I wasn’t able to attend, so all I can really do is look at the pictures found here by the wonderful Dimitri Djuric and wonder what happened! This raises some interesting questions about open scores, the actions that might fill in the open-bits, and what happens when those actions are reified….
I respect Michael and his performances enormously. I’m looking forward to speaking with him and others in attendance more about what happened…
More information about [Factory] can be found on my “works” page.
I just had the excellent fortune to be awarded a short residency at the Arnolfini Art Gallery in Bristol.
The event, called sound, silence, and listening, was an afternoon dedicated to the work of Christine Sun Kim. I was lucky enough to be asked to perform/present a new work.
Watching and listening to Christine present about her work was incredible. Her enthusiasm about plumbing the depths of sound, scores, and the relationships these elicit was very illuminating.
The work which I presented, String Quartet #1, was an exploration into the idea of making sound into text. In the work, I used a recording of a string quartet rehearsal, transcribed it into text, and then had actors perform it. The “music” from the rehearsal was deleted, leaving ungainly silences in their wake. For the Arnolfini performance I also subtitled the work, introducing another element to the aspect of transcription and translation.
The image is of my “fake” string quartet!