Returning to this question of play. Apart from the sheer joy and affective
charge I find in these pieces I love their playfulness - I've always assumed
'playdamage' was at least in part an appeal to that...
I love too the simultaneous refusal to take seriously, and the deep seriousness
of the work - the way it excavates and exalts the -banal isn't the word I would
use - everyday, the common experience -the shiver down the spine. ( but it's
not just throwaway theme park ride, loud music, oh that's clever or flash or
it-made-my-mouth-drop-open thrills, its taking all that seriously as part of
being human, but digging much deeper too and assembling something much richer)
I love the way it feels rooted in feeling ( that's nice let's do it again) and
not calculation and that humour feels present in all this too, something so
sadly lacking in much current art...
cheersMichael
From: Curt Cloninger <[email protected]>
To: "[email protected]" <[email protected]>
Sent: Sunday, July 16, 2017 2:14 PM
Subject: Re: [NetBehaviour] playdamage #115: reANIMATr {blackmountainberlin}
Hi Alan,
Those performances i linked really have to do with difference and repetition.
The minimalist control is the pop loop. I'm really intentionally trying not to
improvise or vary it. But because of exhaustion, zoning out, boredom, (and
collaboration, when involved), there is always drift and variation. And i am
interested in that kind of inevitable variation arising from gradual failure
based on duration as a kind of bodily constraint. I am not trying to be
human-inventive/creative/spectacular. I are trying to remain banal. And then
the constraint teases out the variability itself.
They say Phil Spector would make the pro wrecking crew studio musicians do
hours worth of takes just to tire them out because he liked the way they played
tired better. It seems related to that. And matthew barney's drawing
restraints. And john henry vs. the steam drill.
From:sondheim at panix.com (Alan Sondheim)Date:Sunday, 16 July 2017 - 4:20amHi
Curt,
I don't think it's an inverse relationship; I'm varying the improvisation.
What you do does relate to Roscoe Mitchell's repetitive album; I forget
the title (used to have it) as well as the four-day improvisation that we
(Jackson Moore, Chris Diasparra, and I) organized for Eyebeam; the longest
I played continuously was seven hours, and all of us (maybe about 30-50
musicians) played as much as we could. We moved in and out of each other's
music; we also kept tabs on tips, calculating payment for our work.
I like what you're doing - can you say more about it (the long repetitive
playing)?
Thanks, Alan
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