an emotional and cognitive being. Therefor the answer is to balance these two qualities of the dancer. Be aware that composing the emotional or the psychological is a dangerous task, it is provocative and should always be explicitely addressed on forehand. To strategize how to relate to oneself in the awkwardness of a social context, in a performative and expressive offering.

Claude Debussy (1862-1918)
L’enfant Prodigue, 1884.
October 15, 2015.
Like dancing in a forest, being part of some ‘Déjeuner sur l’herbe’. Being guided through jumps that are mostly tubular. It offered itself an invitation to straighten the arms and see how the voices where resonating through a forwardly reacting pulse of 45° or 90°; very Egyptian hieroglyphic-like movement occurred. By the phrasing of the voices, the movement was opened and closed. The space was inviting, but still not very inhabited. The music more as a palette or landscape (painting) than as some open analytical in-between space. It was pleasant and very personal to dance on this piece/composition. An invitation to delve in one’s own memories, guided by the composition’s title. More than willing to dive, down in muddy waters, to spring up, to open up more slowly, not dirty, but cleansed by its toxic-extracting and rejuvenating capacity.

Jean Sibelius (1965-1957)
3rd movement, Violin Concerto in D. Minor, Op. 47, 1904.
October 15, 2015.
All is revolving around; all is turning around, encircling and avoiding what is in the center. In the center is the mind. The music is what is encircling it. What is the place of the body in-between this connection? No necessity for a division just a small wondering about it. Like a fractal, the structure macro-logically develops. From the inside out, but what is to flirt starting from the outside, how to experience and understand the other, the music-composition like that? How is it addressing, in the openness and rhythmic space it unfolds? My wondering is not answered by a stability; it is not necessary to be stable; only to find structures in which one can develop a game, develop one’s relation to the instability of the two media in question.

Maurice Ravel (1875-1937)
Gaspard de la Nuit, 1908.
October 16, 2015.
It is divine to stumble upon the burdens of emptiness. Glorifying silence or singularity, like a star that is pitching, or a person transcending its place. The space becomes a vacuum. A lot of openness, more distant, a long-distance relationship. The dance becomes a loveletter. It is written in silent memory to the music. Drawing upon the easiness with which we may ànd approach ànd address the otherness of ourselves. A loveletter to me. Me being the music. A physiological gesture or a miauw of a cat, which wants to enter the warm living room. No interest whatsoever in the architectural clearness and coldness. Lets invest in a heating system. Lets invest in what keeps us hydrated on the outside, like a sauna or a big yielding ice-cream-bar. Don’t waste time performing spatiality. The space is there, how do you feel/fill it?

Gustav Mahler (1860-1911)
Symphony no. 8, 1910.
October 20, 2015.
According to what principle can balance and off-balance relate to the music? The off-balance, as suspense, a driven energy that must at some point be stopped as it engulfs and rages on through the space. Like dominos: taking away the object that is still in equilibrium to stop its continuous course. The enrolling, or the domino of the music is not to be stopped as it exists in its own rhythm and can therefor only be approached with notions like pause or suspension. Human bodies work in the same way. Although, they can disappear… What is the disappearance of the music; a notion equivalent to the unveiling of a costumed body?

Igor Stavinsky (1882-1971)
Finale, from Firebird, 1910.
October 21, 2015.
It is nice to keep in contact with the emotional capacities of the body. Grandeur in the way one is stroking one’s own and the environmental hairs. To be aware and make explicit the psychological implications of roundness. Sharing the archaic, memorial attributes of its membranes. Remembering the membrane. Opening up and acclimatizing its fortunate position in a performative environment deliberately put in question, in order for the excess to stop or at least to understand how and why we are so drawn to that excessive medium of immaterial luxuriousness? The air is tacit, the material airy. An exchange between what has been working and what is overgrown. Dance as if you are the record player of the environmental, change and control the overall timbre.

Anton Webern (1883-1945)
Passacaglia, Op. 1, 1918.
October 20, 2015.
The experience was very abstract, formal and analytical. A specific task emerged which has its offspring in the movement but has yet to be understood by the mind. Unfolding like a continuity of balance in motion. A Pattern of endless variations in loop, trying to fix a middle point. The experience of centrifugal and centripedal force is growing and can be put in relation to the gaze that is overviewing the large magnitude of the space. Wondering, not looking for something. Addressing the physics with a soft notion of understanding that is not forcing the brain(cavity). Sounds, like a twitching forest of branches, sometimes, you find or break a branch or note, peel it, eat, and throw it for the dogs in play. You can rely on the force of its naturally and primal presence.

Sergei Prokofiev (1891-1953)
Suite, from The Love for Three Oranges, Op. 33, 1921.
October 24, 2015.
Majesties' sound is like an elephant in the space. Like a monstrous calling from the vibrational deep end. One needs to dive through the color of the pitch. Overarching temporality. In the deep ocean there is no light, for me there is no materiality there. For another, there is a calling of the embryonic space that is housed inside. Before you want to seduce, you should take into account the implications of the possible futures. One can anticipate the color palette of what is in the space. Be a monster, a friendly and bitchy condor, a big flying drunken sweet-biter.

Arthur Honegger (1892-1955)
Pacific 231, 1923.
November 02, 2015.
There seems to be an intense distinction between the hairs of the extended nervous body expanding in the space and the connectivity of this hairiness into the layers of the skin. The hairy-skin is more connected to the one-directional system of clarification. The humidity of this system is rooted in a different soil than that of the nervous body-space connection. Meaningfully addressing open postures of the body, unfolding what is usually folded, so much as to make the hairs’ negative space a materialized object. Glued together so there is no connection to the wind. The softness of the environment meets with the direct vastness of the umbilical-chord. To feed means to share. Sharing the in-between LCR-filled liquid space into which the music-dance performance shapes itself, it is questioning the immunity of integrity of the media collision.

Arnold Schoenberg (1874-1951)
Variations fro Orchestra, Op. 31, 1928.
November 05, 2015.
It is more playfully, finally. What happened within this particular music-composition is that there is way more relation to dissonance. The need for change is inflecting the need to stay focused on the compositional and expressional aspects of the experiment. Don’t loose the gaze; it is a VERY important player in this performance. How to experience an in-between awareness without the eye-reflex becoming the overwhelming expression of it all. Should one address the brain stem, the lizard- or reptile atmosphere and awareness of the performer? The alert state of in-betweeness. Can these be pseudonyms or terms in closer relation to each other than initially thought? I think so. Is this reptilian alertness a basic state of the performer in making explicit his/her continuous composition? Dwelling through a desert landscape of impulses but being alert for scrawling scorpions.

Bela Bartok (1881-1945)
Music for Strings, Percussion and Celesta 3, sz. 106, BB 114, 1936.
October 29, 2015.
The fact that the inner ear exist out of three joints, materials, oscillations is not taken for granted. As I look from a wider perspective to the body, it seems that this threesome, oscillatory mechanic and energy is to be found back in overal physical structures: low-middle-high; brainstem-cerebrum-cerebellum; layers of skin; joints in the extremities. So what is this relation of the ‘triplety’ of the body to the functionality of the inner ear? Not only can it guide oneself to the outside, through the negative space, affording and provoking the slip. It is as well a more internal, analytical tool to relate to. The openness of the space, the shapes, in reaction to the music one reshapes the body continualy. Continuity as the primal aspect of time. As that which cannot be overcome. Progress, decay, regression, all inside the one-, two-, three-ness of the body dancing a Waltz.

Michael Tipett (1905-1998)
Four Spirituals, from A Child of Our Time, 1939-1941.
October 15, 2015.
What a little bit of religion can do to dance. What was very clear in this chapter was how the performance space became an internal space. I was dancing inside the middle ear, on top of the three joints that are activated by the membrane. The consequence: a dance with lots of floor-work in which I was not only altered by my imaginary floor-movement, but also had an agency of impact on how the music-composition was apprehended. It has to be said, it is a very exiting task. I feel I took physical risks. In prolongation of the forms of the inner ear articulations and reverberations (oscillations) the dance was more clear and demanded from the dancer, me, to open up to the possibility of abstract and conceptual embodiment. There was in the performance not so much space left for an emotional interpretation of the music.

Paul Hindemith (1895-1963)
1st and 2nd movement, from Symphonic Metamorphosis of Themes by Carl Marie von Weber, 1943.
October 16, 2015.
Can music provoke memories, and if so where are they? Questioning the nature of subjective history helped by an outside medium, it is mesmerizing. The subject is not locating itself in an architectural environment but displaces one- or itself to a semi-conducted area, infused with an outside illusive frame. Allowing drifting away on the sound wave to a parallel consciousness. An internal space that is transforming the outside objectivity, and is largely shaped by its borderline with an increasing outside. Who can we address in the history of the self but the self-being? Can a memory be explicit? I wonder. Maybe it has always been explicit, as the memory has been provoking other thoughts and impulses to resign. Being a very aggressive, sometimes passive-aggressive state of the self. So no longer a question if it is explicit, but does one want it to be…

John Cage (1912-1992)
No. 1-3, 5, from Sonatas and Interludes (for prepared paino), 1946-1948.
October 28, 2015.
Before going into what we already know, we should take a moment to verify this, not cognitively but emotively. Probably this is why one is jumping afull into the avalanche, into the gap that the music composition opens. There is no alternative. The fullness of being in a musical space, it is the experience of activated molecules making the dividing membranes of the corps sensible and visible. Not as a restriction but as a possibility. Microadjustments of the microscopic: molecular and cellular dances. Activation of positive energy. Draining in what is the molecules specialty: movement. The oscillations are allowing the body to disappear inside. The joints are opening up a liquid environment into which the Aquarius can move. The performer is always an Aquarius, even if he has a balancing Libra-sign written all over him. Corporeality is not a mater(ial) thing; it is a liquid substantiality.

Kryszlof Penderecki (1933)
Fluorescences, 1961.
November 02, 2015.
The hairy body in the electric space is opening up the boundaries of the skin. The embarking wrap of the enveloped somatic and cognitive-psychological being is pricked. The skin not only detaches via these opening of the pores – pores that facilitate the hairs to connect to the electric environment – it also loosens it. Like air in a plastic bag, it waves itself away. The 1-point of the space is its climate and tension, the environment before one engages it in an explicit composition. It is the -1-situation or the non-explicitely-composed performance of the environment. Always in performance, always implicitly proposing interpretations of its offered possibilities. Like a grand piano whose snares are tensed even though it is not being played explicitly or in human relation.

Dmitri Shostakovich (1906-1975)
Elegy: Adagio, attace, from String Quartet no. 15 in E.-flat Minor, Op. 144, 1974.
November 02, 2015.
Pitching melancholia is the first thing that comes to mind. The space and environment is mapped through memories; according and in relation with a tonotopic map. High pitch is future/far/front/high and low pitch is past/close/back/low. This is in relation with the change of density and pressure on the auditory canal that is relating to the sensory hairs. Don’t make a big facial expression but let the muscles of the face respond to what the mind is triggering. Open up the relation to the outside by making it a point of reference in the directionality of your body. Far, responds to the future and the frontally; past and close or nearby, respond to what is behind the body. This is of course a more complex relation as it refers to what has already been experienced and has been processed before. Doubling the agency of the performer, reaching to what he or she has been performing before, the historical references of one’s identity.

Luigi Russolo (1885-1947)
Music for 16 Futurist Noise Intoners, ca. 1916.
October 15, 2015.
A favorite amongst them, although it seems the more favorable, the less easy the music compositions are to approach. What happened is the performativity of the dance increased by a larger analytical stance towards the music-composition. I am very aware of the instant-compositional nature of the task, it is charged by the air that circulates inside the space in-between the dance and the music. Interrelationally it seems to me that I am no longer dealing with objects or something of/with the body, but with a vague somatic being, maybe an abject. The musical body is laid bare in its possibilities without refraining, without refraining from why it is not reconsidering. Reconsideration becomes non-talk. The progressive thoughts of Futurism reign, there is no looking back. There is only dust and smoke where the dance comes from.

Pierre Schaeffer (1910-1995) & Pierre Henry (1927)
Orphie 53, 1953
October 16, 2015.
To make the small movement is to focus. So, this can be a requirement to tune the instrument. Adjusting how you are feeling by opening up to the sound and rolling in its deep. How do you feel this morning Mr. Composition? Open the relation; don’t just let yourself be questioned by the music-composition but invest in the dialogue, pose questions back. Do you have a contribution to the emptiness it creates in time and/or space? The hairy composition will not wait. It is the intruder, or the unexpected guest. So… do you have cookies at home? It is (with recorded music) the performer that hosts. Hosting by ghosting.

Toru Takemitsu (1930-1996)
Static Relief, 1956.
November 25, 2015.
The tenderness of the hair that is caressing the body is not the only relation possible. What can happen when the hair is pulled or tickles the body in a certain way? What are the sensations that are related to the tactility of hairiness? These emo-spatial relationships are addressed mainly through the facial hair: nose hair, hair around the eye-sockets and maybe more metaphorically the hair on one’s teeth. On the other hand it seems that the Aquarius environment can call for a certain resistance. That what happens is a call for beautiful pullovers, covers. Like in the bed where one at the same time wants to build a tent and have sex. Calling for a being that is yelled upon, yelling to and being called upon. Destruction is not at hand, deconstruction neither; I suppose this is one if the consequences of ‘continuous composition’, as time is a flux, the repetition of the stillness is nothing physical.

Luciano Berio (1925-2003)
Perspectives, 1957.
October 16, 2015
As it came so it went. A special force taking over the building: the studio becomes transparent. It is no longer suggesting me to be relating to… anything. It is transforming relating to relations. The multiplicity of performing is provoked. As if the body is no longer in need of expressing but just making a comment. No more statements, only punctuation. The content is the punctuation. Mediation is the flux of time. Probably because no longer probability is cut. Series are drawn. In a void of voluptuousness, drugs and drinking confines in what is said. Listen to the music, listen to the sound, and listen to them being the same. Behold, outside, a carnival of pretentiousness. The sound wave is turning into a tsunami. The performers wear diving suit, so, no worries, if you don’t stress the body you will not feel the pain.

Tristan Murail (1947)
Désintégrations, 1982-1983.
November 02, 2015.
If the environment is created through a memorial-mapping – a memo-topic place developing what is behind the body; offering and enveloping what is in front of the body with a multiplicity of future options and situations that will be embedded in the real life of the performers – than where does one position oneself in the space? How big is your personal history and how much space do you allow for it to be feeding you in order to make clear gestures towards and in the options of the future? There is no more randomness, but this also implies a short loss of contact with the outsider, or a notion of frontality. Where is this imaginative space and how does future and history collide in the composition of the now-performance of the individual or group? Can I envelop and develop myself at the same time, is that what the now-performance in the -1-environment is offering?

Thierry Lancino (1954)
Profondeur de Champ, 1983-1984.
October 21, 2015.
The free-scope relation that is offered by the gaps in the music composition is in a way an invitation to unfold gratitude and joyful experiential exchanges. The two bodies meet in physics. The two psyches and timbres collide in order for their mutual bed to be made. Can a basilar membrane be their cover story? As it is a love-relation that has its ups-and-downs in order to survive. Can we make it up to each other? Finally there is, for good-sake of grandiosity, a focus on what is to come. The aspect of chronometry comes into play. Who is taking more time, who is relating to who and needs more space? Is it the dancer who has a more complex rhythm than the music? Like virgins that are seduced into mechanical resistance. The choice of lust for an emotional flexibility, that is what is thriving us.