PAST FUTURE PERFECT/PEST FUTURE PERFECT | March 3 & March 6 | Kinosaki International Art Center/Mrs. Triangle, Osaka

This gallery contains 2 photos.

We are showing the result of various human experiments we’ve conducted during our two-weeks residency at the giant theater of Kinosaki International Art Center tomorrow. Also we will travel to Osaka after this to present “Pest Future Perfect” where we … Continue reading

BEFORE AFTER EXPERIMENTAL MUSIC | February 10 | Cornell University, Ithaca, NY

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You Nakai is presenting a paper at the “After Experimental Music” conference happening at Cornell University next week. It’s called “Before After Experimental Music” and talks about his work on David Tudor in connection to his works as No Collective with a criticism of Actor Network Theory (yawn) inserted somewhere in between. Come to Ithaca, it might be interesting!

https://events.cornell.edu/event/symposium_after_experimental_music

Before After Experimental Music: The Case of David Tudor with Some Minor Implications for the Present

This paper presents three nested case studies. The first is an exposition of David Tudor’s experimentalism which was intertwined with the more well-known experimentalism centering around the discourse/practice of John Cage. Despite his extensive collaboration with Cage, Tudor’s focus was quite removed from his collaborator’s, concentrating on what he called the “nature of instruments,” which grounded his idiosyncratic practice as performer/composer of experimental music. The second case study problematizes the first by asking what the nature of a “case” is, and why, when scholars like myself investigate the history of experimental music, we end up focusing on “cases” to make our point, despite our well-meaning and well-funded efforts to indefinitely trace the potentially infinite network of actors. I connect the ontological status of “cases” to that of experiments in the natural sciences, depicting their necessarily biased and local nature as well as the form of closure which seems to block the otherwise endless flow of agencies in the network model. I argue that “cases” present a case of experimental objectivity that is not universal but situated, and thus related to the specific nature of objects assembled in the collective—the instruments involved. This experimental and instrumental nature of cases correlates to the biased and localized position of the particular observer of history who frames or fabricates cases as such. The third case study capitalizes on the implications of the above analyses to focus on a series of miniature expositions of more recent, relatively unknown endeavors in experimental music that I have been personally associated, including my own project, No Collective (http://nocollective.com). What arises through this meandering trajectory is the problem of who is tracing the network, with what interests, using what resources, and under what conditions, which also brings into question the seemingly neutral authority of our vista wishing to foresee what comes after experimental music.

“The Realities of Fiction: ANY 4 ACTS by Already Not Yet/No Collective” | Studies in Theatre and Performance (38-1), 2018, Routledge

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The new issue of Studies in Theatre and Performance (Routledge) will feature a detailed re-view of ANY 4 ACTS that we staged in Berlin and Cyprus last March/April. Written by Cody Eikman, the piece describes and analyzes the series of events we enacted from the situated standpoint of one particular audience which reveals an implicit mechanism at work behind the surface disjointness between the four “acts.”

[Follow-up (May 2018): After going through the necessary edits and corrections, a peer-reviewer (whose rather redundant job is to review reviews) requested the re-viewer to make some connection with “exterior discourse,” by which he meant theories and works that are currently fashionable in academia. Since the methodology chosen to write the text, namely to describe and analyze the series of events from the situated standpoint—”itinerary of thoughts” and “trajectory of experience”—of one particular audience who experienced them made it difficult to include such references in the main text, and also because the list of people and issues the peer-reviewer listed up appeared arbitrary and irrelevant to the work being reviewed, the re-viewer offered instead to discuss such matters in a footnote. He received an angry reply from the editor of the journal who was somehow agitated by this response. We thank Cody for allowing us to publish it here instead.]

ANY 4 ACTS | March 27-April 9 | Berlin & Cyprus

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No Collective/Already Not Yet is putting on a series of 4 Acts to launch our new periodical MATTERS OF ACT and a new philosophical Question-and-Answer-and-Picture book ARE WE HERE YET? written by a four-and-a-half-year-old.

Deviating from the usual (boring) meet-the-author, appreciate-her-reading type of book release gatherings, these Acts will stage literal theatrics that reflect and deflect the myriad exploration into “matters of act” engaged in our new journal. Together they grapple with the core problematics of literature and theatre: the enactment of text and the consequent fracturing of time.

The first Act at  Grüntaler9 takes the form of a Panel Discussion about ARE WE HERE YET? and MATTERS OF ACT with You Nakai, Lindsey Drury, Johanna Gilje, Teena Lange, Natália da Silva Perez, & Joël Verwimp, and moderated by two Already Not Yet authors: a very impatient six-year-old Aevi, and a very patient sexagenarian Roland Albrecht from the Museum der Unerhoerten Dinge. Conversation will center on the problems of “Act” (both as action and pretense) and “Past Future Perfect” (the featured topic of the next issue).

The second Act will be an After-The-Fact Rehearsal of the first act at the same venue with the same members (absentees replaced by effigies–stuffed animals, LEGO figures, etc), which aims to achieve through contrivance and pretense what the first Act realized so naturally.

The third Act will reinstate these anti-causal proceedings into a genuinely classical context, by staging a revelatory Denouement at the Ancient Greek Theater of Kourion in Cyprus on April Fool’s day.

The final Act will return to Berlin for a much needed Q&A Session (or the efforts thereof) at the Museum der Unerhoerten Dinge (Museum of Unheard (of) Things), led by the author of the speculative Question-and-Answer book ARE WE HERE YET? The then-four/now-six-years-old Aevi, who is currently learning to read, will attempt to read his own book for the first time in public.

Entrance is free to all 4 Acts. Limited copies of MATTERS OF ACT, ARE WE HERE YET? and other Already Not Yet books will be sold at a special discount price at each Act.

March 27 (Monday) 7:30 PM
ACT 1: PANEL DISCUSSION (on MATTERS OF ACT + ARE WE HERE YET?)
moderated by Aevi & Roland Albrecht
with Johanna Gilje, Teena Lange, Jöel Verwimp, Natália da Silva Perez, Lindsey Drury, You Nakai
grüntaler 9
Grüntaler Straße 9 13357 Berlin
[This Act is reservation-only and limited space is already starting to fill up so please reserve your spot by emailing: info@alreadynotyet.org]

March 31 (Friday) 7:30 PM
ACT 2: AFTER-THE-FACT REHEARSAL (of ACT 1)
moderated by Aevi & Roland Albrecht
with Johanna Gilje, Teena Lange, Jöel Verwimp, Natália da Silva Perez, Lindsey Drury, You Nakai (absentees replaced with effigies)
grüntaler 9
Grüntaler Straße 9 13357 Berlin

April 1 (Saturday) 3 PM
ACT 3: DENOUEMENT (for ACTS 1 and 2)
with Lindsey Drury, You Nakai, Aevi, etc
Kourion Ancient Greek Theatre
9 Km west of Episkopi village, Lemesos-Limassol, 4620 Cyprus

April 9 (Sunday) 3 PM
ACT 4: Q & A SESSION (on ARE WE HERE YET?)
with Aevi & Roland Albrecht, and others
Museum der unerhörten Dinge
Crellestraße 5, 10827 Berlin

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Der in New York ansässige Verlag ALREADY NOT YET (alreadynotyet.org), geleitet von Mitgliedern des No Collective (nocollective.com), präsentiert eine Reihe an „Acts“, um ihre neue Zeitschrift MATTERS OF ACT sowie ein neues philosophisches Frage-und-Antwort-und-Bilderbuch ARE WE HERE YET?, geschrieben von einem vier-und-ein-halb-jährigen Autor zu bewerben.

Abweichend von dem gewöhnlichen Triff-den-Autor- und Hör-dir-die-Lesung-an-Stil werden die Acts wörtlichen Theatraliken auf die Bühne bringen, welche die unzähligen Erkundungen in MATTERS OF ACT (Angelegenheiten der Akt) reflektieren und bespielen werden, mit welchen sich die neue Zeitschrift auseinandersetzt. Dabei entfalten sie Kernfragen des Literarischen und des Theatralen: Die Inszenierung eines Textes und das konsequente Aufbrechen der Zeit.

Der erste Akt im grüntaler 9 (Nur mit Reservierung) hat die Form einer Podiumsdiskussion über ARE WE HERE YET? und MATTERS OF ACT mit Johanna Gilje, Teena Lange, Jöel Verwimp, Natália da Silva Perez, Lindsey Drury & You Nakai, moderiert von zwei Already Not Yet Autoren: einem sehr ungeduldigen sechsjährigen Aevi und einem sehr geduldigen sechzigjährigen Roland Albrecht (Museum der unerhörten Dinge). Übersetzung von Alexander Booth. Die Diskussion beschäftigt sich mit den Fragen von „Act“ (sowohl als Aktion und Schein) und „Past Future Perfect“ (das Thema der nächsten Ausgabe).

Der zweite Akt wird ein nach-den-Fakten „rehearsal“ des ersten Aktes am selben Ort mit den gleichen Teilnehmern sein (die Abwesende durch Puppen ersetzt), welcher durch Erfindungen und Schein zu erreichen sucht, was der erste Akt so natürlich realisierte.

Der dritte Akt wird diese anti-kausalen Vorgänge in einen klassischen Kontext einflechten, indem er dessen Auflösung in dem antiken griechischen Theater von Kourion auf Zypern am ersten April (Aprilscherztag) auf der Bühne präsentiert.

Der letzte Akt wird für eine vermutlich sehr notwendige Frage-und-Antwort Runde in das Museum der unerhörten Dinge nach Berlin zurückkehren, präsentiert von dem Autor des philosophische Frage-und-Antwort Buch ARE WE HERE YET? Der damals-vier-/jetzt-sechs-jährige Autor, der gerade dabei ist, Lesen zu lernen, wird versuchen, aus seinem eigenen Buch vorzulesen zum ersten Mal vor Publikum.

Alle 4 Akte sind kostenlos. Eine limitierte Selektion der Bücher MATTERS OF ACT, ARE WE HERE YET? und weitere Already Not Yet Bücher werden zu Sonderpreisen während jedes einzelnen Akts verkauft.

“Music and Its Double: The Immaculate (And Not-So-Immaculate) Conceptions of No Collective” | TDR (61-1, Spring 2017), MIT Press

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The new issue of  TDR (MIT Press) has a fairly complex review/analysis of Immaculate Conception we staged last year with ensemble mise-en. Written by Cody Eikman, the piece is entitled “Music and Its Double,” and in addition to precisely articulating the mechanism of the work, it also launches a necessary critique of the relationship between experimental music and the so-called new music (namely the exploitation of the former by the latter). This is the second review of Immaculate Conception following “Double Act” in The Brooklyn Rail last year (http://brooklynrail.org/2016/09/music/immaculate-conception-by-no-collective), and mostly we are very happy abou the fact that there are appropriately two double reviews for our doppengänger piece. Thank you very much to everyone who spent time on this concert in one way or another (especially Dee Ali, our rehearsal director).

The video of the entire piece is here:
http://nocollective.com/i.html

“The problem of the double has explicitly haunted music since John Cage declared music to be part of theatre. In Immaculate Conception, No Collective explored this doubling by creating a doppelgänger ensemble that acted as a copy of the musicians of the group ensemble mise-en. This tactic foregrounded the theatrical dimensions of music, while the context surrounding the performance itself highlighted the problematic entanglement of original and double (between “experimental” and “contemporary”) in the social sphere of new music.”

“‘Contemporary music’ and ‘experimental music’ form an uneasy double in the world of new music today. The tendency is for the former to capitalize on the latter, while discrediting it as derivative (and therefore free) resource. Ensemble mise-en does not ‘examine’ as much as ‘exploit’ the ‘unusual corners of the composition world.’ But the perception of an apparent hierarchy between the polished and professional music and its unusual and amateurish double must be reversed. In most cases, the repertoire of a ‘contemporary music’ ensemble comprises none other than the ‘experimental music’ of yesteryear — ridiculed in the past, but accepted and institutionalized over time. Until the moment of acceptance from its double, experimental music remains a peripheral origin of what is generally regarded as ‘contemporary’ in music. That the refined copy can retroactively author the primitive original is no secret in the social sphere of new music. The fear of double persists therein.”

http://www.mitpressjournals.org/doi/abs/10.1162/DRAM_a_00628#.WM7ZWnQrKRs

Review of “Concertos” | TDR (61-1 Spring, 2017), MIT Press

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The new TDR issue contains a belated book review of Concertos (+ other books from the Emergency Playscript series) we published from Ugly Ducking Press 6 years ago back in 2011 (http://www.uglyducklingpresse.org/catalog/browse/item/?pubID=140). We have our reservations about the review (it contains several factual errors), although some parts of it sound nice and it sure is great to have, finally, a review for that complex playscript we put so much energy into.

“The No Collective piece, Concertos, was first performed in Tokyo in 2008, by the Japanese participants of that prominent international collective — founded by the artist You Nakai — who have presented work at the borders of music composition and performance art at such venues as Tokyo’s Museum of Modern Art. Concertos was then reworked as a transcript by other members of the Collective. The performance piece appears to have an ongoing existence in the Collective’s repertoire, extending beyond the published volume of 2011, and has been performed with variations on at least four occasions, most recently in 2012. The original performance, consisting of 3 “movements,” each 18 minutes in duration, entailed animal as well as human participants, including interventions by a dog and a bird (the dog having been obtained from a “rental pet shop” [15], and the pigeon caught with a net, according to the transcript). The account of the performance on the Collective’s website records: “Feedback is produced between the contact microphone attached to the pigeon and the mobile speaker attached to the dog” (http://nocollective.com/c1.html).

The published volume of Concertos experiments with the duplicities and multiplicities of transcription [...]. Concertos works both as a performance record, in its transcription of the participants discussing their memories of the performance, and also as an imaginative reflection on the performance itself: “People say ears don’t have lids, unlike eyes. But ears will open and close selectively, unlike eyes which seem incapable of selection” (9). The Collective’s participants appear keen to reinforce the elements of malfunction and disarray integral to their performance, recasting its ending as an extended suspension: “Then, after packing all the equipments, drinking, lamenting everything that went wrong, you have an INTERMISSION of eighteen months” (33).”

MATTERS OF ACT: Pre-launch event & rehearsal | December 20 & 23 | milkyeast, Tokyo

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No Collective/Already Not Yet is organizing a pre-launch event for their new periodical MATTERS OF ACT: A Journal of Ideas. This event in Tokyo assembles artists Takuma Ishikawa, Shinichi Takashima, and members of Art User Conference (Satoshi Hashimoto and Katsumasa Matsui) who participated in the inaugural issue, and will be held at the gallery space milkyeast, where the exhibition “Unconditional Restoration,” also featured in the journal, took place. Aside from discussing the content and form and performativity of MATTERS OF ACT, we will hand out Japanese translations of some of the texts, exhibit related documents, and also speculate about the future since that’s what Japanese people do at the end of the year. Also, there will be a “rehearsal” of the panel discussion on December 20, at the same venue. Space is very limited so please reserve your spot by emailing: info@alreadynotyet.org

MATTERS OF ACT: Pre-launch Event | December 23, 2016 | 6-9PM | milkyeast, 2-22-15 Shinkawa

MATTERS OF ACT: Pre-launch Event Rehearsal of Panel Discussion | December 20, 2016 | 6-9PM | milkyeast, 2-22-15 Shinkawa