Message-ID: <alpine.NEB.2.11.1502010239550.4160@panix5.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.wvu.edu>, Wryting-L <WRYTING-L@listserv.wvu.edu>
Subject: dwelling, audio fluidics, software
Date: Sun, 1 Feb 2015 02:44:48 -0500 (EST)
dwelling, audio fluidics, software http://www.alansondheim.org/verra.png (luke damrosch software) http://www.alansondheim.org/verra0.mp3 http://www.alansondheim.org/verra1.mp3 http://www.alansondheim.org/verra1.mp3 once the space is determined by the software, the position of the player, the musical instrument or instruments, the physical architecture of the playing space, the speed of sound in air which is temperature and humidity-dependent, the direction of the player and instrument, the characteristics and direction of the recording apparatus, ambient sound, characteristics of reflective surfaces, the instrument acoustics including the acoustics of different registers and chordal qualities if present, the software programs parameters, the parameters of the computer, the characteristics of the microphone or magnetic pickups or other transducers - once the space is determined or in-determined by all of this, the performance soon transforms, or from the very onset, into a series, choate or inchoate, of adjustments by the player, who moves from living without to dwelling within the acoustic and fluid space and architecture always supple and modified by the physical movements of the player in the space, so that, perhaps with repeated entries and inquiries, the dwelling becomes somatic, entangled and within and without the body and mind of the play, who now discovers, moves through the wellsprings of discovery, the subtlest characteristics or attributes of the instrument and the space and the player's body as a slow dance or quick dance or flashdance among them, producing work for and within that space and that instrument and all those elements that makes up the space, one might think even of playing the instrument and the space or playing the body and the instrument and the space, or playing the player within the dwelling of the player, so that the discovery of the player, for a fragile and perhaps even mysterious moment, becomes ecstasy or elsewhere or a locus of unimaginable wonder, something the player, for the rest of the player's life, within remains silent and strong within, an unimaginable memory, wordless, formless or the memory of form, soundless or the memory of sound, among the human and all other forms of living for the duration ..