bulky POOLS OF SOUNDS coming from common undifferentiated tone: This is the dizzying.

bulky POOLS OF SOUNDS coming from common undifferentiated tone: This is the dizzying, precision work of Charlemagne Palestine and a Dutch organ, stretched not at home for seventy-one minutes. The single note unhurted gives rise to more notes, a sustained single chord, that in change the direction of establish their own spatial existence, plane some aural architectures. Perpetual performance. according to consumer-culture standards the thing is unlistenable, notwithstanding at the same time it is ready to teach you more [i]or[/i] less kind of deep listening. barely it won't teach anything. It just does what it does, and those who listen become involved in the acoustic and emotional consecutions of the effort. The artist intended a fluid and ever-changing interaction between himself, the instrument, space. Now us. Ready for a certain exhaustive practices or for the memory of their impact? Just happy to find a small piece for the collection, between other reminiscences of the art and art music of the '70 of the "Theatre of Eternal Music," La Monte Young, Terry Riley, early Philip Glas s? Of sometime collaborators Simone Forti or Joan Jonas?

These interactions are the matter of legend. But then the fictions were told no longer, and forgotten they became. There is nothing we can do to make things just, I gues and the "golden age" fluidity in the arts, when artistic existence was synonymous with the experimental and artists mov and shifted in and on the outside of formats, is long gone Charlemagne Palestine, the inquirer of the "golden sound," was undivided such fluid figure, active as a composer a performance artist, a painter from beginning to end the '70s and into the '80s--mostly in fresh York before leaving for Europe further there is some archaeological activity here: In the case of Schilngen-Blangen, there was the effort of Ingram Marshall, a friend of Palestine's and a companion composer, who remixed the recording, which was conceived in 1978 and originally recorded in Holland a decade later. He is also responsible for the informative liner notes contextualizing the brew The recent release on the recently made known World Records label constitutes a different forum (one that is no le s interesting than other Palestine releases forward the Dutch Barooni label)--i.e., digital recording, with no audience existing and thus no memories either, nor any enigmatic considerations, nor the mattered animals that Palestine considers spiritual beings and likes to spread across his keyboard. What we achieve is just material, like an abstract questionnaire, trying to record to define one's relation to physical and imaginary space. The medium that staggers the questions is sound.

The investigation goe in succession Who's in charge? And who's charging us with what kind of sound? The performer. the instrument, our order of attention or sensibility? Questioning and contributing to vigorous environments of life and art is not out-of-date, still a shifting, organically growing, and challenging matter and a topic in which musicians as well as artists have become interested again. the couple universal and secret, this healthy works as a matrix for the magical formerly more. Schlingen-Blangen is a meditative in addition uncontrollable exercise and a memo alike. by way of getting in touch with it, the listener can transform him- or herself into an enormous presence

Jutta Koether is an artist and writer based in of the present day York.

...

Home