Are We Here Yet? | December 1 – | Klax Kinderkunstgalerie, Berlin

ANY03_AWHY_ALL_Page_43

ANY03_AWHY_ALL_Page_44

Aevi’s Q&A picture book “Are We Here Yet?” is part of an exhibition that started today at the Klax Kinderkunstgalerie in Berlin. There’ll be some limited copies available for purchase at the gallery!
http://www.klax-galerie.de/vorschau

If you can’t be in Berlin, you can still read half of the book from the below link (the author wouldn’t let us put the whole thing for free..):
http://alreadynotyet.org/03.html

 

Untitled: David Tudor’s “Never-Ending Series of Discovered Works” | November 11, 2017 | American Musicological Society meeting, Rochester, NY

7.25
You Nakai is presenting a paper on Tudor’s Untitled/Toneburst at the annual meeting of American Musicological Society.
Untitled: David Tudor’s “Never-Ending Series of Discovered Works”
In 1972, David Tudor composed Untitled, a seminal work of live-electronic music in which modular electronic components are hooked up to form feedback loops in order to generate sounds without exterior input. Tudor’s innovative approach has exercised a wide influence on the later development of noise music, and has been hailed as the precursor of the current trend of “no-input feedback” in electronic music. However, the nature of Untitled is shrouded in enigma. The configuration diagram of components employs peculiar symbols of Tudor’s own design, obstructing a straightforward identification of instruments. More critically, Tudor’s description of the piece as “part of a never-ending series of discovered works” calls into question the very delineation of Untitled as a standalone “work.” A subsequent remark that “all versions are performed live,” furthers the mystery—is Untitled a part of a series, or a series in itself? Resorting to its performance history only adds more layers of confusion. Despite his aim to perform everything live, the proliferation of components forced Tudor to record the output of an initial set-up in advance and use this as input source to a simplified configuration in performance. In 1975, Tudor created Toneburst, set to Merce Cunningham’s Sounddance, which used the same no-input principle without resorting to recorded sources. Shortly before his death, Tudor revived Toneburst for other musicians of the Cunningham company to perform, while expressing reservations for Untitled to be performed by others. Again, a mereological-ontological question ensues: is Toneburst a “version” of Untitled? Or is it yet another “part of a neverending series”? This paper presents a genealogical inquiry into the Untitled/Toneburst complex through detailed examination of extant sketches, instruments, and recordings. By decoding Tudor’s symbols, the components of Untitled and Toneburst have been fully identified. The analysis of recordings has further revealed that the same three source tapes were used not only in all performances of Untitled, but also in all performances of Toneburst after its revival. These revelations offer a key to articulate the idiosyncratic status of “work” in Tudor’s live-electronic music, and its connection to his distinct approach to composition and performance.

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

images

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

4acts_flyer_english_s

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

—-

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

dram.2017.61.issue-1.largecover

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

concertos

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

poster

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

 

 

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

15178265_1323791017641902_4295998995076016610_n

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:
http://ellenccovito.com/cid.html
http://ellenccovito.com/civ.html
http://ellenccovito.com/cis.html
http://ellenccovito.com/icm.html

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