[NetBehaviour] playdamage #115: reANIMATr {blackmountainberlin}

Michael Szpakowski m at michaelszpakowski.org
Tue Jul 18 16:36:39 CEST 2017


Returning to this question of play. Apart from the sheer joy and affective charge I find in these pieces I love their playfulness - I've always assumed 'playdamage' was at least in part an appeal to that...

I love too the simultaneous refusal to take seriously, and the deep seriousness of the work - the way it excavates and exalts the -banal isn't the word I would use -  everyday, the common experience  -the shiver down the spine. ( but it's not just throwaway theme park ride, loud music, oh that's clever or flash or it-made-my-mouth-drop-open thrills, its taking all that seriously as part of being human, but digging much deeper too and assembling something much richer) I love the way it feels rooted in feeling ( that's nice let's do it again) and not calculation and that humour feels present in all this too, something so sadly lacking in much current art... 
cheersMichael

      From: Curt Cloninger <curt at lab404.com>
 To: "netbehaviour at netbehaviour.org" <netbehaviour at netbehaviour.org> 
 Sent: Sunday, July 16, 2017 2:14 PM
 Subject: Re: [NetBehaviour] playdamage #115: reANIMATr {blackmountainberlin}
   
Hi Alan,

Those performances i linked really have to do with difference and repetition. The minimalist control is the pop loop. I'm really intentionally trying not to improvise or vary it. But because of exhaustion, zoning out, boredom, (and collaboration, when involved), there is always drift and variation. And i am interested in that kind of inevitable variation arising from gradual failure based on duration as a kind of bodily constraint. I am not trying to be human-inventive/creative/spectacular. I are trying to remain banal. And then the constraint teases out the variability itself.

They say Phil Spector would make the pro wrecking crew studio musicians do hours worth of takes just to tire them out because he liked the way they played tired better. It seems related to that. And matthew barney's drawing restraints. And john henry vs. the steam drill. 



From:sondheim at panix.com (Alan Sondheim)Date:Sunday, 16 July 2017 - 4:20amHi Curt,

I don't think it's an inverse relationship; I'm varying the improvisation. 
What you do does relate to Roscoe Mitchell's repetitive album; I forget 
the title (used to have it) as well as the four-day improvisation that we 
(Jackson Moore, Chris Diasparra, and I) organized for Eyebeam; the longest 
I played continuously was seven hours, and all of us (maybe about 30-50 
musicians) played as much as we could. We moved in and out of each other's 
music; we also kept tabs on tips, calculating payment for our work.

I like what you're doing - can you say more about it (the long repetitive 
playing)?

Thanks, Alan






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