Musica Instrumentalis: David Tudor and the Occult Passage of Music | September 11, 7 pm- | Oslo, Anthroposophical Society of Norway (Oscars gt. 10)


You Nakai is giving an hour-long lecture at the Anthroposophical Society of Norway in Oslo on the peculiar influence of Rudolf Steiner’s teachings on David Tudor’s approach to music. It will be in the same hall where Rudolf Steiner gave lectures a hundred years ago (yay).

The abstract goes something like this:
David Tudor (1926–1996), the foremost pianist of experimental music and later pioneer of live electronic music, was also an avid follower of Rudolf Steiner’s spiritual science. While brushing off European presenters’ desperate pleas to include music from the 19th century in his avant-garde concert programs, Tudor nonchalantly performed the same kind of music in the Anthroposophical Society concerts in New York; while perusing through Steiner’s writings that chastised machines, he diligently assembled electronic circuits to explore new sounds. The question is not so much why Tudor kept a double life, but how he reasoned the apparent discrepancy between his belief and practice was only apparently so. This presentation focuses on Tudor’s idiosyncratic engagement with “musical instruments”—both acoustic and electronic—setting it in contrast with Steiner’s curious use of the term to account for the human body, to reveal an occult passage between the metaphysics of music and tone, and the physical nature of materials necessary for their production.

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


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
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:]

March 31 (Friday) 7:30 PM
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
with Aevi & Roland Albrecht, and others
Museum der unerhörten Dinge
Crellestraße 5, 10827 Berlin


Der in New York ansässige Verlag ALREADY NOT YET (, geleitet von Mitgliedern des No Collective (, 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.

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


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:

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



Ellen C. Covito’s Homebodies | November 22 | Private residence in Bed-Stuy (Brooklyn)


No Collective and composer/pianist Teodora Stepancic (with generous help from Panoply Performance Laboratory) are co-organizing a house concert of the Argentinian composer/choreographer Ellen C. Covito’s music at an untouched, arcane brownstone somewhere in Bed-Stuy, Brooklyn. Covito’s Composed Improvisations and Improvised Compositions will be performed in an extremely intimate setting by Masami Tomihisa, Teodora Stepancic, Assaf Gidron, Lindsey Drury, Brian McCorkle, Esther Neff, Kaia Gilje, and You Nakai.

Acclaimed recently in TDR (MIT Press) as “a rising star in the radical musical traditions (…) [who] continues the necessary investigation of the conditions of art,” Ellen C. Covito is widely known for her idiosyncratic approach to music and dance which deconstructs the binary of composition and improvisation with humorous rigor. Her recent endeavors in choreography continues her distinct focus on the uniqueness of each performer’s bodies which both conditions and belies the abstract symbols of written notation and score. Covito’s works have been performed in New York, Berlin, and Tokyo, and taught in various conservatories/workshops around the world.

Some works in the program include:

The location is a private residence so please send us an email ( if you would like to come. Spacing is very limited.

Post-Dance: A Primer | November 20 | Post-Dance Symposium, Panoply Performance Laboratory (Brooklyn)


No Collective is co-presenting with Lindsey Drury a peculiar theory about this thing called “(Post-)Dance” during a four-day symposium at Panoply Performance Laboratory on that thing called Post-Dance. We’ve been babbling bits and pieces of our erratic idea to friends in the last couple of months but this presentation will coalesce the primary theoretical components and many nice examples for the first time. So we hope you can come, if you are in New York or nearby. Our presentation is on Sunday, November 20, from 4pm.

Here’s a list of preliminary questions we’ve posited in lieu of an abstract:

Post-Dance: A Primer
Is the term “post” a mere prefix to indicate we are over it? What is this “it” we are supposed to be over with? If we are over dance, why do we still cling to that old name? Wouldn’t “post-it” be a better name? And even if we stick to dance, can’t we do better than resorting yet again to the facile formula of [dance + x (e.g. performance art, discourse, theory, etc)] and/or [dance - x (e.g. choreography, dancer, etc)]? Do we even know what we seek to leave behind? What is a body? What is movement? What if “post” was a verb or a noun? Where do we go from here, where have we been, and who is this “we” that we all talk about?

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.”

“In Other Words: How Stockhausen Stopped Writing Theory (and Resumed Ten Years Later)” | The Musical Legacy of Karlheinz Stockhausen (Wolke Verlag)


A paper You Nakai wrote on Stockhausen (probably the only one he will write) has been finally published in the anthology “The Musical Legacy of Karlheinz Stockhausen” that just came out in Germany:
The book assembles papers that were originally presented at the one-off scholarly conference on Stockhausen’s music at his summer school in Kuerten, back in 2011. You’s is called “In Other Words: How Stockhausen Stopped Writing Theory (and Resumed Ten Years Later)” and it more or less does the following:
“From 1961 to 1971, Stockhausen did something strange: he abandoned the detailed analyses of his own compositions which he had diligently written and published in the previous decade. Around the composer’s reticence, musicologists have displayed their eloquence. However, the scholarship has primarily focused on saying what the composer did not say, disregarding the question of why he did not say it. This paper is an analytical inquiry into that discursive void, a (somewhat) self-defeating effort to explicate with words the correspondence between what the composer chose not to say (with words) and what he said in the meantime through other means.”

“The Constancy of Instruments: David Tudor’s Fontana Mix, 1967″ | April 14 | Alternative Histories of Electronic Music, Science Museum, London


You Nakai is presenting a paper called “The Constancy of Instruments: David Tudor’s Fontana Mix 1967” at the international conference “Alternative Histories of Electronic Music (AHEM)” held from this Thursday to Saturday at the Science Museum in London. The paper articulates the peculiar nature of Tudor’s music through the overlap of instruments and the discrepancy of their configurations between Tudor’s realization of John Cage’s Fontana Mix in 1967 and his own Bandoneon ! from a year before. It’s a three-day conference with many interesting presentations and a nice acronym, so if you are around.

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:…/…/0996944206

“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.