tag:blogger.com,1999:blog-153889952024-02-19T16:32:50.746-06:00OBVIOUSBLOGNews & musings from Alyce Santoro (aka: Alyce B. Obvious),
social surrealist, delicate empiricist, rhythmanalyst, philosoprovokateur.
More at alycesantoro.com.alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comBlogger137125tag:blogger.com,1999:blog-15388995.post-10351280769562301372023-06-24T10:52:00.009-05:002023-06-24T11:03:43.662-05:00<div class="separator" style="clear: both; text-align: center;"><a href="http://washingtonwomeninjazz.com/wp-content/uploads/2023/03/turnaroundcover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="606" height="800" src="http://washingtonwomeninjazz.com/wp-content/uploads/2023/03/turnaroundcover.jpg" width="606" /></a></div><br /><p><i><span style="font-family: verdana;"><span style="font-size: x-small;"> <br /></span></span></i></p><p><i><span style="font-family: verdana;"><span style="font-size: x-small;">The following article was included in the inaugural issue of <a href="http://washingtonwomeninjazz.com/the-turnaround/" target="_blank">The Turnaround</a>, published by Amy K. Bormet and Washington Women In Jazz, Spring 2023</span></span></i><span style="font-family: verdana;"><br />
</span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="color: black; font-family: verdana; font-size: small; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-themecolor: text1;"><b>Tonal Relativity Studies<i>: Investigating Intersensory
Instruments, Chromatic Catalysts </i></b></span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="color: black; font-family: verdana; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-themecolor: text1;"><b><i> </i></b></span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: verdana; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-themecolor: text1;">One</span><span style="font-family: verdana; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> obvious yet fascinating feature of the human sensory
system is that impressions morph constantly according to context; what may be
perceived as a singular element only exists in concert with adjacent elements.
Pitches shift, hues blend, tones are colored. That sounds can be described in
terms of vision or feel is a hint that the senses themselves are not so
well-defined. The very word “chromatic,” with roots in the Greek </span><span style="font-family: verdana;"><i><span face=""Calibri",sans-serif" style="mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">khrōma</span></i></span><span face=""Calibri",sans-serif" style="mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: verdana;">, can be used
to indicate both visual and auditory phenomena. </span></span></p>
<p style="line-height: 200%; text-align: justify;"><span style="font-family: verdana; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">In the introduction to <i><a href="https://www.themarginalian.org/2013/08/16/interaction-of-color-josef-albers-50th-anniversary/" target="_blank">The Interaction of Color</a></i>,
20<sup>th</sup> century visual artist/color theorist Josef Albers noted, </span><span style="font-family: verdana; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">"Color
deceives continually...in visual perception there is a discrepancy between
physical fact and psychic effect. What counts here—first and last—is not
so-called knowledge of so-called facts, but vision—seeing.<span> </span>Albers demonstrated how colors are mixed in the
mind. A square of ochre-colored paper appears remarkably different when placed
on an orange background as opposed to a sky blue one. <span>Appreciation
of such fundamental relationships can serve as an entry into the exploration of
more intricate and complex interactions. This is the domain of artists of all
kinds: sensations, atmospheres, moods, and ideas can be fluidly expressed by
those versed in the arts of relationship and contrast. </span>The options are limited
only by the scope of one’s imagination. </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: verdana; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-themecolor: text1;">For those</span><span style="font-family: verdana; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> interested in developing new pallets of possibility—sonic,
visual, or otherwise—the</span><span lang="EN" style="font-family: verdana; mso-ansi-language: EN; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> Tonal Relativity Studies offer a </span><span style="font-family: verdana; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-themecolor: text1;">way of contemplating sonic relationships in a 12-tone
musical system through shape, pattern, and color.</span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: verdana; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-themecolor: text1;"> </span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: verdana; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-themecolor: text1;">One common shorthand to describe sets of intervallic
patterns in music employs letters, with W to indicate a whole step and H to
indicate a half step. Ionian, or the Major Scale, would therefore be written
WWHWWWH. Using shapes instead—large circles for whole steps and small circles
for half steps—the set of seven Modes of the Major scale, read left to right,
top to bottom, could look like this: </span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face=""Calibri",sans-serif" style="color: black; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-themecolor: text1;"> </span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOcYyKzZX1wVFHYa9hDoYnwVSvMQMetm-vbHu3z4KdcX8zelXtkxtkaIt1IGUOZjlnffmOb8t7UIIe67bfIkbBIkQEJ4Z5GlIdRgHliRsCCSoD69hqu9EV_t2jf1Mz8SNNOFVhHEUatlJl8Re5ultllDPCHxukisWy3XwXK4TdF3H0cDtj2dL8cg/s2294/major_modes_black_background_8x8_lg.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2294" data-original-width="2294" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOcYyKzZX1wVFHYa9hDoYnwVSvMQMetm-vbHu3z4KdcX8zelXtkxtkaIt1IGUOZjlnffmOb8t7UIIe67bfIkbBIkQEJ4Z5GlIdRgHliRsCCSoD69hqu9EV_t2jf1Mz8SNNOFVhHEUatlJl8Re5ultllDPCHxukisWy3XwXK4TdF3H0cDtj2dL8cg/w640-h640/major_modes_black_background_8x8_lg.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p class="MsoCaption"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></p><p class="MsoCaption"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Figure </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-no-proof: yes;">1</span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">: Modes of the Major Scale (large dots
= whole steps, small dots = ½ steps). <br />
Left to right, top to bottom: Ionian, Dorian, Phrygian, Lyidian, Mixolydian,
Aeolian, Locrian.</span></p>
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{page:WordSection1;}</style></td></tr></tbody></table><span face=""Calibri",sans-serif" style="color: black; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-themecolor: text1;"><br /></span><p></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face=""Calibri",sans-serif" style="color: black; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-themecolor: text1;"></span>
</p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face=""Calibri",sans-serif" style="mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: verdana;">Or, using
squares to denote whole steps and rectangles for half steps, arranged in
vertical columns to indicate ascending/descending pitches, and <span>adding a spectrum of 12 equally-spaced colors to indicate
twelve equally-spaced tones, the Modes of the Major Scale could be visualized
this way: </span></span></span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face=""Calibri",sans-serif" style="mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="color: black;"> <br /></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib-LXdXs4TR18z3CNfuchMG_w2Iu3Lhzs-gvsUtke_1lSj1SpZoc3IYMfO6S7im5eN5uElaPg1F_h3qPD9tVJ7HRptqEB7leJlHxXnY2ya56CYAQuD0-fZUDj5FbwaR6huKe_gY55gL1xWm_CF8XMHE8CJ4UY1CsOBvPA3oCRDqKqi-XmaCc_OwA/s2100/2017_modes_of_major_scale_lg2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1800" data-original-width="2100" height="548" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib-LXdXs4TR18z3CNfuchMG_w2Iu3Lhzs-gvsUtke_1lSj1SpZoc3IYMfO6S7im5eN5uElaPg1F_h3qPD9tVJ7HRptqEB7leJlHxXnY2ya56CYAQuD0-fZUDj5FbwaR6huKe_gY55gL1xWm_CF8XMHE8CJ4UY1CsOBvPA3oCRDqKqi-XmaCc_OwA/w640-h548/2017_modes_of_major_scale_lg2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p class="MsoCaption"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></p><p class="MsoCaption"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Figure </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-no-proof: yes;">2</span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">: Modes of the Major Scale (squares =
whole steps and rectangles = ½ steps). <br />
Bottom to top, left to right: Ionian, Dorian, Phrygian, Lyidian, Mixolydian,
Aeolian, Locrian.</span></p>
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{page:WordSection1;}</style></td></tr></tbody></table><span face=""Calibri",sans-serif" style="mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span><p></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"> </p><p class="MsoNormal" style="line-height: 200%; text-align: justify;">
</p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: verdana; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">This is the
same information presented in the round, with the wide stripe = whole step,
narrow stripe = half step. Two octaves are represented here, read clockwise
with Ionian in the 12 o’clock position: </span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face=""Calibri",sans-serif" style="mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face=""Calibri",sans-serif" style="mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFdP0vRM2fHvuy1_bXrbpveZJ23JJV6eJoLoq7wAzdmxLDKDcrER2NwFxvQbJHsS7DAG51l3jxE9cq8F3eIhSyTKD7htl9_X-Mf6JzIigoaqgefJrgrz95QMuRIwrX5dSzn2WlpKaxbmd0y1JHJpR_dCtD0G0mluLBjY9SFx7Sv5dQpjmD_voPZA/s2400/major_modes_lg2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2400" data-original-width="2390" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFdP0vRM2fHvuy1_bXrbpveZJ23JJV6eJoLoq7wAzdmxLDKDcrER2NwFxvQbJHsS7DAG51l3jxE9cq8F3eIhSyTKD7htl9_X-Mf6JzIigoaqgefJrgrz95QMuRIwrX5dSzn2WlpKaxbmd0y1JHJpR_dCtD0G0mluLBjY9SFx7Sv5dQpjmD_voPZA/w638-h640/major_modes_lg2.jpg" width="638" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p class="MsoCaption"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></p><p class="MsoCaption"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Figure </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-no-proof: yes;">3</span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">: Modes of the Major Scale (wide
stripe = whole step and narrow stripe = ½ step). <br />
Clockwise from top: Ionian, Dorian, Phrygian, Lyidian, Mixolydian, Aeolian,
Locrian.</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"></span></p>
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<p></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face=""Calibri",sans-serif" style="mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: verdana; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">While these
examples are visualizations of scales containing 12 tones/colors, the same
basic principles could be applied to chords, intervals, or scales in any tuning
system, or containing any number of pitches (additional examples can be seen <a href="https://www.alycesantoro.com/sound-visual/tonal-relativity/about" target="_blank">here</a>).<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: verdana; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: verdana; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">In a 1966
interview
<a href="https://soundcloud.com/pacificaradioarchives/bc1266-an-interview-with-john-coltrane-by-frank-kofsky" target="_blank">John Coltrane</a> said, “I think music is an instrument. It can create the initial
thought patterns that can change the thinking of the people.” Could all forms
of art that allow us, even for a moment, to let go of perceived boundaries
between the senses, between disciplines, and between one another, have the
potential to help us think in new ways?</span></p>
<p><style>@font-face
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{page:WordSection1;}</style></p><br /><br /><br /><br />alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-63872151494556051912023-03-02T15:39:00.002-06:002023-03-02T15:39:20.177-06:00<p><span class="x193iq5w xeuugli x13faqbe x1vvkbs xlh3980 xvmahel x1n0sxbx x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"></span></p><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xdj266r x126k92a"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFDyFSD9vHRA0tmrU6AV3OEJvi4ZNzwUW6b3jwfEfRDWsq1GVa3am5nDZKVHVtmaqf242E__Ip_2QFE1ayHkRPkRwdJ7orP0IU543Vlxnl7_R9xzyPEDoE2tNWrz15V_zPSP5fUnlW3FRlHX_stGWeFoVV3aOMr1-nuzgRCzjQPI4vcFRYfw/s581/footprints_tonal_relativity_sketch_sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="581" data-original-width="576" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaFDyFSD9vHRA0tmrU6AV3OEJvi4ZNzwUW6b3jwfEfRDWsq1GVa3am5nDZKVHVtmaqf242E__Ip_2QFE1ayHkRPkRwdJ7orP0IU543Vlxnl7_R9xzyPEDoE2tNWrz15V_zPSP5fUnlW3FRlHX_stGWeFoVV3aOMr1-nuzgRCzjQPI4vcFRYfw/w634-h640/footprints_tonal_relativity_sketch_sm.jpg" width="634" /></a></div><br /><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;"> </div><div style="text-align: justify;"><span style="font-family: verdana;">For the past many weeks I have been working in earnest on Wayne Shorter’s classic tune <a href="https://youtu.be/Pxb7pNXJvng" target="_blank">Footprints</a>. I have been listening to, watching, playing along with, and learning from every version I could find. After analyzing and sketching out the chords in a variety of ways, last night I went to bed feeling like at last I had a set worth putting color to (this approach to diagraming 12-bar blues uses a spectrum of 12 colors to represent the 12 notes in the western musical scale…the form begins at the 12 o’clock position). This morning I was shocked by the news that Mr. Shorter had passed away in the night. After extended immersion in this piece, it feels strange and somehow serendipitous to complete this sketch today. Sending it out now to Mr. Shorter and everyone who loved and was inspired by him. </span></div><div style="text-align: justify;"><span style="font-family: verdana;"> </span></div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a" style="text-align: justify;"><div><span style="font-family: verdana;">Thank you, Mr. Shorter. </span></div><div><span style="font-family: verdana;"> <br /></span></div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a" style="text-align: justify;"><div><span style="font-family: verdana;">From Wayne Shorter’s website:</span></div><div><span style="font-family: verdana;"> </span></div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a" style="text-align: justify;"><div><span style="font-family: verdana;">“I think that music opens portals and doorways to unknown sectors that it takes courage to leap into. I always think that there’s a potential that we all have, and we can emerge, rise up to this potential, when necessary. We have to be fearless, courageous, and draw upon wisdom we don’t think we have.”</span></div></div> <br /><p></p>alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-84557229114026407112022-04-28T15:26:00.002-05:002022-04-28T15:28:24.085-05:00"All Blues - Chromatic Analysis" as part of Fragmentary Blue at the Tremaine Gallery<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi466dhpaFZdpiiYeZrGMRvFUVXyt4rN8FGGlU8853YXQn9AAb-W8Sw4D780AZnjzmM_5V5ZLY2Hx3RCJVxQgNn2u_2efPD6VxI9yCE8APByQgTJQUjMI8M8WhtNMIWk7eU_bI7lf1wplwUnyOxrIS1pBbClm6j-Ji0V8vhl8BkV8fWOBONfy8/s2359/all_blues_chromatic_analysis_alyce_santoro.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2359" data-original-width="2359" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi466dhpaFZdpiiYeZrGMRvFUVXyt4rN8FGGlU8853YXQn9AAb-W8Sw4D780AZnjzmM_5V5ZLY2Hx3RCJVxQgNn2u_2efPD6VxI9yCE8APByQgTJQUjMI8M8WhtNMIWk7eU_bI7lf1wplwUnyOxrIS1pBbClm6j-Ji0V8vhl8BkV8fWOBONfy8/w640-h640/all_blues_chromatic_analysis_alyce_santoro.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>All Blues, a Chromatic Analysis.</i> Gouache on 30" round birch panel. 2022<br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><p style="text-align: justify;"><span style="font-family: verdana; font-size: medium;"><i><a href="https://www.hotchkiss.org/post-page/~board/art-news/post/tremaine-art-gallery-reopens-to-the-public-with-fragmentary-blue-exhibit-may-15" target="_blank">Fragmentary Blue</a>,</i> an exhibition containing works by 17 artists, opens at the Hotchkiss School's </span><span style="font-family: verdana; font-size: medium;"><span style="font-family: verdana;">Tremaine Gallery </span>in western Connecticut on May 15, 2022. </span></p><p style="text-align: justify;"><span style="font-family: verdana; font-size: medium;">My offering, a chromatic analysis of the iconic Miles Davis tune "All Blues," is an extension of the ongoing <a href="https://www.alycesantoro.com/sound-visual/tonal-relativity/about-tonal-relativity" target="_blank">Tonal Relativity</a> project.</span></p><p style="text-align: justify;"><span style="font-family: verdana; font-size: medium;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: verdana;">Works in the Tonal Relativity series relate a musical scale based on twelve
equally-spaced tones to a color spectrum consisting of twelve equally-spaced
hues. </span></span></span></p><p style="text-align: justify;"><span style="font-family: verdana; font-size: medium;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: verdana;">While I have been using this concept to explore intervallic relationships as part of my music practice for some time, the use of this concept to
analyze tunes has been a more recent development.</span></span></span></p><p style="text-align: justify;"><span style="font-family: verdana; font-size: medium;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: verdana;"><style>@font-face
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{page:WordSectio</style>Miles Davis' <i>All Blues</i> — like many classic blues tunes — consists of a repeated 12-bar progression of tonal relationships.</span></span></span></p><p style="text-align: justify;"><span style="font-family: verdana; font-size: medium;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: verdana;"><span style="font-family: verdana;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">In my circular visualization,
the form begins at the 12 o'clock position with a mode (set of tones) relative to G (in this case,
represented by the blue-green shape at the center) for four bars. It shifts to C (red) for two bars, then back
to G for two. D (orange) for one bar is followed by Eb (yellow-orange)
for half a measure, then back to D for half a measure, then back to G
for two measures. </span></span></span></span></span></p><p style="text-align: justify;"><span style="font-family: verdana; font-size: medium;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: verdana;">Taking in the visual while listening is highly recommended!</span></span></span></p><p style="text-align: justify;"><span style="font-family: verdana;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: verdana;"><br /></span></span></span></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="322" src="https://www.youtube.com/embed/-488UORrfJ0" width="481" youtube-src-id="-488UORrfJ0"></iframe></div><br /><span style="font-family: verdana;"><br /></span><p></p><span style="font-family: verdana;">
</span><p class="MsoNormal" style="text-align: justify;">
</p><p class="MsoNormal"><a href="https://youtu.be/iLoMg3S96U4" target="_blank"><span style="font-family: verdana;"><b><i>All Blues,</i> with lyrics by Oscar Brown Jr.</b></span></a></p><span style="font-family: verdana;">
</span><p><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span style="font-family: verdana;">The sea, the sky, the you and I<br />
The sea, the sky, for you and I<br />
I'll know we're all blues<br />
All Shades, all hues, all blues<br />
Some blues are sad<br />
But some are glad,<br />
Dark-sad or bright-glad<br />
They're all blues<br />
All shades, all hues, all blues<br />
The color of colors<br />
The blues are more than a color<br />
They're a moan of pain<br />
A Taste of strife<br />
And a sad refrain<br />
A game which life is playin'<br />
Blues can be the livin' dues<br />
We're all a-payin'<br />
Yeah, Oh Lord<br />
In a rainbow<br />
A summer day that's fair<br />
A prayer is prayed<br />
A lament that's made<br />
<br />
Some shade of blues is there;<br />
Blue heaven's hue,<br />
They're all blues!<br />
<br />
Talkin' 'bout the sea and the sky<br />
And I'm talkin' 'bout you and I<br />
The sea, the sky<br />
For you and I<br />
And I know we're all blues<br />
All shades,<br />
All hues,<br />
All blues<br />
Sea, sky, you and I<br />
See the sky, you and I</span></span></p><p><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span style="font-family: verdana;"></span></span></p><p><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span style="font-family: verdana;"></span></span></p><p><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><br style="mso-special-character: line-break;" />
</span>
</p><p class="MsoNormal" style="text-align: justify;"><style>@font-face
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{page:WordSection1;}</style><span style="font-family: verdana;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-spacerun: yes;"></span></span></span></p><span style="font-family: verdana;">
</span><p class="MsoNormal" style="text-align: justify;">
</p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"><a href="https://digital.nepr.net/music/2014/01/20/martin-luther-king-jr-humanity-jazz/" target="_blank"><b><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Martin Luther King Jr. on Humanity and the Importance of Jazz</span></b></a></span></p><span style="font-family: verdana;">
</span><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><br /></span></span></p><span style="font-family: verdana;">
</span><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">God has brought many things out of oppression. He
has endowed his creatures with the capacity to create – and from this capacity
has flowed the sweet songs of sorrow and joy that have allowed man to cope with
his environment and many different situations.</span></span><span style="font-family: verdana;"></span><span style="font-family: verdana;">
</span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></span></p><span style="font-family: verdana;">
</span><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Jazz speaks for life. The Blues tell the story of
life’s difficulties, and if you think for a moment, you will realize that they
take the hardest realities of life and put them into music, only to come out
with some new hope or sense of triumph. This is triumphant music.</span></span></p><span style="font-family: verdana;">
</span><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></span></p><span style="font-family: verdana;">
</span><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Modern Jazz has continued in this tradition,
singing the songs of a more complicated urban existence. When life itself
offers no order and meaning, the musician creates an order and meaning from the
sounds of the earth which flow through his instrument.</span></span></p><span style="font-family: verdana;">
</span><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></span></p><span style="font-family: verdana;">
</span><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">It is no wonder that so much of the search for
identity among American Negroes was championed by Jazz musicians. Long before
the modern essayists and scholars wrote of “racial identity” as a problem for a
multi-racial world, musicians were returning to their roots to affirm that
which was stirring within their souls.</span></span></p><span style="font-family: verdana;">
</span><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></span></p><span style="font-family: verdana;">
</span><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Much of the power of our Freedom Movement in the
United States has come from this music. It has strengthened us with its sweet
rhythms when courage began to fail. It has calmed us with its rich harmonies
when spirits were down. And now, Jazz is exported to the world. For in the
particular struggle of the Negro in America there is something akin to the
universal struggle of modern man. Everybody has the Blues. Everybody longs for
meaning. Everybody needs to love and be loved. Everybody needs to clap hands
and be happy. Everybody longs for faith. In music, especially this broad
category called Jazz, there is a stepping-stone towards all of these. </span></span></p><span style="font-family: verdana;">
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{page:WordSection1;}</style></p><p> </p><p></p><p><br /> </p><p></p>alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-55523756074675576812021-06-21T11:09:00.000-05:002021-06-21T11:09:13.747-05:00Tonal Relativity: Studies at the Center for New Music<p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik4Zs-cebF0oklAfN9rZuygRu2wN654WzfCAEfhuuo53DKY6YbQxJEYozT61azVyw1JGhta7NU4VaA_FbS0fXhX19SLosvE3IUAPe_V_aiteccSTyXLQNMK8hq9noweyktoUM81A/s2048/Window_Gallery_CFNM.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1604" data-original-width="2048" height="502" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik4Zs-cebF0oklAfN9rZuygRu2wN654WzfCAEfhuuo53DKY6YbQxJEYozT61azVyw1JGhta7NU4VaA_FbS0fXhX19SLosvE3IUAPe_V_aiteccSTyXLQNMK8hq9noweyktoUM81A/w640-h502/Window_Gallery_CFNM.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: x-small;"><span style="font-family: verdana;">Tonal Relativity: Studies in the Window Gallery at the Center for New Music in San Francisco, CA</span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: x-small;"><span style="font-family: verdana;"> </span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: x-small;"><span style="font-family: verdana;"> </span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: x-small;"><span style="font-family: verdana;"> </span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: x-small;"><span style="font-family: verdana;"> </span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: x-small;"><span style="font-family: verdana;"> </span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: x-small;"><span style="font-family: verdana;"> </span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: x-small;"><span style="font-family: verdana;"> </span></span></td></tr></tbody></table><br /></p><p style="text-align: justify;"><span style="font-family: verdana;">For the month of April 2021, prints of the paintings created in early 2021 for the <a href="https://www.alycesantoro.com/sound-visual/tonal-relativity/about-tonal-relativity" target="_blank">Tonal Relativity project</a> were on display at the <a href="https://centerfornewmusic.com/exhibit/tonal-relativity-studies-by-alyce-santoro/" target="_blank">Center for New Music in San Francisco</a>. It was a pleasure to speak with curator David Samas about the project...that interview is <a href="https://youtu.be/spIRzSxUDaQ" target="_blank">archived on YouTube</a>. </span><br /></p>alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-54480452637336257582020-08-23T07:53:00.006-05:002020-08-24T20:14:29.705-05:00Radical Reimaginings <p class="MsoNormal" style="text-align: justify;"> </p><p class="MsoNormal" style="text-align: justify;"></p><p class="MsoNormal" style="text-align: justify;"></p><p class="MsoNormal" style="text-align: justify;"></p><p class="MsoNormal" style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJHr-I1VlymL3b43FONfTBis35i5at06CW5WuPbQOlDHZ3gmsfQCH2tZBEG2W3PhUauVIkOibz5Et0NEpa7H8NlXkpoN-hHH8E5xPIk1Qg60K13FBQMhM1Mg9wNlUC50a3nlBzTw/s1439/ascending_in_all_directions_collage.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1242" data-original-width="1439" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJHr-I1VlymL3b43FONfTBis35i5at06CW5WuPbQOlDHZ3gmsfQCH2tZBEG2W3PhUauVIkOibz5Et0NEpa7H8NlXkpoN-hHH8E5xPIk1Qg60K13FBQMhM1Mg9wNlUC50a3nlBzTw/s640/ascending_in_all_directions_collage.jpg" width="640" /></a><span style="font-size: small;"><i>Ascending in All Directions 1 (Starfish) and 2 (Octopus),</i> Vintage paper, gouache, ink on birch panel, 12"x12"x.8", 2020</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><br /></span></div><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"><a href="https://516museumfromhome.org/radical-reimagings/" target="_blank">Radical Reimaginings</a> is a virtual exhibition curated by 516 ARTS and the Kolaj Institute. On view from August 22 through December 31, 2020.</span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"> </span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"> My exhibition statement:</span><span style="font-family: verdana;"></span><span style="font-family: verdana;"> </span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"></span></p><blockquote>I want to reimagine the potential
of the imaginary. To<span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"> imagine is the first step toward realization—what once seemed impossible
can begin to take form in the mind’s eye (or ear as the case may be). </span>Collage
can function as a lens through which the <span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;">marvelous underpinnings
of the commonplace are revealed</span>. It can serve as a map or guide, a
catalyst, prescription or elixir for maker and viewer alike.<span style="font-family: verdana;"></span><span style="font-family: verdana;"></span></blockquote><p></p><span style="font-family: verdana;">
</span><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"><span style="font-family: verdana;"><span style="font-family: verdana;">As I was creating these pieces I
was literally thinking of them as lenses through which one could glimpse a more
egalitarian, cooperative, compassionate world. In reading the exhibition
catalog I noticed similar sentiments reiterated by many of the artists included
in the exhibition.</span></span></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"><span style="font-family: verdana;"><span style="font-family: verdana;"></span></span> </span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;">In earlier times and under different
horrific circumstances artists, writers, musicians, and others have used art
and music as part of efforts to endure absurd conditions. During and after
World War 1, Dadaists and Surrealists used collage, automatic writing, nonsense
poetry, and collaborative games such as Exquisite Corpse in response to the illogic
of war, colonization, and industrialization.</span><span style="font-family: verdana;"></span><span style="font-family: verdana;"> </span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"> </span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;">In music, the frameworks for
improvisation that came to be known as blues and jazz emerged in response to
slavery, oppression, discrimination, and exploitation.</span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"></span><span style="font-family: verdana;"> </span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;">These art forms went much further
than serving as documents of shared suffering…they created community, provided
a forum for communication, encouraged collective creativity…they offered a sense
of shared purpose and meaning…in the midst of despair, these practices generated
the very conditions required to transform the circumstances at hand.</span><span style="font-family: verdana;"></span><span style="font-family: verdana;"> </span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"> </span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;">“The possible” is a carefully calculated convention.
But when the prevailing possible so clearly serves the few at the expense of
the many, it is up to those undaunted by perceived limitations to intervene in
its radical reimagining.</span><span style="font-family: verdana;"></span><span style="font-family: verdana;"> </span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"> </span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;">To cultivate and maintain the
ability to envision parallel or alternate possible presents is a subversive
act. The scale of current environmental, political, and social challenges would
indicate that the possible is no longer insufficient, if it ever was…the impossible
is the only viable path forward.</span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"> </span></p><p class="MsoNormal" style="text-align: justify;"></p><p class="MsoNormal" style="text-align: justify;"></p><p class="MsoNormal" style="text-align: justify;"></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: verdana;"></span><span style="font-family: verdana;">Equipped with whatever materials
one may find at hand, an openness to chance, and a spirit of experimentation,
collage is one route to its realization. </span></p>
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{page:WordSection1;}</style></p>alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-36469016703599759962020-08-09T10:23:00.002-05:002020-08-09T11:03:51.653-05:00Avant-Garde as Dynamic Participatory Occasion<p style="text-align: justify;"></p><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVyV6exO3bPTL1EtjPQZ2WxWdGK4jgHNJyhSHjXUXLKIblQ82XNSUh9Cq9dgsF9NJnnxf4wGd971m2PxBCVEeocy5XzzTGPN_icGwOx_arnWISLDKs_SuEC0tFqPEYeW_pEDfafA/s2048/Intricate_Ensemble_Cover_lg.jpg" style="display: block; padding: 1em 0px;"><img border="0" data-original-height="2048" data-original-width="1911" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVyV6exO3bPTL1EtjPQZ2WxWdGK4jgHNJyhSHjXUXLKIblQ82XNSUh9Cq9dgsF9NJnnxf4wGd971m2PxBCVEeocy5XzzTGPN_icGwOx_arnWISLDKs_SuEC0tFqPEYeW_pEDfafA/s640/Intricate_Ensemble_Cover_lg.jpg" /></a></div><p></p><p style="text-align: justify;">The following text is Chapter 6 of "An Intricate Ensemble: The Art-Science of an Ecological Imaginary" published in January 2020, in partial fulfillment of Rhode Island School of Design's Master of Arts program in <a href="https://liberalartsmasters.risd.edu/ncss/" target="_blank">Nature-Culture-Sustainability Studies</a>. The paper is available in its entirety at <a href="https://digitalcommons.risd.edu/masterstheses/415/" target="_blank">RISD Digital Commons</a>. The abstract is listed in the <a href="https://collections.pomona.edu/labs/record/?pdb=4051" target="_blank">Leonardo Abstract Service (LABS) Database</a>. <br /></p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;"> </span></b></p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;"> </span></b></p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;">6.
CONCLUSION</span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span face="" style="font-family: "calibri", sans-serif; font-size: 16pt; mso-fareast-font-family: Calibri;"> </span></b></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">At 5:30am on July 16, 1945, at the Alamogordo
Bombing Range (a place that had been known by Spanish conquistadores as<i>
Jornada del Muerto</i>, the route of the dead man<a href="#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span></span></span></a>)
in the New Mexican desert, the Manhattan Project completed its Trinity Test,
the detonation of an 18.6 kiloton plutonium bomb.<a href="#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[2]</span></span></span></span></a>
As he watched the explosion, Dr. Robert J. Oppenheimer, director of the
project, famously recalled a line from Hindu holy book the <i>Bhagavad-Gita</i>:
“I am become death, the destroyer of worlds.”<a href="#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[3]</span></span></span></span></a>
If it had not been widely apparent prior to this moment, it certainly became
known immediately afterwards: <i>Homo sapiens</i>—“wise man”—had acquired the
power, previously ascribed only to gods and other supreme forces, to annihilate
itself. </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">In addition to the nuclear threat, most of Earth’s
human inhabitants now well understand that many other reckless activities
engaged in by some threaten the existence of all. The entire biosphere is being
catastrophically altered by a few hundred years’ worth of exploitative
practices controlled by the wealthiest and most powerful, the majority of whom
are now loathe to abandon the profit motive in favor of more egalitarian, less
oppressive systems of social and economic organization. People around the world
in all sectors of society are currently engaged in resistance to inhumane and
ecocidal forces.<a href="#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[4]</span></span></span></span></a>
The angst inherent in the Dadaist reaction to the senselessness of the
post-World War I era seems all the more sensible in light of atrocities
currently unfolding.</span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">In fact, the point made by the Romantic Naturalists
and Surrealists—that an awareness of the “marvelous” aspects of existence
serves a vital social function—remains highly relevant to the times at hand:
there is still much to be learned from those who never forgot existence is
intra-active, and from those who refused, and continue to refuse, to submit to
reductive thinking. </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">For the oppressed, to cultivate and maintain an
ability to imagine parallel or alternate possible presents remains a subversive
act. René Ménil wrote:</span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="margin-left: 0.5in; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">The land of the marvelous is the most stunning
revenge we have…Man sees the intolerable limits of everyday life fall from him
like so much tawdry finery. Everything really becomes possible for him. He can
transgress his spatial boundaries: he transforms himself into a tree, an
animal, a peaceful lake, so discovering precious secrets as in a game. He
overcomes space by instantly crossing infinite distances. He holds past and
future, space and time, life and death in his hands…(Ménil 1941 in Fijalkowski
and Richardson 1996,91).</span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">In light of the current state of the world, Ménil’s
words may seem almost excruciatingly optimistic. But giving all power to the
imagination <i>(l’imagination au pouvoir)</i> may remain among the most potent
and accessible tactics available. As philosopher Herbert Marcuse stated
(somewhat paradoxically), “Art cannot change the world, but it can contribute
to changing the consciousness and drives of the men and women who could change
the world” (Marcuse 1977 [1979],32).</span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">To reiterate: this thesis is intended neither to
assert that art can solve all problems, nor to claim modern science is
inherently flawed. From a position of constructive critique, it has been my
purpose, rather:</span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">1. <i>To establish creative practices as essential
forms of knowledge production in and of themselves.</i> I am suggesting
artistic techniques—ones that arouse the imagination, senses, and emotions—can
be effectively applied in concert with science’s rigorous and dispassionate
methods. Situations that tend to treat art as an embellishment capable only of
serving in an illustrative or support capacity, or that otherwise use art to
uncritically reinforce the authority of a science which fails to take
humanitarian and ecological concerns foremost into account, are, I maintain,
less constructive.<a href="#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[5]</span></span></span></span></a></span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">2. <i>To </i></span><i><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;">invite science to
critically examine a paradox inherent within itself.</span></i><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;">
Science’s revered objective stance—undeniably useful as a mindset for the
purposes of research—is neither a scientifically demonstrable condition of
reality, nor is it necessarily constructive when applied in a non-scientific
(social) context. I believe science, in its privileged position as humanity’s
preeminent form of knowledge production, reinforces a “detached” attitude that
runs the perilous risk of preventing the most destructive segment of humanity
from understanding itself (ourselves) as interconnected with one another and
the biosphere. </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">3.<i> To suggest practices which expand the
imagination are valuable not only to those in the arts, but to those in the
sciences, and to assert that a sound understanding of science can be of great
practical use to those in creative fields. </i></span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><i><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></i></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">Umberto Eco describes how “contemporary art can be
seen as an epistemological metaphor”:</span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="margin-left: 0.5in; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">What we find in art is less the expression of new
scientific concepts than the negation of old assumptions. While science, today,
limits itself to suggesting a probable structure of things, art tries to give
us a possible image of this new world, an image that our sensibility has not
yet been able to formulate, since it always lags a few steps behind
intelligence— indeed, so much so that we still say that the sun ‘rises’ when
for three centuries we have known that it does not budge (Eco 1989,90). </span></p>
<p class="MsoNormal" style="margin-left: 0.5in; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="margin-left: 0.5in; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">Ultimately, I am calling for authentic, critical
engagement of the methods of science in tandem with those of the arts. By
bringing Goethe’s delicate empiricism<i>,</i> Schelling’s <i>Naturephilosophie</i>,
Dadaist and Surrealist natural history, and the efforts of musical improvisors
into dialog with the contemporary environmental humanities, I am pointing
toward a mode of thought and action that engages the seemingly paradoxical yet
complementary mindsets of art and science. I believe vacillating between—or the
simultaneous holding of—states of objectivity and subjectivity, individuality
and collectivity, prescription and improvisation can be of use to the
collaborative formation of a constructive image of <i>oikos</i>, our shared
home, regardless of one’s primary discipline. </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">Alexander von Humboldt expressed similar sentiments
when he stated reason and imagination must be considered equally:</span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="margin-left: 0.5in; text-align: justify;"><span face="" style="font-family: "calibri light", sans-serif; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">It would be a
denial of the dignity of human nature and the relative importance of the
faculties with which we are endowed, were we to condemn at one time austere
reason engaged in investigating causes and their mutual connections, and at
another that exercise of the imagination which prompts and excites discoveries
by its creative powers (Alexander von Humboldt 1858,78).</span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">As the Surrealists understood, such dialectical
practices are only useful in relation to the revolutionary project:<span style="mso-spacerun: yes;"> </span></span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"><span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="margin-left: 0.5in; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">It is not enough…for man to become the instrument of
his unconscious, for he should occupy himself with finding a concrete solution
to the problems of existence. Surreality is not to be sought solely on ‘the
other side,’ but should become integrated with the attributes of consciousness
in order to recognize this harmony of being that will finally reconcile man to
himself (Duplessis 1950 [1962],109).</span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;">And
the revolutionary project at hand is monumental—for life on Earth to continue
to thrive, the Anthropocentric model of the universe must rapidly go the way of
the geocentric one. What practices have the potential to aid humanity in coming
to see itself as part of an intricate ensemble with one another and the
biosphere? What might be the most effective and efficient methods of restoring
a sense of the marvelous, and how can they be implemented? </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">Can an avant-garde effort succeed now where similar
past movements failed to take hold? I argue “success,” as a constantly-moving
target, is an unfounded concern; there is never a fixed point at which victory
is declared and all struggles cease. Movements inspire and reinforce one
another, reconfigure, reorganize, and re-emerge in new forms, as we have seen
in the twenty-first century with the Arab Spring, Occupy, the Indignados,
#BlackLivesMatter, Standing Rock, #MeToo, and many other social, environmental,
and political uprisings around the world. According to a 1907 definition, <i>avant-garde</i>
started out as a military term referring to the “advance guard” or the
“vanguard”:</span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="margin-left: 0.5in; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">The
<span class="foreign"><i>avant-garde générale</i></span>, <span class="foreign"><i>avant-garde
stratégique</i></span>, or <span class="foreign"><i>avant-garde d'armée</i></span>
is a strong force (one, two, or three army corps) pushed out a day's march to
the front, immediately behind the cavalry screen. Its mission is, vigorously to
engage the enemy wherever he is found, and, by binding him, to ensure liberty
of action in time and space for the main army.<a href="#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[6]</span></span></span></span></a></span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">Terms like “avant-garde,” “queer,” “utopian,” or
“surreal,” by definition, refer to things that are out of the ordinary, ahead
of their time, or are unexpected, rare, or uncommon in occurrence. “Queer” is
defined as “strange, peculiar, eccentric”<a href="#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[7]</span></span></span></span></a>
and “utopia” literally means “no place”.<a href="#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[8]</span></span></span></span></a>
But for those who select these terms, the subtext is that what’s considered
normal is in need of adjustment.<span style="mso-spacerun: yes;"> </span>When it
is widely taken for granted that quantum particles can leap from one place to
another without having been anywhere in between,<a href="#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[9]</span></span></span></span></a>
those particles will cease to be “queer,” and some other phenomenon may take
their place in the pantheon of queerness. </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">Barad poetically describes “queer” as:</span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="margin-left: 0.5in; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">…itself a lively, mutating organism, a desiring
radical openness, an edgy protean differentiating multiplicity, an agential
dis/continuity, an enfolded reiteratively materializing promiscuously inventive
spatiotemporality (Barad in Kleinman 2012,81).</span></p>
<p class="MsoNormal" style="margin-left: 0.5in; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="margin-left: 0.5in; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">Ishmael proclaims in the mid-nineteenth century
novel <i>Moby Dick,</i> “Damn me, but all things are queer, come to think of ’em,”
(Melville 1902,109). When everything is queer, nothing is. And then something
is again. And so the cycle goes; avant-gardeness, queerness, and utopianism are
never-ending becomings. </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;">It is
my strong impression that the cultivation of an intricate ensemble—in any and
every form this may take—is an appropriate and necessary avant-garde with which
to confront the roaring (boiling, wailing, failing, flailing?) 2020s.<span style="mso-bidi-font-weight: bold;"> </span>Practices and frameworks that
emphasize and enhance collaboration, spontaneity, and care—<i>mad love</i>—in
defying convention, contain the potential to subvert it. <span style="mso-bidi-font-weight: bold;">Not acting (in-activism) is not an option. </span></span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;"><span style="mso-bidi-font-weight: bold;"> </span></span></p>
<p class="MsoNormal" style="margin-left: 0.5in; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;">If
[aesthetic vision] arouses us in any practical way, it is because it finds us
ready, one way or another, to act. Not the works of art, therefore, but the
[person themselves] who carries in [their] being the potential of rebellion and
revolution (Fallico 1962,131).</span></p>
<p class="MsoNormal" style="margin-left: 0.5in; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="margin-left: 0.5in; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">The impossible is realized every time</span><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;"> a
“perfect coalescence of feeling with image and image with feeling” occurs in an
act of creativity; we can “know what the possible feels like because we know
ourselves to be its creators” (Fallico 1962,73). </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;"> </span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-weight: bold; mso-fareast-font-family: Calibri;">This is a dynamic participatory occasion.<a href="#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[10]</span></span></span></span></a></span></p>
<div style="mso-element: footnote-list;"><br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[1]</span></span></span></span></span></a><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">According
to page 28 of Marc Simmons’ 1986 book <i>Taos to</i> <i>Tome: True Tales of the
Hispanic New Mexico</i>.</span></p>
</div>
<div id="ftn2" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[2]</span></span></span></span></span></a><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">According
to the US Department of Energy:</span></p>
<p class="MsoFootnoteText"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span></span><a href="https://www.osti.gov/opennet/manhattan-project-history/Events/1945/trinity.htm"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">https://www.osti.gov/opennet/manhattan-project-history/Events/1945/trinity.htm</span></a><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">.
Accessed November 18, 2019.</span></p>
</div>
<div id="ftn3" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[3]</span></span></span></span></span></a><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">
Video of Oppenheimer recounting the moment of the Trinity Test: </span><a href="https://youtu.be/lb13ynu3Iac"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">https://youtu.be/lb13ynu3Iac</span></a><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">.
</span></p>
<p class="MsoFootnoteText"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">Accessed November 18, 2019.</span></p>
</div>
<div id="ftn4" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[4]</span></span></span></span></span></a><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">
</span><span face="" style="font-family: "calibri", sans-serif; mso-fareast-font-family: Calibri;">As of this writing, uprisings are underway in Hong Kong, Lebanon, and
Chile, to name but a few hotspots.</span></p>
</div>
<div id="ftn5" style="mso-element: footnote;">
<p class="MsoNormal"><a href="#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 10pt; mso-bidi-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[5]</span></span></span></span></span></a><span face="" style="font-family: "calibri", sans-serif; font-size: 10pt; mso-bidi-font-family: "Times New Roman";"> </span><span face="" style="font-family: "calibri", sans-serif; font-size: 10pt; mso-fareast-font-family: Calibri;">At the same time, the artist should not feel
obliged to force their works into a scientific idiom (i.e.: works need not have
a tangible, quantifiable, or repeatable component) in order to be accepted as
valid by either practitioners or audiences. Science is science; art does not
need to be science also. </span></p>
<p class="MsoFootnoteText"> </p>
</div>
<div id="ftn6" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[6]</span></span></span></span></span></a><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">
From <i>Sadowa</i>, an account of the 1866 war between Prussia and Austria
written by General Henri Bonnal and Charles Francis Atkinson referenced at Online
Etymology Dictionary: </span><a href="https://www.etymonline.com/word/avant-garde"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">https://www.etymonline.com/word/avant-garde</span></a><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">.
November 19, 2019.</span></p>
</div>
<div id="ftn7" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[7]</span></span></span></span></span></a><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">
Definition of “queer” from Online Etymology Dictionary: </span><a href="https://www.etymonline.com/word/queer"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">https://www.etymonline.com/word/queer</span></a><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">.
Accessed November 18, 2019.</span></p>
</div>
<div id="ftn8" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[8]</span></span></span></span></span></a><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">
Definition of “utopia” from Online Etymology Dictionary: Utopia </span><a href="https://www.etymonline.com/word/utopia"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">https://www.etymonline.com/word/utopia</span></a><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">.
Accessed November 18, 2019</span></p>
</div>
<div id="ftn9" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[9]</span></span></span></span></span></a><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";">
Karen Barad on quantum leaps: </span></p>
<p class="MsoFootnoteText" style="margin-left: 0.5in;"><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: Helvetica;">Quantum leaps aren’t jumps
(large or small) through space and time. An electron that “leaps” from one
orbital to another does not travel along some continuous trajectory from
here-now to there-then. Indeed, at no time does the electron occupy any spatial
point in between the two orbitals. But this is not what makes this event really
queer. What makes a quantum leap unlike any other is that there is no
determinate answer to the question of where and when they happen. The point is
that it is the intra-play of continuity and discontinuity, determinacy and
indeterminacy, possibility and impossibility that constitutes the differential
spacetimematterings of the world. Or to put it another way, if the
indeterminate nature of existence by its nature teeters on the cusp of
stability, of determinacy and indeterminacy, of possibility and impossibility,
then the dynamic relationality between continuity and discontinuity is crucial
to the open-ended becoming of the world which resists acausality as much as
determinism (Barad 2007,182).</span><span face="" style="font-family: "calibri", sans-serif; mso-bidi-font-family: "Times New Roman";"></span></p>
</div>
<div id="ftn10" style="mso-element: footnote;">
<p class="MsoNormal"><a href="#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 10pt; mso-bidi-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face="" style="font-family: "calibri", sans-serif; font-size: 10pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[10]</span></span></span></span></span></a><span face="" style="font-family: "calibri", sans-serif; font-size: 10pt; mso-bidi-font-family: "Times New Roman";"> This is the last line of my 2013 “Manifesto for the Obvious
International”: </span></p>
<p class="MsoNormal"><a href="http://alycesantoro.com/obvious_international.html"><span face="" style="font-family: "calibri", sans-serif; font-size: 10pt; mso-fareast-font-family: Calibri;">http://alycesantoro.com/obvious_international.html</span></a><span face="" style="font-family: "calibri", sans-serif; font-size: 10pt; mso-fareast-font-family: Calibri;">. Accessed November 18, 2019.</span></p>
<p class="MsoFootnoteText"> </p>
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{page:WordSection1;}</style></p>alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-31392702106898001482020-06-24T07:04:00.017-05:002021-06-26T10:17:36.327-05:00Frederic Rzewski on the Political Use of Music 1968/2015<div style="text-align: justify;"><div style="text-align: justify;"><span style="font-family: verdana;"><span style="font-size: small;">The text below was included in a 1968 edition of SOURCE: Music of the Avant Garde magazine as part of an interview with composers about politics and music. Twenty composers were asked the same single question: <i>Have you, or has anyone, ever used your music for political or social ends?</i> The complete set of interviews, plus a 2015 follow-up interview with 18 additional composers (20 including two — Rzewski and Terry Riley — who had been interviewed in 1968), can be found <a href="https://www.alycesantoro.com/writing/politics-of-sound-art" target="_blank">on my website</a>. </span><br /><span style="font-size: small;"> </span><br /><br /><span style="font-size: small;"><i>Statement from program notes for Festival Internationale del Teatro Universitario, Parma</i>, March 23, 1968 </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"> In times of emergency men find it possible to perform operations necessary to survival without bureaucracy, police, money, and the other obstacles which normally obstruct the way to efficient behavior. In such moments the organism, acted upon by forces beyond its control, is able to act, to respond to reality in an efficient manner. It is forced to move, to create space for itself, in order to survive. When confronted with the possibility of destruction, it discovers the alternative of creation. </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"> Seldom are men able to reap the fruits offered by such moments of crisis. The memory of the higher state fades as suddenly as the danger which brought it forth appeared. The greater part of the mind, called into action in moments of threat to physical survival, is content to relapse into a state of slumbering semi-awareness in the interim periods of tranquility. It re-acts the roles which it invented in moments of creativity, applying them to a new reality which the creative act caused to come forth. It drifts into dark, uncharted areas of the past, until tempestuous forces blow it back into the blinding light of now. </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"> The organism is perpetually involved in a drunken balancing act, upon the high wire of the present, and over the abyss of the past, into which it rarely dares to glance. In this precarious enterprise, it extends itself uncontrollably, until some more or less painful contact with the force of gravity forces it to move creatively. The accuracy of this movement, the measure of its creativity, is determined by the awareness-level of the organism, the degree of its sensitivity to danger and salvation. </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"> Normally human beings are open to the joyous pain of creation only in moments of immediate threat to individual survival. Civilization produces forms of behavior conditioned by such limited sensitivity to the larger organic process, and excludes others which tend to expand such sensitivity. In fact, the economy of minimum survival-efficiency on the level of the individual organism, which civilization by its competitive games systematically cultivates, is not sufficient to ensure survival. It results in the cancerous growth of the total life process. </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"> In the last sixty years, 100,000,000 human beings have been murdered by other human beings. This number exceeds the sum of all who have been known to live and die in the course of human history up to that time. In order to survive at all, I must do more than merely survive. I must create. </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"> To create means to be here and now: to be responsible to reality on the high highwire of the present. </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"> To be responsible means to be able to communicate the presence of danger to others. </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"> An artist is a person who lays claim to a heightened state of perception. His perceptions are acts of communication dictated by a sense of responsibility to the life process. He creates the sense of emergency in a state of tranquility, where there is no threat to individual survival, and where the spirit is free to e-merge, to extend its dimensions, to create space. </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"> It is necessary now to create a new form of communication, through which human sensitivities can be awakened to the presence of danger on the highest level, and to the necessity for creation in order to avoid it efficiently. This form is not telephones, television, newspapers; nor is it theater, music, painting…As Baudelaire said, true civilization is not gas, electricity, or machines, but rather the diminution of the traces of original sin. </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"> The most direct and efficient form of communication is dialog. Dialog in its highest form is creation out of nothing: the only true creation. </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"> An art form which aims for highest efficiency in times of highest urgency must be based on dialog. It must reject the possibility of the impartial observer, present but not involved in the communication process, as contradictory to the idea of communication itself. </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"> Such an art form must be concerned with creation out of nothing. Its decisions cannot be governed by structures and formulas retained from moments of past inspiration, which it is content to re-arrange and re-interpret. They must be born from marrying the moment, the creative moment in which the organism approaches reality so immediately that it is blessed with the perception of the highest possible future, which is its natural course toward joy. Such an art form must be improvised, free to move in the present without burdening itself with the dead weight of the past. </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"> Improvisation is the art of creating out of nothing: a lost art form. It is necessary to rediscover this form and re-invent its rules, now. It is necessary to embark upon a disciplined search for a new harmony. Harmony is a process in which speaker and listener agree to communicate. The responsibility for undertaking this voyage of discovery is everyone’s who may come into contact with these words. </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"> – Frederic Rzewski, SOURCE: Music of the Avant Garde Volume 6, page 91, July 1968 </span></span></div><div style="text-align: justify;"><span style="font-family: verdana;"><span style="font-size: small;"> </span></span></div><div style="text-align: justify;"><span style="font-family: verdana;"><span style="font-size: small;"> </span></span><br /><span style="font-family: verdana;"></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsAzghagrWFePYYFa4O_QsSuhwSI3SQNU9fQavMhiO9cXinRyzjI3DZW1zW7PjCXWz4bnieZ919SmS-4QtUiC-xVEbcaDoZxfgA0Li3703ITT2VfipsKSWXRYLNyBXvzqBHb850w/s500/rzewski_carter.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsAzghagrWFePYYFa4O_QsSuhwSI3SQNU9fQavMhiO9cXinRyzjI3DZW1zW7PjCXWz4bnieZ919SmS-4QtUiC-xVEbcaDoZxfgA0Li3703ITT2VfipsKSWXRYLNyBXvzqBHb850w/s16000/rzewski_carter.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="http://www.paristransatlantic.com/magazine/interviews/rzewski.html" target="_blank"><span style="font-size: x-small;"><span style="font-family: verdana;">Frederic Rzewski with Elliot Carter in Berlin, 1965</span></span></a><br /></td></tr></tbody></table><br /><span style="font-family: verdana;"><span style="font-size: small;"></span></span><br /><span style="font-family: verdana;"></span><br /><span style="font-family: verdana;"></span><br /><span style="font-family: verdana;"><span style="font-size: small;">Follow-up interview for <a href="https://www.blogger.com/#">Leonardo Music Journal</a> in 2015:</span><br /><br /><span style="font-size: small;">Have you, or has anyone, ever used your music for political or social ends? </span><br /><br /><span style="font-size: small;">The political use of music (there is no other use for it, really, except that it can make you feel good): Music is used all the time for political purposes. What is significantly absent is the inverse: some kind of musical influence on politics. Wagner, you might say (but it really isn't clear, in this case, who is influencing whom). One could imagine a politics in which music was not merely "used", but was a basic element: a "jazz politics", for example. A politics in which art, music, and poetry were given priority because they brought enormous savings to the economy, as spiritual activities which reduced violence and hastened the coming to adulthood of the species.</span><br /><br /><span style="font-size: small;">But it is true that, before this can happen, there must be a fundamental change in the common perception of what is necessary for the survival of the species: individuals, or communities?</span><br /><br /><span style="font-size: small;">Music must become conscious of its powers. At the moment it is roving amok, not knowing where it is going and why. If music does find a direction, it could have enormous consequences. Already its power to influence behavior has been demonstrated in history: it played a huge role in influencing public opinion towards the Vietnam War, for example. It seems strangely absent now, when war threatens to become the permanent state of the society. There is nothing now to compare with Dylan's "Masters of War".</span><br /><br /><span style="font-size: small;">Music may or may not be able to change the world. Probably not. But it would be nice if it could. So I think we musicians should act as if it could, even though we know it probably won't. We should not act as if we didn't care. Because, in fact, we do care. Music could really have a significant influence on the course taken by humanity in the next few decades. We are really are living through a critical period in our evolution; and, like it or not, the inevitable revolution has already begun. Will it be musical? Or will it be like all the others? (As Mark Twain remarked: "Prophecy is really hard, especially when it's about the future.") But there are grounds for optimism, since the stakes are so high and the dangers so great. Therefore (with Gramsci): pessimism in thought, optimism in action. The revolution will not be televised, but it might well be musical.</span><br /><br /><span style="font-size: small;">As for improvisation: after fifty years of blather, we have finally come to realize that, when we talk about it, we don't really know what we are talking about, any more than we did fifty years ago. We improvise when we cross the street, and although it is necessary for survival, it is not sufficient to change the world. We can't cross the street without a plan either. We need both of these things; and that's precisely what we don't have.</span><br /><br /><span style="font-size: small;">(The last time I saw Elliott Carter, just a few months before his death, we talked, as we always did when we met, of serious issues facing the world. At one point he said, "The real problem in this country is that there is no communist party." Carter was not a communist, but he was a highly cultured man, and in this case he was right on the button.) </span><br /><br /><span style="font-size: small;">Musicians, like most artists, are frequently refuseniks, in whatever political system. But equally frequently they are collaborators, all too ready to collaborate with the system that feeds them. Some become famous and use their fame to exert political influence, sometimes admirable, sometimes questionable. Others remain in obscurity, although their work is no less important. The great composers are not solitary geniuses creating out of nothing, but simply those who put their names on the collective products of traditions which may be hundreds, even thousands of years old.</span><br /></span></div></div><span style="font-family: verdana;"><span style="font-size: small;"><br />The way musicians relate to each other in the production of music can be a model for the way people relate to each other in any social situation. In this way, music is the revolution. The more we can develop it to a higher stage, the more we will be helping the revolutionary cause. As for what the final consequences may be, refer to Mark Twain.</span></span><div style="text-align: justify;"><p align="justify"><font size="3"><span style="font-family: "verdana";"><br /></span></font><br /></p></div>
alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-75038358242049227672020-05-18T08:25:00.022-05:002020-05-22T13:07:25.594-05:00"Vexations" in the Era of COVID-19, On the Occassion of Erik Satie's 154th Birthday<p style="-webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: "helvetica"; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjThIYQL6uN7E0QA616-orvuid-GSmwOWGc8TEqv3aetyDgY-5AjBrF2CxZkWA9ICHyGMbO4XGtPAcuYP077tUK-fUHApQRdbz1uDB9c6Fn4D4BhFopCZXp7agvdG6bJOsGNGsz0A/" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjThIYQL6uN7E0QA616-orvuid-GSmwOWGc8TEqv3aetyDgY-5AjBrF2CxZkWA9ICHyGMbO4XGtPAcuYP077tUK-fUHApQRdbz1uDB9c6Fn4D4BhFopCZXp7agvdG6bJOsGNGsz0A/w640-h480/IMG_7022+2.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://vimeo.com/421638877" target="_blank"><span style="font-family: verdana;"><font size="2">VIDEO: </font></span></a><i><a href="https://vimeo.com/421638877" target="_blank"><span style="font-family: verdana;"><font size="2">Satie's Vexations Arranged for C Flute and Alto Flute, Digitally Slowed 25%</font></span><br /></a></i></td></tr></tbody></table><font face="verdana"><br /></font><p></p><div style="text-align: justify;"><font size="2"><span style="font-family: "verdana";">By defying the logic of social and musical conventions within which he was steeped, Erik Satie apparently intended his short piece "Vexations" to nudge both player and listener into new ways of thinking.</span></font><br /><font size="2"><span style="font-family: "verdana";"></span></font><br /><font size="2"><span style="font-family: "verdana";">Unlike the constant state of vexation many of us are currently experiencing as a result of the grim state of the world, Satie's contained, self-inflicted version contains an element of almost slapstick humor...a rug is pulled out from under us again and again...expectation is questioned and revealed to have been an absurdity...the mind finds satisfaction in being teased, and in the challenge to find alternatives.</span></font><br /><font size="2"><span style="font-family: "verdana";"></span></font><br /><font size="2"><span style="font-family: "verdana";">In <i>Silence: Lectures and Writings by John Cage</i>, the composer writes:</span></font><br /><font size="2"><span style="font-family: "verdana";"></span></font><font size="2"><span style="font-family: "verdana";"></span></font><font size="2"><span style="font-family: "verdana";"><blockquote>In Zen they say: If something is boring after two minutes, try it for four. If still boring, try it for eight, sixteen, thirty-two, and so on. Eventually one discovers it's not boring at all, but very interesting.</blockquote></span></font><font size="2"><span style="font-family: "verdana";"></span></font><font size="2"><span style="font-family: "verdana";">In this instance, we might try replacing the word "boring" with "vexing." Vexations was discovered posthumously, so we may never know what exactly Satie had in mind when he included the inscription:</span></font><br /><font size="2"><span style="font-family: "verdana";"><blockquote>In order to play the theme 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities. </blockquote></span></font></div><blockquote><div style="text-align: justify;"><font size="2"><span style="font-family: "verdana";">(Pour se jouer 840 fois de suite ce motif, il sera bon de se préparer au préalable, et dans le plus grand silence, par des immobilités sérieuses). </span></font></div></blockquote><div style="text-align: justify;"><font size="2"><span style="font-family: "verdana";">While, due to circumstances beyond our control, many of us may have become inadvertently prepared, perhaps the point is that no single one of us needs to play (or listen to) all 840 repetitions alone...</span></font><br /><font size="2"><span style="font-family: "verdana";"></span></font><br /><font size="2"><span style="font-family: "verdana";">On the occasion of the 154th anniversary of Satie's birth (May 17, 1866), musicians around the world have taken on the challenge to realize Vexations collaboratively. My contribution to <a href="https://satievexations.art/live-stream/" target="_blank">Lockdown Vexations</a>, organized by multi-media artist Kathy Hinde, is <a href="https://vimeo.com/421638877" target="_blank">an arrangement for alto flute and C flute</a>.</span></font></div><div style="text-align: justify;"><font size="2"><span style="font-family: "verdana";"></span></font><br /><font size="2"><span style="font-family: "verdana";">Inspiration for the video comes from Satie's 1912 "Memoirs of an Amnesiac":</span></font><br /><font size="2"><span style="font-family: "verdana";"></span></font><font size="2"><span style="font-family: "verdana";"><blockquote>My only nourishment consists of food that is white: eggs, sugar, shredded bones, the fat of dead animals, veal, salt, coconuts, chicken cooked in white water, moldy fruit, rice, turnips, sausages in camphor, pastry, cheese (white varieties), cotton salad, and certain kinds of fish (without their skin). I boil my wine and drink it cold mixed with the juice of the Fuchsia. I have a good appetite, but never talk when eating for fear of strangling myself.</blockquote></span></font><font size="2"><span style="font-family: "verdana";"></span></font></div>alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-28762583019871781292020-04-13T12:53:00.004-05:002020-04-14T08:30:52.435-05:00An Anti-Virus<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI_jxTx-zfRIriPSr-4GjyQyHGDiCHv973TeEF9F3Y7OurUdsq2xQGQRCPXeQLBGaw3KnNUXjSb2i8XQ5UJDw9qOS3R1lhTGwUUmzAQt8A0LKzmV5F2A1nNeQEMy8m1PA0hNzdLg/s1600/antivirus.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="737" data-original-width="810" height="580" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI_jxTx-zfRIriPSr-4GjyQyHGDiCHv973TeEF9F3Y7OurUdsq2xQGQRCPXeQLBGaw3KnNUXjSb2i8XQ5UJDw9qOS3R1lhTGwUUmzAQt8A0LKzmV5F2A1nNeQEMy8m1PA0hNzdLg/s640/antivirus.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>An Anti-Virus </i><a href="https://www.instagram.com/p/B-7jgVYF5rN/" target="_blank">(video)</a>. Tracing paper, images cut from February and March 2020 copies of Sunday New York Times</td></tr>
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<span style="font-family: "verdana" , sans-serif;">COVID-19 has quickly and
profoundly illustrated the extent to which environments, livelihoods, and even
microbiomes are globally-entangled and mutually-dependent; the health of one hinges,
directly or indirectly, on the health of all.</span><br />
<br />
<span style="font-family: "verdana" , sans-serif;">Symbiosis is a term used in
biology to describe cooperation between different species for shared benefit—lichens,
a composite of algae and fungus, for example. Certain species of <a href="https://rai.onlinelibrary.wiley.com/doi/full/10.1111/1467-9655.12286" target="_blank">figs, wasps, and the parasites living within wasp guts</a> are mutually dependent; each can exist
only in relation to the others.<a href="https://www.blogger.com/blogger.g?blogID=15388995#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""></a></span><span style="font-family: "verdana" , sans-serif;"> </span><br />
<br />
<span style="font-family: "verdana" , sans-serif;">While the microorganisms that dwell
within humans are not necessarily specific to <i>Homo sapiens</i>, they are so abundant
that approximately <a href="https://doi.org/10.1371/journal.pbio.2005358" target="_blank">half “our” genetic material does not belong to “us,”</a> but to microbes
that play vital roles in nutrient absorption, immunity, and cognitive function.<a href="https://www.blogger.com/blogger.g?blogID=15388995#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""></a> Microbiology
reveals that human beings, at the same time that we are exquisitely unique
individuals, we are also dynamic meta-organisms, cooperative communities teaming
with life. <span style="mso-spacerun: yes;"></span> </span><br />
<br />
<span style="font-family: "verdana" , sans-serif;">The microbes within us arrive
from all around, gleaned from food, air, soil, and water. A bite of apple grown
in New Zealand, a potato grown in Peru, a tomato grown in one’s own backyard. A
breath of air that arrived on a breeze from the Sahara, captured and
imparted to fellow riders in a subway car in New York, Paris, or Hong Kong. Aspects
of seemingly distant people and places are constantly becoming parts of our infinitely
individual, yet paradoxically multitudinous, selves. Fellow humans, other-than-humans,
and even that which is not universally considered “alive” (a water molecule,
for example) all become parts of what make us “us.”</span><br />
<br />
<span style="font-family: "verdana" , sans-serif;">COVID-19 brings the question of boundaries
between beings starkly into focus: if we are all constantly exchanging biological
(and other) material on a global scale, then perceived “others” are, in tangible
ways, extensions of ourselves. One possible remedy, then—not only for the
problem of the current pandemic but for other catastrophes-in-progress—is to
care for everything and everyone as if this is the case.</span><br />
<br />
<span style="font-family: "verdana" , sans-serif;">Perhaps this collective realization
is a conceptual anti-virus with the radically beneficial, evolutionarily advantageous
effect of driving those it touches into states of deep love and respect for the
world and its inhabitants. Symptoms may include increased empathy, sense of
wonder, and desire to be of service to others. This contagion becomes active simply
by imagining it. </span></div>
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{page:WordSection1;}</style>alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-54860594262641163082020-03-24T11:06:00.000-05:002020-04-13T12:56:41.686-05:00Southern Pacific Suite: A Collection of Train-Inspired Sound Art by Alyce Santoro and Julian Mock <span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><i>A past project unearthed from our archive:</i></span></span><br />
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><i> </i></span></span><br />
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><br />
</span></span> <span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">MOVEMENT #1: Prelude: Music for Train Whistles debuted at <a href="https://lawndaleartcenter.org/exhibition/southern-pacific/" target="_blank">Southern/Pacific</a>, Lawndale Art Center, Houston, TX, Aug. 2011</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOpFZ73wZXBo7XaPNX5VswMDpsqzwYSq8dMjRT-D7T2athHuQUREzLoiyoWXzTOVM6F_Q-xrzDh4DCn6Odrd_R8w49xq-RL8EQfRovPk0SmmOPFQMb53qnKjfdI8aYpuVsNafTHg/s1600/K5LA_air_chime_train_horn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="437" data-original-width="600" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOpFZ73wZXBo7XaPNX5VswMDpsqzwYSq8dMjRT-D7T2athHuQUREzLoiyoWXzTOVM6F_Q-xrzDh4DCn6Odrd_R8w49xq-RL8EQfRovPk0SmmOPFQMb53qnKjfdI8aYpuVsNafTHg/s400/K5LA_air_chime_train_horn.jpg" width="400" /></a></div>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">AMTRAK K5LA: D# F# G# B D#</span></span><br />
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">STANDARD K5H: D# F# A# C D#</span></span><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"> </span></span></div>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">In the far west Texas towns of Marfa and Alpine the blast of train whistles punctuates the soundscape day and night. The sounds of trains are so common that many local residents learn to tune them out. Here at PREPARED EAR we became curious about how the chords used in train whistles were developed, since the sounds are neither so ominous as to keep frequent listeners constantly on edge, nor are they so cheerful or plain that they could be completely ignored. After much research, we discovered that most trains in the United States employ some variation on the K5H horn, which emits a D# minor 6th chord (D# F# A# C D#). Amtrak's "motive power development manager" Deane Ellsworth took it upon himself to develop a variation on this tone for it's fleet of trains, and in 1976 Mr. Ellsworth introduced the K5LA, tuned to a B major 6th chord. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"></span></span><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">For SOUTHERN PACIFIC SUITE Alyce deconstructed and reconstructed the two chords - including the Doppler Effect - using flute. Julian was inspired by the two chords to create the melody line, played on classic guitar.</span></span><br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/OUCMSeip-FQ" width="560"></iframe><br /></div>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">The following message is from D. H. Ellsworth himself, received on June 5, 2012 and printed here with permission:</span></span><br />
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">Ms. Santoro:</span></span><br />
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">I just enjoyed your Southern Pacific presentation featuring the K5H and K5LA locomotive air horns. Yours is, in fact, the second audio/visual prepared on this subject. I asked Canadian inventor Bob Swanson to retune his K5H horn for my use in America in 1976, subsequently listed by the Nathan Co. of New York as the K5LA model. I wanted something beautiful for our use at Amtrak in time for America's Bicentennial Year, and am flattered that so many agree I succeeded. A minor correction I might pass along is that Amtrak didn't have to tell me to do this, as I was Amtrak's managing developer of locomotives at that time; I got to tell myself to go get this done, picking my own musical notes to produce the K5LA's Major 6th chord, and going to Vancouver to meet with Swanson on my own time. It was a wonderful side-project, attempting to make Amtrak trains sound as nice as possible when giving audible warning of their approach.</span></span><br />
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">BTW, did you retrieve that video camera before a train got it? (Just kidding...)</span></span><br />
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">Thank you for your tribute! Your composition is a delight.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">Sincerely,</span></span></div>
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">D.H. Ellsworth </span></span><br />
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"> </span></span></div>
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"> </span></span> <br />
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"> </span></span> <br />
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<i><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">I proceeded to inquire as to Mr. Ellsworth's musical background and how he had come to compose that particular chord and received the following response:</span></span></i><br />
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<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">I am a musician solely by virtue of piano lessons as a youngster, playing the trumpet with the Cornell University Marching Band, teaching myself the guitar and also music notation so I could transcribe Gershwin piano rolls to sheet music, joining my wife singing in several choirs, and tape recording trains and whistles in stereo from 1969, none of it ever performed as a professional musician. I am a professional railroad mechanical engineer (retired) & photographer (still at it) of 42 years.</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">To the best of my knowledge, the first use of a Major 6th chord in North American railroading appeared in the early 1900's, when the Nathan Mfg. Co. of New York began marketing a five-chime steam whistle for locomotives designed to sound GBDEG (fourth piano octave). Fifty years later, inventor Robert Swanson (1905-1994), took it upon himself to design a chime-tone air horn who's voice would convince the average Joe that it's a train's voice: i.e., 'making trains sound like trains'... his exact words to me one day, and now the title of my book. His fourth try was a highly successful & marketable air horn for trains in Canada, the USA and eventually around the world. It was his "M" series, marketed through the Nathan Co. from 1950. Many of his M5 horns were tuned to sound C#EF#AC#, a gorgeous A Major 6th also in the fourth piano octave, and considered by many rail enthusiasts to be the prettiest locomotive air horn ever conceived. When the M's became too expensive to manufacture, by 1975, I took a look at Bob's newer K5H horn, an exceptionally well-engineered device he was using on trains in Canada, and asked him to retune it for me. I wanted a B Major 6th (flattening the #3 & #4 horn "bells" to make the chord) thereby Americanizing it for my use on Amtrak locomotives. Within a few years, nearly everybody's railroad in the US was (and still is) using them, or their K3LA sisters (D#F#B). I did not ask for a royalty, I just wanted to be able to hear Amtrak trains sounding this new voice I had given them.</span></span><i><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"> </span></span></i><br />
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<i><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">MOVEMENT #2: Between Stations</span></span></i><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"> </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">BETWEEN STATIONS consists of 14 tracks inspired by life in New York City, and is composed of sounds collected between 2002 and 2005 on and under the streets of Manhattan and Brooklyn interwoven with a range of created and found sounds and music.</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">This collection of collages is recorded onto cassette tape and woven into an audible textile called SONIC FABRIC. The album has been played at the Museum of Contemporary Art San Diego as part of SOUNDWAVES: THE ART OF SAMPLING in 2008. It was broadcast via low-power radio transmission in Los Angeles' Union Station on April 14, 2012 as part of RADIO BREAK. </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">For SOUTHERN/PACIFIC, the collection was heard in Portland, Oregon in June, 2012.</span></span></div>
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<iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/51894&color=%232b2b2b&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="100%"></iframe> alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-5771744508789759462019-12-07T07:03:00.002-06:002020-03-05T08:52:22.152-06:00An Intricate Ensemble: the Art-Science of an Ecological Imaginary<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhjhAK8wU-upcBTQaiw_GQ6A0GhkqkDQIChrqY76PaYeX3fcFMdPT4A5sesckKGvx_pySEA85o8AHjmZo_1E9_FJDNbVpv1g28WoLzPvM543wZGzvaIHm169RFnT46eAGp5lRzFw/s1600/fullsizeoutput_57.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1120" data-original-width="1600" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhjhAK8wU-upcBTQaiw_GQ6A0GhkqkDQIChrqY76PaYeX3fcFMdPT4A5sesckKGvx_pySEA85o8AHjmZo_1E9_FJDNbVpv1g28WoLzPvM543wZGzvaIHm169RFnT46eAGp5lRzFw/s640/fullsizeoutput_57.jpeg" width="640" /></a></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">On
Monday morning I will be defending my thesis for <span data-offset-key="71g9n-1-0" spellcheck="false" start="52"><span data-offset-key="71g9n-1-0"><span data-text="true">Rhode Island School of Design</span></span></span><span data-text="true"><span data-offset-key="9uijr-0-0" style="font-family: "verdana" , sans-serif;">'s brand new MA program in
<a href="https://liberalartsmasters.risd.edu/ncss/" target="_blank">Nature-Culture-Sustainability Studies </a>alongside four other women who have been
part of this inaugural cohort.</span></span></span></span><br />
<br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span data-text="true"><span data-offset-key="6rnr4-0-0" style="font-family: "verdana" , sans-serif;">For those interested...my paper
is basically a manifesto, a call to develop and deploy all manner of creative
tactics that can challenge and subvert any and all "logics" that
allow for exploitation, oppression, and destruction of the Earth and its
inhabitants.</span></span></span></span><br />
<br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span data-text="true"><span data-offset-key="1gmmt-0-0" style="font-family: "verdana" , sans-serif;">It's about undoing undue dualism
and the joy of paradox. <strike>I plan to post the whole project on-line as soon as
possible.</strike> <a href="https://digitalcommons.risd.edu/masterstheses/415/" target="_blank">The thesis is now available in its entirety at RISD Digital Commons.</a> Meanwhile, here is a short summary:</span></span></span></span><br />
<br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span data-text="true"><span data-offset-key="2ugkn-0-0" style="font-family: "verdana" , sans-serif;">AN INTRICATE ENSEMBLE: THE
ART-SCIENCE OF AN ECOLOGICAL IMAGINARY FOR THE ANTHROPOCENE EPOCH</span></span></span></span><br />
<br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span data-text="true"><span data-offset-key="f1gjr-0-0" style="font-family: "verdana" , sans-serif;">Some early-to-mid-20th century
avant-garde artistic movements, notably Dadaism and Surrealism, came out of a
wholesale rejection of a “logic” based in European Enlightenment philosophy
that could result not only in the slaughter of billions during World War I, but
in the destruction and enslavement of people and the other-than-human world in
the name of a “progress” from which the most powerful disproportionately
benefit. Declaring the right to determine what should be considered an
acceptable reality, the Dadaists and Surrealists developed methods by which to
tap into the “irrational” – techniques including collaboration, improvisation,
and chance operations.</span></span></span></span><br />
<br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span data-text="true"><span data-offset-key="73o09-0-0" style="font-family: "verdana" , sans-serif;">Approximately 200 years prior to
the Surrealists, the Romantic Naturalists also expressed misgivings about the
mechanistic, positivist, dualist modes of thought their countrymen had been
bringing to prominence in Europe since the dawn of Scientific Revolution –
humans (some far more than others) were coming to see themselves as separate
from, and superior to, an externalized conception of “nature.” Science,
heralded as an unbiased form of inquiry based on “natural” laws, was being used
to justify hierarchy, competition, and exploitation. The Romantic Naturalists
countered with the view that sustained appreciation of the qualitative does not
diminish the value of the quantitative; in fact, sensations that transcend
reason and logic may provide an ethical basis from which to develop fairer and
more just social and ecological frameworks.</span></span></span></span><br />
<br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span data-text="true"><span data-offset-key="54ehc-0-0" style="font-family: "verdana" , sans-serif;">Today, in a spirit akin to that
of the Romantic Naturalists, Dadaists, and Surrealists, paradigm-challenging
artists and philosophers are working to bring about an “ecological
imaginary”…the view that, to quote feminist-philosopher Karen Barad on the
central lesson of quantum physicist Niels Bohr, <i>"we are a part of
the nature that we seek to understand."</i> </span></span></span></span><br />
<br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span data-text="true"><span data-offset-key="77jjf-0-0" style="font-family: "verdana" , sans-serif;">Work emerging from fields
related to the Environmental Humanities invites science to examine a paradox
inherent within itself: science’s esteemed objective stance, while undeniably
useful as a mindset for the purposes of research, by distancing the observer
from that which is being observed, tends to reinforce an impression that humans
and nature are inherently separate.</span></span></span></span><br />
<br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span data-text="true"><span data-offset-key="fp39m-0-0" style="font-family: "verdana" , sans-serif;">While science can, and very
often does, provide elegant evidence that “we are a part of the nature that we
seek to understand,” supplementary qualitative practices may help to instill in
its adherents a sense of what this feels like in practice; the arts are
particularly well-equipped to foster experiences of the sublime. Vacillating
between – or the simultaneous holding of – states of objectivity and
subjectivity, individuality and collectivity, direction and improvisation – may
be of use in the collaborative formation of an ecological imaginary, a constructive
image of oikos, our shared home, regardless of one’s primary discipline.</span></span></span></span><br />
<br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span data-text="true"><span data-offset-key="fp39m-0-0" style="font-family: "verdana" , sans-serif;">Dualisms and paradoxes abound,
but we do not need to remain bound to them. It is possible to imagine an
“intricate ensemble” in which beings and/or constructs can exist as separate
and together.</span></span></span></span></div>
alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-85581233524049832302019-03-15T11:11:00.001-05:002020-06-29T08:14:10.826-05:00The Notational Shift at MUSAC<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjTUKvIzZgAczUCH5jRELM1xOi9K_Irp8rVP3FW9hHEsJEjG0wqObGtxYThBP0knYrZeo_PbtIRhFa_LX6tuLumPIisvirRa3IORlnAzJA3mC4lmDlk0AoB9VbGrKg3qP-UbfxHA/s1600/sonic_fabric_stripe_sm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="223" data-original-width="544" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjTUKvIzZgAczUCH5jRELM1xOi9K_Irp8rVP3FW9hHEsJEjG0wqObGtxYThBP0knYrZeo_PbtIRhFa_LX6tuLumPIisvirRa3IORlnAzJA3mC4lmDlk0AoB9VbGrKg3qP-UbfxHA/s640/sonic_fabric_stripe_sm.jpg" width="640" /></a></div>
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<span style="font-family: "verdana", sans-serif;">The <a href="http://26 January, 2019 - 15 September, 2019" target="_blank">Notational Shift</a> exhibition opened at Spain's Museo de Arte Contemporáneo de Castilla y Léon on January 26, 2019 and runs until September 15, 2019.</span></div>
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<span style="font-family: "verdana", sans-serif;">It's truly an honor to have <a href="https://www.alycesantoro.com/sound-visual/sonic-fabric" target="_blank">work</a> in this wonderful exhibition of alternative forms of musical notation alongside so many friends and muses, including Pauline Oliveros, John Cage, Cornelius Cardew, Barbara Held, Benton Bainbridge, and others. </span></div>
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<br />alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-19218213890261833122019-03-13T09:28:00.005-05:002019-03-16T12:03:00.546-05:0010000 Things - Mass Recognition - Vernal Equinox 2019<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmZHQUHFEuWitZu1ji_ANrTj0yrGGNk8jdVJx_VGMjYbawuVFeDXd7_3aJhX7gM_fYmRGWx7rsWu3TwAuWg0jznD_AYQP3sSVGmL7o9FdkCX3yh54uf_T_wLhyoR1ymein4v5Oxg/s1600/IMG_4335+2.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" data-original-height="1080" data-original-width="1080" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmZHQUHFEuWitZu1ji_ANrTj0yrGGNk8jdVJx_VGMjYbawuVFeDXd7_3aJhX7gM_fYmRGWx7rsWu3TwAuWg0jznD_AYQP3sSVGmL7o9FdkCX3yh54uf_T_wLhyoR1ymein4v5Oxg/s400/IMG_4335+2.JPG" title="" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://alycesantoro.com/frottage.html" target="_blank">Frottages</a>, <i>Providence River Oysters</i>, 2019</td></tr>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
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<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">In mid-February I received
an invitation to participate in a project conceived by some friends on the west
coast, including composer/sound artist <a href="http://www.sonicportraits.org/"><span style="color: blue;">Brenda
Hutchinson</span></a> (noted for, among much wonderful work, her <a href="https://dailybell2008.blogspot.com/"><span style="color: blue;">Daily Bell
Project</span></a>).</span><span style="color: black; font-family: "helvetica"; font-size: 9.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;"><br />
This is the original call for participation:</span><span style="color: black; font-family: "helvetica"; font-size: 9.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<blockquote class="tr_bq">
<b><i><span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">Equinox: Emergency of Joy</span></i></b> </blockquote>
<blockquote class="tr_bq">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">Bringing together the 10,000 Things to a moment of poise</span></blockquote>
<blockquote class="tr_bq">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">How do we as artists
recognize each other in community? What does this community do, in its union,
and how? <span style="background: white;">How may we rehearse our strengths
so that we are ready to serve emergencies of grieving and celebration?</span></span> </blockquote>
<blockquote class="tr_bq">
<br />
<i><span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">The challenge at hand is
for individual artists or teams of artists to generate ten thousand things
each, and, as possible, to bring them together in a live encounter on the
occasion of the Spring Equinox, gathering, balancing, and releasing them, at a
focus on joy, recognizing an urgent need, born of compassion, for creative
elation and expectancy during heavy and tangled times.</span></i> </blockquote>
<blockquote class="tr_bq">
<br />
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">MAKE TEN THOUSAND THINGS</span> </blockquote>
<blockquote class="tr_bq">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">LET THEM GO</span> </blockquote>
<blockquote class="tr_bq">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">MARCH 20<sup>th</sup>, 2:58pm</span> </blockquote>
<blockquote class="tr_bq">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9pt;">Sharing of the work throughout the day, as forms suggest</span> </blockquote>
<blockquote class="tr_bq">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9pt;">Food to follow</span> </blockquote>
<blockquote class="tr_bq">
<br />
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">“Ten thousand” is rooted in
the Buddhist concept of the ten thousand dharmas – an image for all observable
reality. We are meant to recognize, and ultimately move through this reality,
to a state of levity – a surpassing of fact, a merciful gaze on it, a move into
light.</span> </blockquote>
<blockquote class="tr_bq">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">We bring everyone together,
with everything we have, and set our tens of ten thousands free at a given
moment. The character of that moment is joy. Any moment realized by art is
compound, we match vulnerability of change with precision of purpose
(vibratory, sonic). Joy includes expectancy, and joyful expectancy is hope;
hope is a kind of woundedness – admission not only of uncertainty, but also of a
willingness to anticipate the good <i>despite</i> uncertainty. We
gather to affirm a manifesto of joy in all its precarity.</span></blockquote>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">This is my response: </span><span style="color: black; font-family: "helvetica"; font-size: 9.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;"><br />
Invitation to a Week of Mass Recognition </span><span style="color: black; font-family: "helvetica"; font-size: 9.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">(or: A Mass of Mass Recognition. A Mass Recognition Mass)</span><span style="color: black; font-family: "helvetica"; font-size: 9.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;"><br />
13th century Japanese Buddhist philosopher Dogen wrote:</span><span style="color: black; font-family: "helvetica"; font-size: 9.0pt;"><o:p></o:p></span><br />
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;"><br /></span></div>
<div class="MsoNormal">
<blockquote class="tr_bq">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">That the self advances</span> </blockquote>
<blockquote class="tr_bq">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">And confirms ten thousand things</span> </blockquote>
<blockquote class="tr_bq">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">Is called delusion</span> </blockquote>
<blockquote class="tr_bq">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">That the ten thousand things</span> </blockquote>
<blockquote class="tr_bq">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">Advance and confirm the self</span> </blockquote>
<blockquote class="tr_bq">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">Is called enlightenment</span></blockquote>
</div>
<div class="MsoNormal">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">A group including some
Surrealists in mid-20th century Britain organized a peoples’ ethnography
practice called <a href="https://www.theguardian.com/commentisfree/2012/apr/19/mass-observation-75-years"><span style="color: blue;">Mass Observation Days</span></a>; all were invited to record
ordinary (or non-ordinary) events that occurred during an agreed-upon 24-hour
period. </span><span style="color: black; font-family: "helvetica"; font-size: 9.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">Poet Allen Ginsberg
advised, <i>"Notice what you notice.” </i></span><span style="color: black; font-family: "helvetica"; font-size: 9.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">Upon noticing a thing, a
dynamic relationship is formed. Whatever is observed becomes a known extension
of the observer. Even <a href="https://www.technologyreview.com/s/613092/a-quantum-experiment-suggests-theres-no-such-thing-as-objective-reality/"><span style="color: blue;">science now agrees</span></a> that there is no such
thing as objective reality. (What we <i>don't</i> notice...ie:
everything else...is an extension of the observer too...but that's another
story...).</span><span style="color: black; font-family: "helvetica"; font-size: 9.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;"><br />
In other words: when we notice something, we recognize a part of our
"self" in the "other"..but with this realization comes the
awareness that there is no "self"...or "other".</span><span style="color: black; font-family: "helvetica"; font-size: 9.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;">A quick calculation reveals
that there are approximately 10,000 minutes in a week. All are invited to
participate in a "mass recognition” beginning on March 13, 2019 at 2:58pm,
one week prior to the Vernal Equinox, and ending at the same time on March
20. On the evening of the Equinox, those in geographical proximity are
invited to gather to share some of the things which you recognized (and in
which you recognized yourself).</span><span style="color: black; font-family: "helvetica"; font-size: 9.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: black; font-family: "trebuchet ms" , sans-serif; font-size: 9.0pt;"><br />
A very important part of this project is the in-person (ie: non-social media)
aspect. Please be in touch if you would like to gather in Providence on the
evening of the Equinox. Several <a href="https://drive.google.com/open?id=1-JwjG5P2YhcWzSoyhE0lDK82o7HbS1ZQ&usp=sharing"><span style="color: blue;">artists and groups who are contributing to 10000 Things in
this and other ways</span></a> are planning to meet at a downtown
location. More info TBA.</span><span style="color: black; font-family: "helvetica"; font-size: 9.0pt;"><o:p></o:p></span></div>
<!--EndFragment--><br />alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-29697840809327688282018-04-09T09:52:00.004-05:002022-11-14T08:46:43.531-06:00March for (Not Just Any) Science<br />
<span face=""verdana" , sans-serif">
</span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg02dEw2RJ73xbeWcarkx-7vS-8YPSfC4l4lMAyTOOjmgkqR41s1hUJBS11dRWhPWJhAxrL_anHmRsG0sz65lB0rrlEGLhmh-3Z0p3Bahrq8XeJq4TNMBPAhOc_96JwKRbzaXQoxw/s1600/earth_from_space_galaxy.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="434" data-original-width="600" height="462" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg02dEw2RJ73xbeWcarkx-7vS-8YPSfC4l4lMAyTOOjmgkqR41s1hUJBS11dRWhPWJhAxrL_anHmRsG0sz65lB0rrlEGLhmh-3Z0p3Bahrq8XeJq4TNMBPAhOc_96JwKRbzaXQoxw/s640/earth_from_space_galaxy.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://alycesantoro.com/earth.html" target="_blank">Earth From Space,</a> collage, Alyce Santoro, 2017</td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: center;">
<span face=""verdana" , sans-serif"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">When the public sector is at the
service of the private sector, the economic interests of the few are bound to
trump the needs of the many. In places throughout the world – regardless
of political framework – Earth’s inherent elements have been utilized by humans<a href="https://www.blogger.com/blogger.g?blogID=15388995#_ftn1" name="_ftnref" style="mso-footnote-id: ftn;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;">[1]</span></span></a>
in ways that are gravely shortsighted.</span><span style="font-size: small;"><br />
<span><br /></span>
<span face=""verdana" , sans-serif">Indeed, it is now amply evident
that practices that have prevailed around the globe for eons have caused
cumulative harm, putting at risk the continued viability of all life on Earth. While
it could be argued that many humans are complicit by (wildly varying) degrees, dependence
on current systems is often by carefully orchestrated design; continued
concentration of wealth and power depends upon it.</span><br />
<span><br /></span>
<span face=""verdana" , sans-serif">While we can speculate on the extent
to which figures throughout history have been aware of the damage they were
wreaking, <a href="https://www.scientificamerican.com/article/exxon-knew-about-climate-change-almost-40-years-ago/" target="_blank">specific
examples</a> of <a href="https://www.commondreams.org/news/2018/04/05/shell-knew-too-new-docs-show-oil-giants-scientists-secretly-warned-about-climate" target="_blank">full awareness</a> can now be easily sited. Of one thing we can be certain: on the
path to domination, awareness, however acute, could always been justified away through
dehumanization and abstraction of those and that which require oppression, exploitation,
and extraction.</span><br />
<span><br /></span>
<span face=""verdana" , sans-serif">Given overwhelming current data, it
is impossible for anyone acting today to <i style="mso-bidi-font-style: normal;">not</i>
know.</span><br />
<span><br /></span>
<br />
</span></span><div style="text-align: left;">
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">#ExxonKnew #ShellKnew #AlexanderVonHumboltKnew #BuckminsterFullerKnew #RachelCarsonKnew #TrumpKnows, #EverybodyKnows</span><span style="font-size: small;"><br /></span></span>
<span style="font-family: verdana;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: verdana;"><span style="font-size: small;"><br /></span></span>
<div style="text-align: justify;"><blockquote class="tr_bq">
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">“…we can make all of humanity
successful through science's world-engulfing industrial evolution provided that
we are not so foolish as to continue to exhaust in a split second of
astronomical history the orderly energy savings of billions of years' energy conservation
aboard our Spaceship Earth. These energy savings have been put into our
Spaceship's life-regeneration-guaranteeing bank account for use only in
self-starter functions.” – Buckminster Fuller, <i style="mso-bidi-font-style: normal;">Operating Manual for Spaceship Earth</i>, 1968</span></span></blockquote></div>
</div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: verdana;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">“The most alarming of all man's
assaults upon the environment is the contamination of air, earth, rivers, and
sea with dangerous and even lethal materials. This pollution is for the most
part irrecoverable; the chain of evil it initiates not only in the world that
must support life but in living tissues is for the most part irreversible. In
this now universal contamination of the environment, chemicals are the sinister
and little-recognized partners of radiation in changing the very nature of the
world – the very nature of its life.” – Rachel Carson, <i style="mso-bidi-font-style: normal;">Silent Spring</i>, 1962</span><span style="font-size: small;"><br /></span></span>
<span style="font-family: verdana;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: verdana;"><span style="font-size: small;"><br /></span></span>
<div style="text-align: justify;">
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">“By felling the trees which cover
the tops and sides of mountains, men in all climates seem to bring upon future
generations two calamities at once; want of fuel and a scarcity of water.” <span style="mso-bidi-font-size: 10.0pt;">— Alexander von Humboldt, <i style="mso-bidi-font-style: normal;">Personal Narrative of Travels to the
Equinoctial Regions of America: During the Years 1799-1804</i></span></span></span></div>
</div>
</blockquote><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span style="font-size: small;"><br /></span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">In the interest of keeping the
wheels of progress greased, theses voices and those of many others who espoused
similar sentiments have been meticulously avoided, shunned, and marginalized.</span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span style="font-size: small;"><br /></span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">Not knowing is no longer a valid
excuse (if it ever was).</span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span style="font-size: small;"><br /></span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">Coal mining, alternating current,
fast food, commercial airline travel, plastics, factory farming, nuclear power,
the atomic bomb, the internal combustion engine, vaccines, antibiotics, Agent
Orange, hydraulic fracturing, petrochemical agriculture, weapons systems,
rockets to Mars. Are these technologies good, evil…or some of each? While we
may at least be able to agree that scientists (people with specialized
expertise, interests, and expectations) used science (a system designed to
remove bias to the greatest extent possible) to create these technologies,
science cannot tell us whether its products are ultimately constructive or harmful
or how, when, and whether to use them. Science and its revered “objective”
method do not contain ethical components. It is the people practicing science who
are now, and who have always been, responsible for determining what research
questions are appropriate and worthy of exploration. What is considered
conscionable may change over time. The debate about what forms of research are
moral and just must be an earnest, ongoing, and inclusive one.</span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span style="font-size: small;"><br /></span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">There is not now and there has
never been any legitimate question as to whether science as a tool for
gathering knowledge is necessary and important. In light of recent data
(produced by science) and our growing awareness of the direness of current
circumstances, science as an instrument can and will be vital in crafting
solutions to problems that science itself, when wielded with a lack of emphasis
on possible consequences, had a hand in creating.</span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span style="font-size: small;"><br /></span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">Said another way: if we are using
science to further our “progress”, and our definition of progress is problematic,
science as a vehicle is bound to deliver us to an undesirable destination (case
in point: Earth’s biosphere circa 2018).</span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span style="font-size: small;"><br /></span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">As we gather to march for
science, this can be an opportunity to become clear on our collective definition
of progress and unified in our vision of the kind of science (humanitarian,
ecologically sound, and just? Or devoted to profit over people and planet?) we
are marching for.</span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span style="font-size: small;"><br /></span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">Whether and when “science” is
revered or reviled and by whom has everything to do with that entity’s
interests (self or otherwise). If those interests are primarily economic, then
any science that hinders financial gain (i.e.: anthropogenic greenhouse
warming; sea level rise; water, soil, and air contamination by toxic effluent,
etc.) will be vigorously opposed. At the same time, any science that furthers
the entity’s agenda (i.e.: fracking, offshore drilling, weapons development,
etc.) will be embraced, promoted…and well-funded.</span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span style="font-size: small;"><br /></span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">In the case of the current
administration and its advocates: it is not science per se that is being
attacked; rather, these groups seek to quell any challenge to the top-down
social and economic paradigms upon which their radically self-serving agendas
depend. </span><span style="font-size: small;"><br /></span></span>
<span style="font-family: verdana;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">As scientists, we can take into consideration the impact of our efforts, and ask ourselves to what extent our skills and resources are being devoted to humane outcomes. We can, like Buckminster Fuller, imagine what an<span class="Apple-converted-space"> </span><i style="mso-bidi-font-style: normal;"><a href="https://www.bfi.org/about-fuller/big-ideas/design-science/design-science-primer/" target="_blank">anticipatory design science</a><span class="Apple-converted-space"> </span></i>would look like.</span><span style="font-size: small;"><br /></span></span>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;"><br /></span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="font-style: normal; font-weight: normal; letter-spacing: normal; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">As concerned citizens and advocates, we can be discerning about the kinds of science we defend.</span><span style="font-size: small;"><br /></span></span>
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;"><br /></span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="font-style: normal; font-weight: normal; letter-spacing: normal; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">Richard Levins, geneticist/ecologist and prominent member of<span class="Apple-converted-space"> </span><a href="https://scienceforthepeople.org/" target="_blank">Science for the People</a>, suggested the following rule of thumb, “…all theories are wrong which promote, justify, or tolerate injustice. The wrongness may be in the data, its interpretation, or application, but if we search for that wrongness, we will also be led to truth.” </span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span style="font-size: small;"><br /></span></span></div><span style="font-family: verdana;"><span style="font-size: small;">
</span></span><div style="text-align: justify;">
<span style="font-family: verdana;"><span face=""verdana" , sans-serif" style="font-size: small;">May our shared love for science and the world it examines
lead us to truth. </span></span></div><span style="font-family: helvetica;"><span style="font-size: small;">
<span face=""verdana" , sans-serif">
</span></span></span><br />
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<div class="MsoFootnoteText" style="text-align: justify;">
<span style="font-size: x-small;"><span face=""verdana" , sans-serif"><a href="https://www.blogger.com/blogger.g?blogID=15388995#_ftnref" name="_ftn1" title=""><span class="MsoFootnoteReference">[1]</span></a>
The Anthropocene is being proposed by some scientists and
philosophers as a term to define the current geological epoch. While the word
accurately identifies humans as profound influencers of our planet’s
biogeophysical systems, it must be constantly stressed that not all humans are
equally complicit.</span></span></div>
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</style> alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-11702993456585355842017-07-08T14:32:00.000-05:002017-07-08T14:40:58.477-05:00All contributors to SOURCE: Music of the Avant Garde Magazine by gender<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_-kRHLc07d1RwYcZVhMYvzsyI8kPxHzlLqvoAwidR-jWlLV-ig_rKggtwOFfZ2JGt-wAg2PDGN-OBXIVGYhhnL6KZmvPxcMF6OBwhu4jc-OL9NQqBD6jsmDjpZ8TlkjwA6ACpyw/s1600/pauline_oliveros_sonic_mediations_source.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="786" data-original-width="1008" height="498" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_-kRHLc07d1RwYcZVhMYvzsyI8kPxHzlLqvoAwidR-jWlLV-ig_rKggtwOFfZ2JGt-wAg2PDGN-OBXIVGYhhnL6KZmvPxcMF6OBwhu4jc-OL9NQqBD6jsmDjpZ8TlkjwA6ACpyw/s640/pauline_oliveros_sonic_mediations_source.jpg" width="640" /></a></div>
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Eleven issues of <a href="https://en.wikipedia.org/wiki/Source:_Music_of_the_Avant_Garde" target="_blank">SOURCE: Music of the Avant Garde</a> magazine were published from 1967 - 1973 at the University of California Davis. This is a list of all contributors by gender. As far as I have been able to discern, only one person of color was featured: Anthony Braxton. I would be grateful to any readers willing to offer comments/corrections!</div>
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WOMEN (12)</div>
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Kira Gale</div>
<div class="MsoNormal">
Allison Knowles (not featured or mentioned in table of contents, but included
in an article)</div>
<div class="MsoNormal">
Annea Lockwood</div>
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Mary Lucier (photography)</div>
<div class="MsoNormal">
Eva Lurati</div>
<div class="MsoNormal">
Dora Maurer</div>
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Maria Michalowska</div>
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Charlotte Moorman (not featured or mentioned in table of contents, but included
in an article)</div>
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Pauline Oliveros</div>
<div class="MsoNormal">
Jocy de Oliviera </div>
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Marilyn Wood</div>
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Zorka Saglova</div>
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MEN (107)</div>
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Dietrich Albrecht</div>
<div class="MsoNormal">
Charles Amirkhanian</div>
<div class="MsoNormal">
Eric Anderson</div>
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Robert Ashley</div>
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Larry Austin</div>
<div class="MsoNormal">
David Behrman</div>
<div class="MsoNormal">
Mario Bertoncini</div>
<div class="MsoNormal">
Joseph Beuys</div>
<div class="MsoNormal">
Boudewijn Buckinx</div>
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Anthony Braxton </div>
<div class="MsoNormal">
Eugen Brikcius</div>
<div class="MsoNormal">
Jacques Brodier</div>
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Earle Brown</div>
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Allan Bryant</div>
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Harold Budd</div>
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John Cage</div>
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Cornelius Cardew</div>
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Barney Childs</div>
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Giuseppe Chiari</div>
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Christo</div>
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Phillip Corner</div>
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Lowell Cross</div>
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Alvin Curran</div>
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John Dinwiddie</div>
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Peter Donath</div>
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Manford Eaton</div>
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Robert Erickson</div>
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Morton Feldman</div>
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Robert Filliou</div>
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FLUXUS (women were involved in the movement, including
Allison Knowles, mentioned above)</div>
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Ken Friedman</div>
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Lukas Foss</div>
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Peter Garland</div>
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Gentle Fire</div>
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Tony Gnazzo</div>
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Victor Grauer</div>
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Gyula Gulyas</div>
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Joel Gutsche</div>
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Olaf Hanel </div>
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Jon Hassell</div>
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Sven Hansell</div>
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Lejaren Hiller</div>
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Dick Higgins</div>
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Lejaren Hiller</div>
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Stu Horn</div>
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Nelson Howe</div>
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Jerry Hunt</div>
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Toshi Ichiyanagi</div>
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Image Bank</div>
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Carson Jeffries</div>
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Ben Johnston</div>
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Bengt Emil Johnson</div>
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Zdzislaw Jurkiewicz</div>
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Allan Kaprow</div>
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Udo Kasemets</div>
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Per Kierkeby</div>
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Paul Klerr</div>
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Milan Knizak</div>
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Ed Kobrin</div>
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Jaroslaw Kozlowski</div>
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Alcides Lanza</div>
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Daniel Lentz</div>
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Arrigo Lora-Totino</div>
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Alvin Lucier </div>
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Stanley Lunetta</div>
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Janos Major</div>
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Tom Marioni</div>
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Ken Maue</div>
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Stanley March 3</div>
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Stuart Marshall</div>
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Richard Martin</div>
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Harvey Matusow</div>
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John Mizelle</div>
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Robert Moran</div>
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Gordon Mumma</div>
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Keith Muscutt</div>
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Naked Software</div>
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Max Newhaus</div>
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The New Percussion Quartet</div>
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Nam June Paik</div>
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Harry Partch</div>
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Portsmouth Sinfonia (in photograph 2 women depicted out of
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Scratch Orchestra</div>
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David Reck</div>
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Steve Reich</div>
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Jock Reynolds</div>
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Roger Reynolds</div>
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John Paul Rhinehart</div>
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Mark Riener</div>
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David Rosenboom</div>
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Frederic Rzewski </div>
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R. Murray Schafer</div>
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Gerald Shapiro</div>
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Nicholas Slonimsky</div>
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Barry Spinello</div>
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Andrew Stiller </div>
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Karlheinz Stockhausen</div>
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Allen Strange</div>
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Alvin Sumsion</div>
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Endre Tot</div>
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David Tudor</div>
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Bertran Turetzky</div>
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Jiri Valoch</div>
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Don Walker</div>
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Christian Wolff</div>
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Arthur Woodbury </div>
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Wolff Vostell</div>
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alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-60767308574172926152017-06-17T09:35:00.001-05:002017-06-17T09:35:06.299-05:00"Possibility of Action: The Life of the Score" nine years hence<div data-contents="true" style="text-align: justify;">
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<span style="font-family: "verdana" , sans-serif;"><span data-offset-key="3s3qv-0-0"><span data-text="true">By chance I recently unearthed materials from <a href="http://cosmic.es/gallery/macba-centro-de-estudios-y-documentacion/#macba-centro-de-estudios-y-documentacion" target="_blank">Possibility of Action: The Life of the Score</a>, a wonderful exhibition curated by </span></span><span class="_247o" data-offset-key="3s3qv-1-0" spellcheck="false"><span data-offset-key="3s3qv-1-0"><span data-text="true">Barbara Held</span></span></span><span data-offset-key="3s3qv-2-0"><span data-text="true"> that opened 9 years ago today at </span></span><span class="_247o" data-offset-key="3s3qv-3-0" spellcheck="false"><span data-offset-key="3s3qv-3-0"><span data-text="true">MACBA Museu d'Art Contemporani de Barcelona</span></span></span><span data-offset-key="3s3qv-4-0"><span data-text="true">.</span></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span data-offset-key="auhjo-0-0"><span data-text="true">A dress made of the striped edition of <a href="http://www.sonicfabric.com/" target="_blank">Sonic Fabric</a> (woven from cassette tape recorded with a collage of looped and layered sounds) was included. Each of the colors in the pattern represents one of the 12 tones in the Western scale, with two additional colors representing rests (silence). </span></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Ensemble created for Experimental Musical Instrument Day at Lincoln Center, 2005</td></tr>
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<span style="font-family: "verdana" , sans-serif;"><span data-offset-key="70im9-0-0"><span data-text="true">The pattern in the fabric was composed visually; I didn't know what it would sound like until it was notated, which happened later. I didn't think of using this method of composition again until recently...and even then, I didn't initially connect it to the sonic fabric stripe pattern...</span></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span data-offset-key="bfkbb-0-0"><span data-text="true">In 2015 the <a href="http://alycesantoro.com/tonal_relativity.html" target="_blank">Tonal Relativity</a> project began to take shape...this ongoing series of works started out as a way of illustrating modes and intervals in a 12-tone musical system using a language of shape and color. </span></span></span><span style="font-family: "verdana" , sans-serif;"><span data-offset-key="bfkbb-0-0"><span data-text="true">The first set of sketches – scrawled in pencil on a 3x5 card – were created for my own use, as a reference tool that could be drawn upon in improvisational settings. </span></span><span data-offset-key="bfkbb-0-0"><span data-text="true">A logical next step was to experiment with composition using the set of 12 colors. Any color can be used to represent any tone, with all other colors/tones in the spectrum being relative. </span></span></span><br />
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alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-20198403110229427012017-05-18T13:59:00.000-05:002019-02-11T08:22:10.627-06:00Performance of Wayne National Forest by Brian Harnetty<div style="text-align: center;">
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<span data-offset-key="25ebq-0-0"><span data-text="true"><br /><span style="font-family: "verdana" , sans-serif;"><br /></span></span></span><span style="font-family: "verdana" , sans-serif;"><span data-offset-key="25ebq-0-0"><span data-text="true">Early this year I downloaded <a href="https://www.indiegogo.com/projects/notes-from-sub-underground#/" target="_blank">Notes from Sub-Underground</a>, a collection of music, sound, and assorted aural ephemera contributed by 50+ artists and compiled by </span></span><span class="_247o" data-offset-key="25ebq-1-0" spellcheck="false"><span data-offset-key="25ebq-1-0"><span data-text="true">Object Collection</span></span></span><span data-offset-key="25ebq-2-0"><span data-text="true">, with all proceeds to benefit </span></span><span class="_247o" data-offset-key="25ebq-3-0" spellcheck="false"><span data-offset-key="25ebq-3-0"><span data-text="true">ACLU Nationwide</span></span></span><span data-offset-key="25ebq-4-0"><span data-text="true">.</span></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span data-offset-key="1qt1p-0-0"><span data-text="true">One of the tracks on the album – Wayne National Forest by </span></span><span class="_247o" data-offset-key="1qt1p-1-0" spellcheck="false"><span data-offset-key="1qt1p-1-0"><span data-text="true">Brian Harnetty</span></span></span><span data-offset-key="1qt1p-2-0"><span data-text="true"> – particularly struck me. In doing a bit of research on the composer, I came upon <a href="http://www.newmusicbox.org/articles/author/brianharnetty" target="_blank">a series of articles at </a></span></span><a href="http://www.newmusicbox.org/articles/author/brianharnetty" target="_blank"><span class="_247o" data-offset-key="1qt1p-3-0" spellcheck="false"><span data-offset-key="1qt1p-3-0"><span data-text="true">NewMusicBox</span></span></span></a><span data-offset-key="1qt1p-4-0"><span data-text="true"> about Brian's engagement with the coal mining and fracking industries in Ohio. </span></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span data-offset-key="3s1kc-0-0"><span data-text="true">I learned that </span></span><span class="_247o" data-offset-key="3s1kc-1-0" spellcheck="false"><span data-offset-key="3s1kc-1-0"><span data-text="true">Wayne National Forest</span></span></span><span data-offset-key="3s1kc-2-0"><span data-text="true"> is under threat, and that this piece had been inspired by the struggle to preserve it. </span></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span data-offset-key="1nso3-0-0"><span data-text="true">I hoped there might be a way that this spare, sublime work could be included in a concert program I was developing to augment Imagining Sound, an exhibition of my 2- and 3D illustrations of tonal relationships at </span></span><a href="https://www.centralfeatures.com/alyce-santoro/" target="_blank"><span class="_247o" data-offset-key="1nso3-1-0" spellcheck="false"><span data-offset-key="1nso3-1-0"><span data-text="true">Central Features Contemporary Art</span></span></span></a><span data-offset-key="1nso3-2-0"><span data-text="true">. I wrote to Brian to inquire about the performance possibilities – he very generously provided us with <a href="http://www.brianharnetty.com/scores/#/wayne-national-forest/" target="_blank">the score</a> and encouraged us to arrange it according to the instrumentation we would have available.</span></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span data-offset-key="f3thq-0-0"><span data-text="true">Wayne National Forest was truly a joy to play. Thanks so much to musicians </span></span><span class="_247o" data-offset-key="f3thq-1-0" spellcheck="false"><span data-offset-key="f3thq-1-0"><span data-text="true">Julian Mock</span></span></span><span data-offset-key="f3thq-2-0"><span data-text="true">, </span></span><span class="_247o" data-offset-key="f3thq-3-0" spellcheck="false"><span data-offset-key="f3thq-3-0"><span data-text="true">Elizabeth McNutt</span></span></span><span data-offset-key="f3thq-4-0"><span data-text="true">, and the </span></span><span class="_247o" data-offset-key="f3thq-5-0" spellcheck="false"><span data-offset-key="f3thq-5-0"><span data-text="true">Death Convention Singers</span></span></span><span data-offset-key="f3thq-6-0"><span data-text="true">, and thanks to Brian Harnetty for composing this moving work, and for the opportunity to perform it. <br /><br /><a href="http://alycesantoro.com/concert_program.html" target="_blank">Complete concert program here.</a></span></span></span></div>
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alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-22475040737943362772017-04-14T08:53:00.001-05:002017-04-14T08:53:21.697-05:00Tonal Relativity Games & Experiments at UNM ARTS Lab on April 29<div align="center">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><i>Tonoscore 1: Season</i>, a work for 3 or more players by Alyce Santoro</span></td></tr>
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<span style="font-family: Verdana,sans-serif;"><a href="https://www.facebook.com/events/1408989495831728/" target="_blank">On April 29, 2017 at 7pm at UNM ARTS Lab</a>, conceptual/sound artist Alyce Santoro, guitarist/composer <a href="http://www.julianmock.com/" target="_blank">Julian Mock</a>, flutist <a href="http://elizabethmcnutt.net/" target="_blank">Elizabeth McNutt</a>, and members of the Albuquerque-based <a href="https://deathconventionsingers.bandcamp.com/" target="_blank">Death Convention Singers</a> collective will present the auditory component of <i>Imagining Sound</i>, Santoro's current exhibition of painting and sculpture at <a href="http://www.centralfeatures.com/" target="_blank">Central Features Contemporary Art</a>. </span></div>
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<span style="font-family: Verdana,sans-serif;">The 2- and 3D pieces in the exhibition are part of <a href="http://alycesantoro.com/tonal_relativity.html" target="_blank">the Tonal Relativity project</a>, an approach to the visualization of intervals and modes in a 12-tone musical system. The concert program sonifies these concepts, featuring works of sound and music that leave open space for listening, improvisation, and chance operations.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Verdana,sans-serif;"><i>Aleators,</i> colorized dice to illustrate musical intervals and facilitate chance operations. Alyce Santoro, 2017.</span></span></td></tr>
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<span style="font-family: Verdana,sans-serif;">PROGRAM: </span></div>
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<span style="font-family: Verdana,sans-serif;"></span><span style="font-family: Verdana,sans-serif;"><span class="style3"> <i>Worldwide Tuning Meditation</i> by Pauline Oliveros</span><i>1960 #7</i> by LaMonte Young<br /><i>Wayne National Forest</i> by Brian Harnetty</span></div>
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<span style="font-family: Verdana,sans-serif;"><i>Game</i> by Mario Lavista</span></div>
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<span style="font-family: Verdana,sans-serif;">The premier of<i> Tonoscore 1: Season, </i>a visual score by Alyce Santoro </span></div>
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<span style="font-family: Verdana,sans-serif;"><i>Squaring the Circle of Fifths</i> by Julian Mock</span></div>
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<span style="font-family: Verdana,sans-serif;">& several new frameworks for improvisation by <a href="http://alycesantoro.com/preparedear.html" target="_blank">Prepared Ear</a>.</span></div>
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<span style="font-family: Verdana,sans-serif;">PERFORMERS: </span>
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Alyce Santoro & Elizabeth McNutt – <em>flute</em><br />
Julian Mock – <em>guitar</em></span>
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Death Convention Singers:</span></div>
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Marisa Demarco – <em>voice, electronics</em><br />
Clifford Grindstaff – <em>bass guitar, bass clarinet</em><br />
Drake Hardin – <em>clarinet</em><br />
Rosie Hutchinson – <em>violin</em><br />
Ariel Muniz – <em>cello</em><br />
Alan Zimmerman – <em>pitched percussion</em></span></div>
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<span style="font-family: Verdana,sans-serif;">The concert is free and open to the public.</span></div>
alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-57818940530458214932017-03-05T13:10:00.005-06:002017-03-05T13:10:53.313-06:00Imagining Sound at Central Features in Albuquerque, NM<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_my9bKswzYVCfTlsI_anSKiNTZ5abtgZSns51YjrKR9PDM9008pdHZzFaySnceZFHfP-xVccLeh1gytc1mTHr1rlsxmLAMEWO_w74Gv_Nwf0mqZHKlD9p2GMiqwnC1-EbV3jQVg/s1600/modes_major_scale_painting_2017.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="553" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_my9bKswzYVCfTlsI_anSKiNTZ5abtgZSns51YjrKR9PDM9008pdHZzFaySnceZFHfP-xVccLeh1gytc1mTHr1rlsxmLAMEWO_w74Gv_Nwf0mqZHKlD9p2GMiqwnC1-EbV3jQVg/s640/modes_major_scale_painting_2017.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana,sans-serif;"><span style="font-family: Verdana,sans-serif;">Modes of the Major Scale, acrylic on canvas, 24" x 28", 2017</span></span></td></tr>
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<span style="font-family: Verdana,sans-serif;">Edgard Varèse suggested that "music is organized sound". Physics suggests that matter is also organized sound.</span></div>
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<span style="font-family: Verdana,sans-serif;">
The Tonal Relativity Series offers a way of organizing sound
visually...wavelengths of light evoke wavelengths of sound in the mind's
ear. </span></div>
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<span style="font-family: Verdana,sans-serif;"> The TRS is an "open work" (see <a class="profileLink" data-hovercard-prefer-more-content-show="1" data-hovercard="/ajax/hovercard/page.php?id=107924482564041" href="http://www.hup.harvard.edu/catalog.php?isbn=9780674639768" target="_blank">Umberto Eco</a>)
– musicians and non-musicians alike are invited to experiment with the
concept. The immaterial part of the project is freely available <a href="http://alycesantoro.com/tonal_relativity.html" target="_blank">here</a>.<a href="https://l.facebook.com/l.php?u=http%3A%2F%2Falycesantoro.com%2Ftonal_relativity.html&h=ATO7hDkEwwZGhDxzRvQJbCmYCK8lzJIlY2-cfOX0AKMSSR-TqUP69plj6Gtvk1Axx_tdfhaChmhaQPFEJq6M3vkHg15AvY6vgcLIcDaiCen77G0scV_P_XF0_A8Qmg7w-ZKRh_WszZPB5oImQfQ&enc=AZPdE-Ec3jPg1S2p7t2oEzI3uu4n-jWzvQ8dnDb4nwCFPq95Iiq2Pn8xhaspi5Tur4aXGoj7w-DLaYFXxmecoq-XbeXG-GKSH6rVB5j8KStdjBssZK4PZQQ75GDqLqpQbAQObtKmTgDTiocxXnLSjRaDyUMcx4aLQtI5LCZ29lJ_lLv-6GoEW6AZJ1DpBa4tMig&s=1" rel="nofollow" target="_blank"><span class="text_exposed_show"></span></a></span></div>
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<span style="font-family: Verdana,sans-serif;">
Material and quasi-material parts of the project (in the form of works
on canvas, objects, and sound) will be presented at the end of this
month through the end of April in Albuquerque, NM. </span></div>
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<span style="font-family: Verdana,sans-serif;"> "Imagining Sound" opens at <a class="profileLink" data-hovercard-prefer-more-content-show="1" data-hovercard="/ajax/hovercard/page.php?id=622354567820234" href="http://centralfeatures.com/" target="_blank">Central Features Contemporary Art</a> on <b>March 24 </b>from 6 - 8pm. </span></div>
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<span style="font-family: Verdana,sans-serif;"> I'll be giving an talk on the project at <a class="profileLink" data-hovercard-prefer-more-content-show="1" data-hovercard="/ajax/hovercard/page.php?id=71077346981" href="http://artslab.unm.edu/about" target="_blank">ARTS Lab New Mexico</a> at 5:30pm on on <b>March 22</b>. </span></div>
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<span style="font-family: Verdana,sans-serif;">Then, on the evening of <b>April 29</b> (the exhibition's closing day), Prepared Ear (composer/guitarist <a href="http://www.julianmock.com/" target="_blank">Julian Mock</a> and I) will present a concert at UNM ARTS Lab in collaboration with members of the Albuquerque-based <a href="https://deathconventionsingers.bandcamp.com/" target="_blank">Death Convention Singers</a> and University of North Texas flute professor-pioneer/<a href="http://soundsmodern.org/" target="_blank">Sounds Modern</a> co-founder Elizabeth McNutt. The program will feature works by Pauline Oliveros, LaMonte Young, Mario Lavista, and Brian Harnetty, as well as several frameworks for improvisation developed by us especially for the Tonal Relativity project. We are honored to have the opportunity to present this particular combination of works with this phenomenal group of practitioners at this particular moment. </span></div>
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alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-65808816613443606922016-11-15T09:55:00.002-06:002020-09-15T17:57:30.026-05:00List of Ideas Complied During Individual Studio Visits with Undergraduate and Graduate Visual Art Students at Georgia Southern University<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZsMw4gsWXTeTX-EKOLCcuq3M31iQv1aP4eqxafmioEFWhDbSw54-fC2J-T892N1n1ujWgCNG98bHGNZI8_u7NKT7is3VtAmnj6Lv74z80v1a98NbfZvRfi60dMiGvLUWLzFWrmw/s1600/ray_pettit_zine_inscription.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZsMw4gsWXTeTX-EKOLCcuq3M31iQv1aP4eqxafmioEFWhDbSw54-fC2J-T892N1n1ujWgCNG98bHGNZI8_u7NKT7is3VtAmnj6Lv74z80v1a98NbfZvRfi60dMiGvLUWLzFWrmw/s640/ray_pettit_zine_inscription.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>"A reflection on a year and its effects on the landscape and those within it."</i> Hand-lettered inscription in "Dance Around the Sun", a 'zine consisting of photocopies of etchings by Ray Pettit.</td></tr>
</tbody></table>
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<br />
Dear All, <br /><br />I want to thank each of you so much for sharing your work with me, and for the opportunity to share mine with you! It was heartening to share a moment in the midst of these strange and tumultuous times. <br /><br />During many of the individual meetings, I found myself offering up little tidbits of information that came to mind during our discussions. Next time, I plan to carry an old-fashioned receipt-type book with carbon paper between the pages so I can take notes in duplicate! Since I did not do that, I have been trying to recollect many of the items and to put them into list form...I thought the ideas as a collection might be fun to share with the whole group.<br /><br />With Sincerest Best Wishes,<br />Alyce<br /><br /><br />1. Every film <a href="http://www.openculture.com/2010/07/tarkovksy.html" target="_blank">Andrei Tarkovsky</a> ever made: <br /><br />2. Films by Alexandro Jodorowsky. In particular, <a href="http://jodorowskysdune.com/" target="_blank">Alexandro Jodorowsky's DUNE</a>.<br /><br />3. <a href="http://www.openculture.com/2011/08/terry_gilliams_diy_cutout_animation_show.html" target="_blank">DIY stop-motion animation tutorial</a> with Monty Python's Terry Gilliam.<br /><br />4. Brainard Carey is an artist who specializes in coaching other artists. Lots of free resources on <a href="http://yourartmentor.com/" target="_blank">his website</a>.<br /><br />5. If you need short-term housing in NYC, this is <a href="https://www.listingsproject.com/" target="_blank">a good resource</a> (artist oriented/artist run).<br /><br />6. <a href="http://www.nytimes.com/2015/09/27/books/review/the-invention-of-nature-by-andrea-wulf.html?_r=0" target="_blank">The Invention of Nature: Alexander von Humboldt's New World by Andrea Wulf</a><br />
<br />
Caveat: I do have some problems with this book (one of the main ones: the author blames the reason Humboldt is not better known in the US on anti-German sentiment after WWII. I argue that Humboldt was swept under the rug because his ideas do not jibe with exploitative capitalist ideology.<br /><br />I have not read this book yet, but it is on my wish list!<br /><a href="http://www.hup.harvard.edu/catalog.php?isbn=9780674025684" target="_blank">Plants & Empire: Colonial Bioprospecting in the Atlantic World by Londa Schiebinger</a><br /><br />7. My brilliant writer friend Quince Mountain, a trans man:<br /><br /><a href="http://killingthebuddha.com/mag/confession/cowboy-for-christ/" target="_blank">"Cowboy for Christ"</a><br />Short essay: <a href="http://www.myhusbandbetty.com/2014/06/30/just-call-me-che/" target="_blank">"Is Loving Trans People a Revolutionary Act?" </a><br />Qunice and his fiance Blair Braverman recently offered <a href="http://circa.com/whoa/feel-good/a-guy-in-wisconsin-offered-people-a-free-ride-to-the-polls-but-not-in-a-car" target="_blank">rides to the polls in a cart pulled by sled dogs</a>.<br />A story by Blair: <a href="https://www.buzzfeed.com/blairbraverman/what-its-like-to-have-a-trans-partner?utm_term=.ggX52GMWb#.euG1Yk683" target="_blank">"What I've Learned from Having a Trans Partner"</a>.<br /><br />8. <a href="http://katetemple.com/" target="_blank">Kate Temple</a>, a visual artist and friend who works with "the secret luminosity of color and form."<br /><br />9. <a href="http://www.artnews.com/2015/07/31/what-we-make-is-what-we-feel-agnes-martin-on-her-meditative-practice-in-1976/" target="_blank">Agnes Martin</a> as an example of an artist for whom the work was more about being present than about any highly-developed or contrived concept.<br /><br />
10. Write an artist statement from the perspective of yourself in 10 years, as if you had already achieved many of the things you envision for yourself. <br /><br />11. <a href="http://bigbendnow.com/2015/09/guest-commentary-19/" target="_blank">Solar cookery! </a><br /><br />12. Come visit Marfa, TX! <br /><a href="https://chinati.org/" target="_blank">Chinati Foundation</a><br /><a href="http://juddfoundation.org/" target="_blank">Judd Foundation</a><br />alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-64981584379536712222016-11-06T15:20:00.004-06:002016-11-06T15:20:38.265-06:00TONAL RELATIVITY: Solo Exhibition at Georgia Southern University, November 7 - December 9<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvxyVG19jEVm3L0Ny2me3kNWd6fEImWKQ74T20wGCQl0QckA_R9P-qeAkQsvdzPGxICvw3xDrQ-tIdWb4xFplE6hViC5p4qoS6_9QBpiAIVjnXRBOc3k2-YM_26FBhYi5lVymiGQ/s1600/pentatonic2_repeat_pattern_card.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvxyVG19jEVm3L0Ny2me3kNWd6fEImWKQ74T20wGCQl0QckA_R9P-qeAkQsvdzPGxICvw3xDrQ-tIdWb4xFplE6hViC5p4qoS6_9QBpiAIVjnXRBOc3k2-YM_26FBhYi5lVymiGQ/s640/pentatonic2_repeat_pattern_card.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Set of Pentatonic patterns, visualized in a repeat pattern.</i></td></tr>
</tbody></table>
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<br /></div>
<div style="text-align: justify;">
On Thursday November 10th at 5pm, I'll be giving a talk to
accompany a solo exhibition at <a href="http://class.georgiasouthern.edu/blog/2016/10/19/alyce-santoros-tonal-relativity-opens-at-center-for-art-theatre-in-nov" target="_blank">Georgia Southern University</a>. The show
will feature the latest iterations in the Tonal Relativity series, most
as works on canvas. Sixteen pieces will serve as visual illustrations of
sonic relationships within a 12-tone musical system.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Throughout
my own life, the kind of egalitarian, intuitive, non-verbal
communication that comes out of sonic improvisation with one or more
fello<span class="text_exposed_show">w earnest listeners/musicians/soundmakers has inspired much of my thinking and and efforts in all realms. </span></div>
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<br /></div>
<div class="text_exposed_show">
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This project was developed as a way to improve my own skills as an
improvisor and listener, and to help me to overcome habitual ways of
thinking and seeing. I hope that others – musicians and non-musicians
alike – may also use it to discover new pallets of possibility.</div>
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<br /></div>
<div style="text-align: justify;">
This video offers both an audio and visual demonstration of the first
six intervals in the series: </div>
<br />
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/190371846" webkitallowfullscreen="" width="640"></iframe>
<br /> <br />
More here on the project: <a href="http://alycesantoro.com/mode_chart.html" rel="nofollow" target="_blank">http://alycesantoro.com/mode_chart.html</a><br />
There is much, much more to come...<br />
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alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-91492698357487620632016-08-02T12:42:00.005-05:002020-09-15T17:49:40.710-05:00Interview on New Music Pioneer <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLO6j7sfok5kLks_9rq0iPELnjAiy2yXhMK-ZZF6Gf7jYcJq_clgpbFYq_KF4_o2duhFoj6haL8FkYvndzmujujtps4i6iukK5jnsvbBJYK6cjRVz-qJgic15oR_xUe9yP28neGg/s1600/unset_alyce_chinati.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLO6j7sfok5kLks_9rq0iPELnjAiy2yXhMK-ZZF6Gf7jYcJq_clgpbFYq_KF4_o2duhFoj6haL8FkYvndzmujujtps4i6iukK5jnsvbBJYK6cjRVz-qJgic15oR_xUe9yP28neGg/s640/unset_alyce_chinati.jpg" width="640" /></a></div>
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<div style="text-align: justify;">
One year ago I had the great pleasure to meet flutist <a class="profileLink" data-hovercard="/ajax/hovercard/user.php?id=100006905221312" href="https://www.facebook.com/elizabeth.mcnutt.50">Elizabeth McNutt</a> when she and composer Andrew May of <a class="profileLink" data-hovercard="/ajax/hovercard/page.php?id=360606107356117" href="http://soundsmodern.org/" target="_blank">Sounds Modern</a> invited local musicians to participate in the debut of UNSET, Andrew's
site-specific sound composition for Donald Judd's works in concrete at
the <a class="profileLink" data-hovercard="/ajax/hovercard/page.php?id=113237725353498" href="https://chinati.org/programs/sounds-modern-unset" target="_blank">Chinati Foundation</a>.</div>
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<br /></div>
<div style="text-align: justify;">
I was first impressed by Sounds Modern – and Elizabeth's flute-playing
in particular – in 2013 when they brought a sublime performance of
Morton Feldman's Crippled Symmetry to Marfa. </div>
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<br /></div>
<div style="text-align: justify;">
I'm very grateful to Elizabeth for inviting me to respond to a few very thoughtful questions for her New Music Pioneer blog! <a href="http://newmusicpioneer.com/?p=206" target="_blank">Here's the interview.</a><br /></div>
alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-84571441729945541302016-06-15T12:55:00.002-05:002016-06-15T12:55:27.414-05:00WARPED at Museum of Craft, Creativity, and Design<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLxwtYTghRcWBFyqqvzrjXqO5qb7dp_Yhen0liOB4OXvxmct7TpgmivmDFKtzDethJpdltLdaqAvhqdPPMv01WFAptu8Xf_-ZxF-3eHm8UWoMpiSAfleydvNiovZ1R9qgc-S3-GA/s1600/tell_tail_sails_warped.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLxwtYTghRcWBFyqqvzrjXqO5qb7dp_Yhen0liOB4OXvxmct7TpgmivmDFKtzDethJpdltLdaqAvhqdPPMv01WFAptu8Xf_-ZxF-3eHm8UWoMpiSAfleydvNiovZ1R9qgc-S3-GA/s640/tell_tail_sails_warped.jpg" width="632" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo Courtesy Museum of Craft, Creativity, & Design</td></tr>
</tbody></table>
<br />
My Tell-Tail Sails (After Hurricane Sandy) – woven from cassette tape
recorded with sound-samples collected on and under the streets of NYC –
are included in "Warped: An Exhibition on Sound and Weaving" at <a class="profileLink" data-hovercard="/ajax/hovercard/page.php?id=286193898071311" href="http://www.craftcreativitydesign.org/warped/" target="_blank">The Center for Craft, Creativity & Design</a> in Asheville, NC.<br />
<br />
<div style="text-align: justify;">
<blockquote class="tr_bq">
"Practitioners have long observed the relationship between sound and
weaving. Appalachian master weaver Lou Tate (1906-1979) remarked how the
weaving draft pattern resem<span class="text_exposed_show">bles the
five line musical staff. Indeed both composing and weaving are
time-based endeavors that require significant planning, and are often
recorded with the intention of being repeated, replayed, or replicated.
Contemporary artists continue to investigate this intersection, mining
the connections between sound and weaving for material, visual, and
conceptual properties. The six artists included in this exhibition
demonstrate a range of approaches inspired by the overlap of sound wave
and thread, instrument and loom, composition and draft pattern, sound
and weaving."</span></blockquote>
</div>
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</div>
alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-68662672814725059702016-05-10T14:18:00.002-05:002016-05-10T14:21:15.746-05:00Mentoring Advice for Those Interested in Hybrid Art/Science Practices<div style="text-align: justify;">
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<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;"><a href="http://alycesantoro.com/scientific_illustration.html" target="_blank"><img alt="http://alycesantoro.com/scientific_illustration.html" border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv0aAhewONJW5oYO2_ybtF67QkApj5AplV3M9ZeTz2zubIEEUFtNVSeN0DilPOnL6APc_9k_1WrdUM-yCAjgc5ceiuPvDkEtEmt9NuxIuaMYdvCjikaes29HFjDck2sAQboMkiqg/s640/flounders_color.jpg" width="498" /></a></span></div>
<br />
<br />
<br />
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">Members of the <a href="http://www2.media.uoa.gr/yasmin/" target="_blank"><span style="color: #0e37a5;">YASMIN(Your Art Science Mediterranean Network</span></a>) discussion list were
recently invited to offer mentoring advice for emerging young professionals interested hybrid
art science careers:</span></div>
<div class="MsoNormal" style="margin-bottom: 12pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;"> <b>1- what is your background as a scientist?
In the arts, design or humanities?</b> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">As a young person fascinated by science and
nature but with a penchant for the arts (including music...inspired by Laurie
Anderson's tape-bow violin, I had an electric pick-up installed in my flute
during my early teens), I decided that my life's mission would be to
communicate about the wonders of science and nature through art. Not knowing
exactly what this would look like and having no mentor to guide me (in the
mid-1980's, a high school student with an interest in what may now be referred
to as interdisciplinary education was steered into "liberal
arts"...but this did not quite seem to fit the bill for me...I wanted to
be a "real" scientist...), formulated a plan: I would gain a formal
education in science first, followed by training in scientific illustration. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">As
an undergraduate I pursued a BS in Biology at Southampton College, part of Long
Island University (this campus and its excellent math, chemistry, and
physics-heavy marine biology program unfortunately no longer exists). I am so
grateful to have received this rigorous education...from it I learned the kind
of critical/analytical thinking and experimental design that informs every
aspect of my current work. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">After Southampton I went directly to Providence,
RI where I enrolled in Rhode Island School of Design's Graduate Certificate
program in scientific illustration. This too was a rigorous curriculum that, in
addition to providing solid training in traditional illustration, allowed me to
explore other media, such as sculpture and printmaking. Providence in the early
1990's was a fertile place for artists...lofts in old factory buildings were
cheap, and silkscreeners, bands, painters, industrial designers, and other
creative practitioners lived and worked in close proximity, willingly sharing
studios, skills, and equipment. To support myself while going to school at
night, I was fortunate to secure a job as a research assistant on a biochemistry
and aquaculture project at the University of Rhode Island. I felt like a bit of
an impostor in both worlds...by day, my friends at the lab thought of me as
some crazy artist, and by night, my artist-friends saw me as a professional scientist
who happened to make art. </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">Not long after graduating from the RISD program, I
got hired as a seagoing oceanographic research assistant on the Global Ocean
Ecosystems Dynamics <a href="http://globec.whoi.edu/globec-dir/more-about-globec.html" target="_blank">(GLOBEC)</a> project. I spent three months total a year at sea,
in increments of three weeks at a time, floating around Georges Bank in the
North Atlantic, for over four years. This was a pivotal time for me...which
leads to the next question... </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">2- when and how did you become involved in a
hybrid art/science practice?</span></b></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;"> While at sea, I had lots of time to think,
read, draw, write...and converse with my fellow scientists (this was in the
mid-1990's, before the internet was available on ships at sea!). Over the
course of the years that I worked on the GLOBEC project, it was becoming
clearer that things in the North Atlantic were amiss...counts of zooplankton
and larval fish appeared to be dropping. I asked the lead scientists whether and
how this information should be communicated to the public. I came to understand that our job as scientists should be to collect data, not necessarily to interpret it. Logically, I could see how scientists putting any "spin" whatsoever on data
– no matter how dire the results may appear – could be taken as bad practice. I felt
conflicted...I wanted to be a good scientist...but if the scientist's
job isn't to sound the alarm bells...whose job is it? I believe that because
there have historically been so few individuals in the position of
"science communicator"...not just a journalist or an illustrator, but
someone whose job it is to cross fluidly between those worlds, and understands
what it means to be a "good scientist"...this is in part why we are
now in the mess we find ourselves in re: climate change. Fear of bias has
actually led to extreme bias...the vast majority of media on science comes from
the corporate media, the kind of media that has a vested interest in
suppressing the reality of what is happening. </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">Alarmed by this, I started
making art about the foibles and hubris of science. I began designing
"experiments" and making "laboratory equipment" to study
the intangible, the parts of reality and the human experience that are
unquantifiable. In other words, I became a kind of philosopher... </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">3- what have been the major obstacles to
overcome?</span></b><span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">As others have already mentioned, one
persistent obstacle is the prevailing view in our culture of "art" as
something "extra", an embellishment, something that exists in a
support capacity for science but not as something integral, with equal
importance or value. The STEM to STEAM movement has been extremely helpful, and
"sci-art" and "eco-art" have become much more common and
widely accepted in recent years. But there is still much work to be done to
dispel the idea all these neat categories are really anything more than
convenient descriptors that, upon closer examination, are not nearly as neat in
practice as they are in theory.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;"> In addition, perhaps like many people on this
list, I work in a nebulous, sort of "genre-free" zone. Some of my
work involves sound and music, some of it is sculptural, much of it is
ephemeral or conceptual....I tend to use whatever medium I feel is necessary to
convey a particular idea. It's the ideas that are, to me, important...the
pieces are just artifacts of a concept....and the concepts are free for the taking.
For me the joy – and the point – is that ideas should be freely exchanged,
open-source, collaborative...information is power, and everyone should have
equal access to it. This leads to a variety of problems: a) the work doesn't
fit neatly into any handy category that makes it easy to show, sell/buy, or
write about, b) it does not tend to generate a significant amount of income. </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">4- what have been the greatest
opportunities/breakthroughs?</span></b><span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">Delighted to read that others have mentioned
Goethe here! When I first learned of his concept of "delicate
empiricism", it was a breakthrough for me. Confirmation of my hunch that
we are not as separate from our experiments as we make ourselves out to
be...and that "bias", or intuition based on sustained, earnest reflection
might actually be useful...these assurances gave me permission to further
develop my own "hypotheses". </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">5- what would you do differently, knowing then
what you know now?</span></b><span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">I would have abandoned my role as a "good
scientist" and embraced my role as one whose job it is to act as a liaison
between scientists and the public sooner...I would have helped sound the alarm
bells about climate change in the mid/late-1990's when I could see what was
happening and was discouraged from speaking out. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">Although my plan to study
biology first and scientific illustration later ultimately worked out in its
own way, I wish I'd known sooner of other options for someone who wanted to
become well-versed in both art and science. I would have liked to pursue a PhD
so that I could eventually teach, but I am only just now discovering PhD
programs that seem to accommodate interdisciplinary studies. </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">6- any advices to someone who may want to walk
in your footstep?</span></b><span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">• People who understand science and can communicate clearly and/or creatively about it are more urgently needed than ever. Thus far, the
problems of our time – when conveyed accurately at all – have been presented in
cold, detached ways that have not tended to inspire action on the scale
necessary. In my view, "the poetics and aesthetics of science
communications" could be a course of study unto itself. A young person
looking for ways to combine art and science might consider seeking out or
self-directing such a program. </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;"> • Without creativity, there can be no
innovation in art, science, technology, or anywhere in between...and if we are
to effectively confront the challenges we currently face, we need to teach,
learn, and practice creativity. </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;"> • For those whose practices are not
well-defined or well-compensated, living simply and staying out of debt are
strategies that can result in greater freedom, time, and flexibility. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">• A
couple of offerings for anyone who may wish to know more about my path in
particular: </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">This is a talk I gave for incoming freshman at the New School in
NYC in 2005 on <a href="https://www.blogger.com/%E2%80%A8https://vimeo.com/82805251" target="_blank">"The Art of Science, The Science of Art"</a>. </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">My
book <a href="http://alycesantoro.com/philosoprops_book.html" target="_blank">Philosoprops: A Unified Field Guide</a>, which was written with a young reader setting out on a path to combine
art and science in mind, is available as a free download
(the download button is at the bottom of the page).</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;"> <b>7- Add other questions and your responses
you think are relevant.</b> </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">Added question: What are you working on now?</span></b><span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;"> </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">•</span><span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;"> </span><span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">In collaboration with my husband
guitarist/composer <a href="http://www.julianmock.com/" target="_blank">Julian Mock</a> I am working on developing a means of
visualizing the intervals and modes commonly used in the Western 12-tone
musical system. This method employs a tertiary color wheel to depict tonal
relativity and shapes to depict intervals. As a musician who is constantly seeking
to improve my skills and pallet as an improvisor, I developed this method out
of frustration for the ways that the modes are taught in most standard music
theory books. More on this project here:
http://alycesantoro.com/mode_chart.html </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">• For Issue #25 of Leonard Music
Journal, I asked 20 composers of new and experimental music the same single
question that SOURCE: Music of the Avant-Garde asked of 20 composers in 1969:
<i><a href="http://www.alycesantoro.com/politics_of_sound_art.html" target="_blank">"Have you, or has anyone, ever used your music for political or social ends?" </a></i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "helvetica"; mso-bidi-font-family: Helvetica;">• I am one of the
co-founders of <a href="http://www.defendbigbend.org/" target="_blank">Defend Big Bend</a>, a group here in the high desert of far West Texas that is resisting against
the 42" high-pressure Trans-Pecos Pipeline. I mention this because the
fight is putting all of my skills as both an artist and a scientist to the test
– I find myself serving in the capacity of environmental journalist and
creative direct-action/social media strategist...in other words, "science
communications poetics/aesthetics"! Fascinatingly...local scientists on
the ground here whose jobs are funded through the government – including Big
Bend National Park employees, UT-funded astronomers, and state funded
archeologists – have been silenced by the pipeline company. In other words: <i>the
very experts who could comment most authoritatively on threats to this region's
plants and wildlife, aquifers, dark skies, etc. have had their jobs threatened
by an industry that pours money into the state's coffers. </i>Who is left to fight,
and to point out this conflict of interest? The answer is artists, students,
self-employed and retired people, and others without affiliations or anything
much to lose. This is not just happening here – this is the story of what has
been happening on a national and global scale for many, many years. Again, I
implore any young person to bear this in mind when choosing a career path:
those who can understand the gravity of the issues we are facing and are
willing and able to speak out on them eloquently and effectively...you are
urgently needed! </span>
</div>
<br />
<br />alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.comtag:blogger.com,1999:blog-15388995.post-12985906682840700112016-05-05T09:38:00.001-05:002020-06-24T07:37:57.331-05:00Third Eye Sunglasses as Philosoprop: Protection for New Organs of Perception<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><img border="0" height="518" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnthg4PgzfvG-TeNtC-Gyb9dG8cOeJIjbomuGYfU0JKwuKjXejAqhBpslhlbLBRtoNXt6L0AvtYOPERBFCvvZLBZEXx8RJO2XB_TBH0cXP0clVfsMJ1jze7aqQyNvRp2kqnbePeQ/s640/3rd_eye_glasses_tortise_sm_round.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr align="right"><td class="tr-caption"><a href="http://alycesantoro.com/philosoprops_pop_up_shop.html" target="_blank"><span style="font-size: x-small;">Third Eye Sunglasses, 2016</span></a></td></tr>
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<span style="font-size: small;"><span style="font-family: "verdana", sans-serif;"><i> "The human being knows himself only insofar as he knows the world; </i></span></span><span style="font-size: small;"><span style="font-family: "verdana", sans-serif;"><i> </i></span></span></div>
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: "verdana", sans-serif;"><i>he perceives the world only in himself, and himself only in the world. </i></span></span><span style="font-size: small;"><span style="font-family: "verdana", sans-serif;"><i> </i></span></span></div>
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: "verdana", sans-serif;"><i>Every new object, clearly seen, opens up a new organ of perception in us." </i></span></span><br />
<span style="font-size: small;"><span style="font-family: "verdana", sans-serif;"><i>—Johann Wolfgang von Goethe</i></span></span></div>
<span style="font-size: small;"><span style="font-family: "verdana", sans-serif;"><i><br /></i></span></span>
<div style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "verdana", sans-serif;">The idea to design a set of glasses that can provide shade for delicate, newly-forming organs of perception first occurred to me in the Peruvian rainforest in 2002. I didn't get around to actually creating a set until <a href="https://www.flickr.com/photos/alycesantoro/4216705071" target="_blank">2008</a>, blogging about them for the first time in <a href="http://choosedeterminism.blogspot.com/2009/05/third-eye-sunglasses.html" target="_blank">2009</a>. In <a href="http://www.gassergrunert.net/exhibitions/alyce-santoro/installation-views?view=slider#5" target="_blank">2013</a> one of my sets of Third Eye Sunglasses was included in an exhibition in NYC. In 2015 it was both a surprise and a delight to discover that Prince had developed <a href="http://alycesantoro.blogspot.com/2014/09/soften-glare-of-mystical-illumination.html" target="_blank">the same idea</a>.</span></span></div>
<div style="text-align: justify;">
<br />
<span style="font-size: small;"><span style="font-family: "verdana", sans-serif;">I have <a href="http://alycesantoro.com/subtle_technologies.html" target="_blank">long imagined</a> that brains may be like satellite dishes, and ideas like ambient waves that can be tuned into if the frequencies between transmitter and receiver align.</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "verdana", sans-serif;">In the case of the concept for an apparatus that softens the glare of mystical illumination, it seems it has been floating around in the aethers for quite some time...</span></span><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy9qic74c4OjhRQmoUiG1ucoYt_QeHoHz_vErrDohzlBnZi6CPE6mNZxAqtbtmO4O2xfudXgKEUSFhaeHwv6UUGNzGvqJEJcMZ0Nkh0hVge4eYEwBZwkda7b5hqIA-gdXIafCZaw/s1600/ardy_struwer_3rd_eye.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy9qic74c4OjhRQmoUiG1ucoYt_QeHoHz_vErrDohzlBnZi6CPE6mNZxAqtbtmO4O2xfudXgKEUSFhaeHwv6UUGNzGvqJEJcMZ0Nkh0hVge4eYEwBZwkda7b5hqIA-gdXIafCZaw/s320/ardy_struwer_3rd_eye.jpg" width="252" /></a><span style="font-size: small;"><span style="font-family: "verdana", sans-serif;">Washington Post reporter Dave Weigel tweeted <a href="https://twitter.com/daveweigel/status/724352237493977088" target="_blank">this 1970 photo</a> of Swedish prog artist <a href="https://www.youtube.com/watch?v=_Bn3XWwJIBE" target="_blank">Ardy Strüwer.</a></span></span><br />
<span style="font-size: small;"><span style="font-family: "verdana", sans-serif;"> </span></span><br />
<span style="font-size: small;"><span style="font-family: "verdana", sans-serif;">I can't be sure exactly what the idea of sunglasses that protect the third eye means to Mr. Strüwer or meant to Prince, but for me I think it may have something to do with Johann Wolfgang von Goethe...</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "verdana", sans-serif;">The conventional scientific method requires that the scientist conduct her or his experiments in as detached, objective a way as possible. Goethe, however, believed that strict objectivity is a literal impossibility, as the observer is not, in fact, separate from that which is being observed...while there may be an illusion of separateness, both existences are intertwined and interdependent. Goethe called a kind of study that would take into account both the quantitative as well as the qualitative "delicate empiricism". He believed that coming to knowledge through all the senses, including empathy and intuition, is not only valid, but vital.</span></span></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "verdana", sans-serif;"></span></span><br />
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<div style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "verdana", sans-serif;">In modern Western culture, we are taught from an early age to perceive ourselves as autonomous entities...separate from one another, and from the world we inhabit. When we begin to recognize that this separateness is not the reality of our experience new organs of perception open. This may be accompanied by feelings of euphoria...but it may also be overwhelming, frightening, or painful. Hence the need for an apparatus that can soften the glare...</span></span></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "verdana", sans-serif;"><br /></span></span></div>
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<span style="font-size: small;"><span style="font-family: "verdana", sans-serif;">Several pairs of Third Eye Glasses are now available in the <a href="http://alycesantoro.com/philosoprops_pop_up_shop.html" target="_blank">Philosoprop Shop</a>...including a brand new type that – instead of softening the glare, prismatically enhances it (please use with caution). </span></span></div>
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alyce b. obvioushttp://www.blogger.com/profile/12696152431282107248noreply@blogger.com