Artist’s talk a.o.i. - lasting memories, Friday, 16 February 2023
Chris Dahlgren and Erika Matsunami in dialogue
“(Un-)familiar with the arts” for a new avant-garde in the 21st century
Cultural patchwork family and its new knowledge through the arts, on our cultural memories and human evolution worldwide
Keywords: post-colonial; gender; equality; friendship; cultural evolution; transdisciplinarity; transversality
Background of artist’s talk:
What I studied from Alvin Lucier's exploration was conceptual freedom, what it means in music, and its creative agency and societal imagination, but from the critical aspect of technology and society. Alvin Lucier (May 14, 1931 – December 1, 2021) was an American composer; his artistic position as a composer was that he was in the Western contemporary music of American avant-garde. However, from the aspect of my artistic research, he addressed his oeuvres in terms of the liberal arts. In the 21st century, art will become even more centred around the liberal arts.
John Cage (September 5, 1912 – August 12, 1992) eliminated the ideology of Western traditional music in his Opus 4'33'' (1952). He suggested that in Western mathematics there is a zero, a different “existence” from the nothingness (無/Mu) of Japanese Zen Buddhism. Furthermore, on the stage, his work dealt with our contemporary “existence” in society; it was performative. Cage had thereby clarified that the musical score is a kind of musical law in Western classical music, and is an important ethic in Western Christian culture traditionally.
There are very few improvisational artists who are really free. Most improvisational artists have built their formalism today by establishing their own style. That's their status. Actually, improvisation is like fluxing, through a kind of generated knowledge of humans. There is no model of improvisation, but it is rather individual and unique. Here, improvisation-based performance is an artistic methodic aspect of the performance, thereby bodily expression will occur in the installation, as well as musically. It means that performers' existence in the installation during the performance is not for and towards notation or score as the musical law, but rather a space, probably a sensual space. The question is, what is a sensual space? Maybe no one knows about “sensual” because it's happening at the neuron level. So, 21st-century art is delicate and stable. As well as design is delicate and stable because of the nano-level of technology today.
Corona (1962) for pianist(s) by Toru Takemitsu (8 October 1930 – 20 February 1996) was an expression, and his unique artistic method and musical expression in the music was so-called expressionism.
In fact, in today's science of the universe, in cosmology, it is different waves that are delicate and stable and we can never hear. “Stable” here means an uninterrupted, constant range.
Why do we need to explore “something new” in the arts constantly? Because of our knowledge and awareness of humanity, which is a reflection of humanity and its ethics.
What is nature?
How do we think the synthetic? It consists of the natural sources that are a part of natural existence in the world of the universe including Earth, art and nature, and our lives.
Performance in the installation, Saturday, 17 February 2023
Improvisation-based performance, Chris Dahlgren (Viola da Gamba, Bass (Contrabass, E-Bass, or other Bass)) and Erika Matsunami (electronics)
* I don't know yet which instrument he will play for the variation of B-flat.
Artistic approach and challenge in Untitled I - a.o.i. - lasting memories with Chris Dahlgren:
Both the sound and the tones are produced, whether they are from the analogue source or the digital source. That is, schall/sonic, timbre and frequency in natural science. The timbre of a sound depends on its waveform, which varies with its frequencies and relative intensities – relativity and intensity in natural science.
For me, creating sound works is often a kind of artistic act, more precisely, it is a "drawing". These compositions are a spatial installation in a representational space to me, which is an invisible multifold space. Therefore, our artistic challenge musically and artistically is on time stretch. Stretch is a very interesting term conceptually. For example, in German, it means Elastizität, which means resilience and flexibility in English. Chris Dahlgren has an artistic approach to “slow music” that was the starting point of his artistic career and his exploration in music. That was my great interest in collaborating with him in 2009. I think it was not only mine, it was also Alvin Lucier's. In this collaboration, in 2022/2023, we work in 'B♭/ B-flat'. B♭is the starting and ending of the notation “a.o.i. - lasting memories”.
Es ist klar, daß sich die Ethik nicht aussprechen läßt.
Die Ethik ist transcendental.
Aestethics and Ethics are one/(Ethik und Aesthetik sind eins.)3, Wittgenstein's.
In the composer Sannicandro Valerio's doctoral thesis is musical compositional “spatial figure”.
It is dealt with a performance in the spatial sound installation from the aspect of architecture and visual art on the subject of “spatiality”. Thereby, the visual codes (visual notation) will be transcribed, translated, and articulated into a space for creating an unconventional musical performance that consists of interpretation and improvisation. That is, a kind of intervention between music and visual arts in the context of architecture. Thereby, the visual codes (visual notation) will be transcribed, translated, and articulated into a space for creating an unconventional musical performance that consists of interpretation and improvisation. That is a kind of intervention between music and visual arts in the context of architecture.