R a s c h 2 0   :   I n t e r f e r e n z e n

R a s c h 1 7   :   r a s c h c l a s h

R a s c h 2 2   :   t r a n s p l o s i o n s

there are two musics
(or so I’ve always thought):
one you listen to,
one you play.

they are two entirely different arts,
each with its own history, sociology, aesthetics, erotics:
the same composer can be minor
when listened to,
enormous when played —

take Schumann.

R a s c h 1 1 + 1 [ 3 ]   :   S c h u m a n n   r e - n o t a t e d

R a s c h 1 6   :   Ä u s s e r s t   b e w e g t

Such are the figures of the body
(the “somathemes”),
whose texture forms
musical signifying,

(hence, no more grammar,
no more musical semiology:
issuing from professional analysis—
identification and arrangement of
“themes”, “cells”, “phrases”—
it risks bypassing the body (…)



 

These figures of the body,
which are musical figures,
I do not always manage to name.

For this operation requires a metaphorical power
(how would I utter my body except in images?),
and this power can occasionally fail me:
“it” stirs me, but I do not find the right metaphor.

R a s c h 1 5 - 2 2

 

c o n c e p t   &   p i a n o   p e r f o r m a n c e   |   p a u l o   d e   a s s i s

 

c o n c e p t ,   v i d e o ,   l i v e   e l e c t r o n i c s   &   p e r f o r m a n c e   |   l u c i a   d ' e r r i c o

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P L A Y   A L L

R a s c h 2 1   :   s h i m m e r i n g s

je suis à la fois maître et esclave :
je ne me contente pas de répéter ce qui a été dit,
de me loger confortablement dans
la servitude des signes :

je dis, j'affirme, j'assène
ce que je répète.

R a s c h 1 8   :   m a î t r e   e t   e s c l a v e

R a s c h 1 9   :   q u a s i   p a r l a n d o

R a s c h 1 5   :   d a n s   l a   n u i t . . .