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


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.]

Toneburst Maps and Fragments by David Tudor and Sophia Ogielska | October 22 | Issue Project Room (New York)


You Nakai is part of this David Tudor event hosted by Harvestworks at the Issue Project Room in downtown Brooklyn. Michael Johnsen is performing his version of Untitled (with some cloned instruments using the schematics he and You found/drew out), John D.S. Adams and John Driscoll will be presenting their views, and Tudor and Sophia Ogielska’s Toneburst Maps and Fragments will be on display.


“In 1995-96 David Tudor collaborated with Sophia Ogielska on a visual language for representing David’s music compositions created in analog circuits. Focusing on Tudor’s composition Toneburst for Merce Cunningham’s Sounddance, they developed Toneburst Maps and Fragments — a collaborative installation work which used visual elements derived from David Tudor’s scores. The work was first exhibited at the Ezra and Cecile Zilka Gallery at Wesleyan University in 1996.

ISSUE Project Room partners with Harvestworks to present an exhibition of their selected visual works – Toneburst Maps and Fragments — and a contemporary interpretation of the works accompanied by a panel discussion. This event is presented as part of the 50th anniversary of Experiments in Art and Technology.

Described as the essence of the music of David Tudor, the event marks a unique opportunity to see and hear Toneburst. The early evening panel is moderated by John Driscoll, with context and background presented by John D.S. Adams and You Nakai. Further, Sophia and Andy Ogielska discuss details about their collaboration with Tudor.

Following the panel, a performance by Michael Johnsen highlights his current research in the circuit-level documentation of David Tudor’s “folkloric” homemade instruments at Wesleyan University. Serving as the only remaining clues to these pieces, Tudor’s exquisite score diagrams are simultaneously explicit and opaque to the would-be performer. Using electronic instruments of his own making, Michael references the “Maps,” which can be entered at any point and traversed in any direction producing multiple performances of the works.”

Book Review of Museum of Unheard (of) Things | Midwest Book Review


Here’s a review of “Museum of Unheard (of) Things” by Midwest Book Review:

“Critique: An inherently fascinating and absorbing read from beginning to end, “Museum of Unheard (of) Things” is certain to be an enduringly popular addition to both community and academic library collections, as well as the personal reading lists of anyone with an interest in the strange, the weird, the obscure, and the kind of things that made ‘Ripley’s Believe it Or Not’ so popular for so many decades.”

The nice implication of ‘Believe it Or Not’ is that the stories are, despite their unusualness, true.


Here’s the book, if you are interested:

“Late(r) Realizations: Versions, Sound Systems, and Compositions by David Tudor, 1960-1970” + “Inside David Tudor’s Live Electronics” | March 24 | over under around and through the music of David Tudor (Wesleyan University)


You Nakai is part of OVER, UNDER, AROUND, AND THROUGH THE MUSIC OF DAVID TUDOR, a two-day conference on the music of David Tudor at Wesleyan University happening this Friday and Saturday (March 25-26). You will do two things there (mainly): (A) presenting an hour-long talk called “LATE(R) REALIZATIONS: VERSIONS, SOUND SYSTEMS, AND COMPOSITIONS (1960-1970)” which examines the complex entanglement between Tudor’s realizations of other composer’s works in the 1960s and the composition of his own, and attempts to articulate the nature of Tudor’s “composition” via his oddly late realization about becoming a composer, and (B) co-organizing the session “INSIDE TUDOR’S LIVE ELECTRONICS” with Michael Johnsen and Matt Rogalsky, which examines Tudor’s extant electronic instruments now archived at Wesleyan. Both presentations will happen on the first day, March 25th, starting from 1:30pm. Other presenters include John Holzaepfel, Julie Martin (EAT), Composers Inside Electronics (John Driscoll, Phil Edelstein, Ralph Jones), Tom Erbe, Gustavo Matamoros, Mats Lindstrom, and Ron Kuivila among others. There will also be concerts in the evening, so if you happen to be in Connecticut or nearby.

public service | 2016-2017 | private residence in new york


1. public service is a series of (pseudo) secret events organized (almost) every month by No Collective (you nakai, et al) and zner (dp) at a private residence in new york.

2. each event is hosted by a different creature (artist choreographer film maker scientist writer philosopher engineer etc) and attended only by 10 (or so) people carefully selected and cordially invited by the host(s) and the organizer(s) for the specific occasion.

3. together the series explores the thin line(s) between legal and illegal public and private performance and attendance substance and subjecthood theory and method real-time and documentation.

4. public service will go on forever (=twelve months) at the end of which we are planning to publish the documentation of the events to make them publicly accessible in retrospect.

5. february will be hosted by no collective at the end of the month.

“Exchange Mechanism” by Cody Eikman | The Performance Club


A pertinent and pertinently weird review of Vesna’s Fall at the Queens Museum written by Cody Eikman has been published at Claudia La Rocco’s Performance Club > Exchange Mechanism by Cody Eikman
It’s an acrobatic but very precise articulation of what happened inside the performance—what one saw and heard, and (perhaps more importantly) did not see or hear. Since we deliberately made the piece so that not much could be discerned by just looking at it from a distance, we’re really glad that someone analyzed its peculiar manner of operation in this detail. On Immaculate Conception, private exchange in/of bodies, and being eaten by the performance.
Thanks to David Ian Griess and Kota Yamazaki for the photographs. More writings on that piece are to come. Yay.

Rainforest IV with Composers Inside Electronics | July 20 | Sonic Delights Festival, Caramoor Center for Music and the Arts

You Nakai is going to perform  David Tudor’s Rainforest (this time the “4th” version) as part of Composers Inside Electronics, this Sunday at the Sonic Delights Festival at Caramoor Center for Music and the Arts. The performance will go on for 7 hours from 10 in the morning.  There will also be performances by Vicky Chow, Stephan Moore, etc, as well as a panel discussion on Sound Art, so if you are nearby!

Ellen C. Covito: Works After Weather | Already Not Yet 01

No Collective is publishing “Ellen C. Covito: Works After Weather,” a book which brings together all the major works of this idiosyncratic Argentinian composer, along with theoretical texts (by Lindsey Drury, Shinichi Takashima, and You Nakai) that extensively analyze her approach, plus an exclusive interview with Covito herself by Kay Festa. This is also the first book to be released by [already not yet], a new open access publisher we have just started.
You can read and download the entire book in PDF for free from the website:
If you wish to purchase a printed hardcopy, you can do so at lulu.com:
Please feel free to copy and disseminate the book as you like. We will be publishing more books like this (and unlike this) at [already not yet], so please stay tuned.


“More than Meets the Ear: An Account on the Shared Ac(counts) of Cage and Stravinsky” | April 23 | Performatica Festival


Following the performance of Vesna’s Fall, Kay Festa is ‘performing’ (with a little help from her friends) a paper entitled “More than Meets the Ear: An Account on the Shared Ac(counts) of Cage and Stravinsky,” which brings together some of the findings and insights that were accumulated during the production of Vesna’s Fall. The presentation will take place at the ‘Agora’ building inside Universidad de las Americas, from 3:15pm on April 23. The abstract of the paper is as follows:


More than Meets the Ear: An Account on the Shared Ac(counts) of Cage and Stravinsky

Kay Festa

John Cage has recounted his decision to study with Schoenberg as a choice won over Stravinsky: “Schoenberg was approaching sixty when I became one of his students in 1933. At the time what one did was to choose between Stravinsky and Schoenberg.“ The consequence of that choice, as well as the mutual indifference between Cage and Stravinsky is well known. But there is more than meets the eye, or the ear. As recent studies have shown, Stravinsky used a systematic methodology to generate the complex rhythmic structure of Le Sacre du printemps, and it was this structure underlying the distribution of rhythms that Nijinsky based his choreography upon. Thus, when the noisy audience reaction reached the height of masking the music at the premiere of Le Sacre in 1913, Nijinsky could shout out the counts from the wings to convey the necessary structure to his dancers who could no longer hear the orchestra. In this way, the relationship between dance and music in Le Sacre proves to be an important precursor for the collaboration between Cage and Cunningham. By further extending this comparison to Stravinsky’s ‘block form’ and Cage’s ‘gamut technique,’ this paper analyzes the two composers’ similar focus on mechanical procedures to create empty structures which were then used to accommodate diverse ‘blocks’ of sound and rhythm. This approach is seen as rooted in a kindred modernist interest for a super-sensorial platform upon which individual sensorial materials can be positioned and maneuvered—a proximity mediated by music’s strong connection to dance, which was never shared by Cage’s teacher Schoenberg.