Today we are all working on various parts of the project separately.
Below are some videos beginning to collect material to create an idea of the Aleph?
Just been listening to this programme,
http://www.bbc.co.uk/radio3/discoveringmusic/pip/5056m/
you need to listen to it by Sunday 30th as the link will run out. Its about Tango and one of the contributors just said "Borges describes Tango as a heart dancing on four legs" this made me think his short story the Circular Ruins.
Marcus explains irrational numbers.
Here are some pages from Marcus's sketch book a lot of the diagrams show him trying to workout how to navigate through the hexagonal rooms of the Library of Babel.
Showing posts with label triangulation. Show all posts
Showing posts with label triangulation. Show all posts
Thursday, March 27, 2008
Saturday, December 29, 2007
triangularity
Picking up on Marcus' mention of '1,2,3,lots...' and triangles, I woke up thinking about the triangularity we will have with our 3 dancers and 3 musicians. Three is the minimum number with which to produce a meaningful dimensionality of sound in an ensemble but with three you can start to approach a sense of 'lots'.
Put the two ensembles together and we have...lots, and with Marcus that makes... more lots. Then with mirrors and projection...lots and lots...
Amongst the ways I want to deploy the three musicians, one is to place them spaced apart on three sides of the periphery of the space, essentially forming a 'triangle'(but perhaps conceived more as a 'circle'), to get a sense of a dynamic spatialisation of the sound. Syllables flying across the space. The challenge in scoring this is that the performers need to have some independent means of rhythmic organisation if they are to produce a tight rhythmic structure without being conducted. I would also like to do this vocally, with all the performers: in this case using each performer's pulse rate to achieve multiple tempi - a real sense of lots can be achieved this way.
At the other extreme, I want to place them close together and facing in, to perform a variety of 'games' that signify dice-throwing in different ways. One of these is permutations of three points. Another is a kind of 'paper-scissors-rock' idea that produces endlessly permutating chords. These will be potentially infinite. They will just start and stop spontaneously. We can play with ways to vary and mutate them.
Other ways of conceptualising and organising 'three': two musicians, one dancer. Two dancers, one musician. Marcus on trumpet makes four musicians.
Put the two ensembles together and we have...lots, and with Marcus that makes... more lots. Then with mirrors and projection...lots and lots...
Amongst the ways I want to deploy the three musicians, one is to place them spaced apart on three sides of the periphery of the space, essentially forming a 'triangle'(but perhaps conceived more as a 'circle'), to get a sense of a dynamic spatialisation of the sound. Syllables flying across the space. The challenge in scoring this is that the performers need to have some independent means of rhythmic organisation if they are to produce a tight rhythmic structure without being conducted. I would also like to do this vocally, with all the performers: in this case using each performer's pulse rate to achieve multiple tempi - a real sense of lots can be achieved this way.
At the other extreme, I want to place them close together and facing in, to perform a variety of 'games' that signify dice-throwing in different ways. One of these is permutations of three points. Another is a kind of 'paper-scissors-rock' idea that produces endlessly permutating chords. These will be potentially infinite. They will just start and stop spontaneously. We can play with ways to vary and mutate them.
Other ways of conceptualising and organising 'three': two musicians, one dancer. Two dancers, one musician. Marcus on trumpet makes four musicians.
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