Truck :: n. a self-propelled vehicle for carrying goods
Tuesday, December 18, 2012
Saturday, December 15, 2012
Christopher Funkhouser
--
Live composition in/& performance
Chris Funkhouser: Writing, Voice
with
Chris Diasparra: Saxophone, Drums
Dave Ruder: Clarinet, Electronics, Voice
Alan Sondheim: Strings
Music Factory: December 10, 2012 (approx. 1:30-2:20 p.m.), Eyebeam Art+Technology Center, New York City (http://www.newlanguages.org/)
Three months ago, Alan Sondheim invited me to participate in an “unbroken 96 hour performance” of improvised music, a project which came to be known as Music Factory. Without knowing what to expect at all, I joined in for five hours on one of the event’s four days. To prepare, I practiced on a couple of instruments and arrangements (flute and canjo with digital effects such as echo, double chorus, and creating loops). I also had in mind, from a certain point onward, that I would do some improvisatory writing.
When I arrived at Eyebeam, Alan was onstage with one of his many stringed instruments, and Dave Ruder, a clarinetist, was setting up some electronic gear. When I asked Alan what instrument to play, he simply said, “Listen, and fit in”, or something to that effect. I played some hand percussion for a bit (Tagunggak and Berra Boi), and then settled into flute and canjo playing. After three hours, I took a short break, after which I commenced the writing session while Alan, Chris, and Dave were onstage.
Using a spell-check process I transformed, over the course of forty minutes or so, information from the Music Factory website into a prose poem (see http://cordite.org.au/features/picture-becomes-text-becomes-writing/ for a basic description of the process I use). The process involves some text prep work, which is happening during the first few minutes of the recording. I sat in the front row of chairs next to a projector which illuminated (against a dark curtain downstage) what transpired on the laptop screen. When finite composition begins, strains of the music change as musicians adapt to hearing me verbalize through my thoughts on the language Microsoft Word was feeding me as the poem is tuned. The composition was absolutely unrehearsed: I'd never digitally treated the seed text in any way prior to the event, and it is remarkable how well the ultimate textual result corresponds to themes and objectives declared by the event’s organizers (Alan, Chris, Jackson Moore, & Edward Schneider).
At one point, Chris is using an electric pump to inflate an air mattress for backstage naps; at another, a delivery man arrives to pick up a parcel; to conclude, we are all onstage and I read the brand new piece; toward the end, Dave also chimes in with words...
Friday, December 14, 2012
Miron Tee
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Vernon Frazer
Discounted Measures
pentatonic rerun capture
synecdoche returned by hand
a rattling pulse prefigured
along the snaking grass
foam saps melody’s breaking incursion
*
feldspar oratorio blockage
ampersand reviews a peak disdain
accorded the third inversion
sofa plugs taper
their excursion into carnage
before wind chimes
fossil the tapered a cappella twofer
*
clinging rapture surrogates
await the real vicarious fling
split filing duties on the blade
as emoticon tabular sealant
clogs expressing past codes
the music continues a secret of silence
What Was There When There Was
a casually cure-all bandana fixation
branding no cultural fritters allowed
needs coral deportment proceedings
to strike up a mannered stiletto band
posturing brambled doubloon regrets
molded blue as a stochastic holding
the golden gamblers bet the oddly
discursive fundaments a revelation
for the house indulging the scored
privilege tanking under loose gesture
intended to refute button smashers
where their velcro lives fix the most
pandering attachments to suitcase
vouchers underscored the data mix
when solarium tenets decried vulgar
focaccia enclaves kneading help
rising from a context void of tomato
clearance receptors or roster checks
encumbered pestilence retractions
center on remedial clairvoyance sales
folded away from voyeur-toned flesh
inhabitants marked for regurgitation
spill crying milk across tabloid crowns
while stationary mixtures purified all
tablet scars molded around billiard
scraps labeled eight-ball modem
fries encapsulated dowager bars
in fat vacuums packed for breathing
captive intention gasses outwardly
consumed with traction pits enacting
bitter resumes achieving impact
of vapor premises an under-reaction
stapled to vests short on tact or rayon
or fact imposed on ritual fur packs
ripening millennium harvest implants
before the best promises break back
porcelain reaction follies at a cubicle
onslaught left to mark its own deletion
cresting against halcyon breast bouquets
as a managed entry-level position slants
vertebrae four-fold across plier heads
open-jawed for inanimate nutrition fests
or a slackened buttress fortune waived
goodbye to all that matter of factoid
presence as an absence gone missing
Fixing the Future
tuna feathers tabloid terror fixtures
portico remix adagios velvet in cruising
for servant angles occlusion appeal
outlets venture vain weather pundits
dealing the low sharks to card hands
encumbered numeric impudence
clicking back flashes of futures dashed
on the rocks where lemon aides crawl
dashboard vengeance ploys laid out
pontoon levels for thatchers on strike
whether or not the tune fit the pulse
like a leather condom ratchet attuned
to whether the repealed protrusion
deafens the heartfelt carrier nodules
hair bent across the wool tampers
when glory modes inundated massage
parlors higher payment than discourse
allowed tattoo plungers to follow past
florescence among dying metaphors
the cross-breeze validates with semen
paring incandescent rotor shifts bared
to primal bracket thirst climbing a stool
swollen against a pollen lost to danger
a mixture of minutia and mendacity
bent to past intentions and lost denial
a capillary spread finagled sunsets
beyond the shadow of a debtors farm
indentured serpents writhing the fields
of the gored beyond a purple statuesque
insinuation of growing boredom plants
broom gardens in looming swath patterns
breezing willow breaths across the lawn
to a yawning stationery portal wheezing
long-gone reprobates in their last days
riding the night till the horse’s end stilled
the wind their heels turning to spurn
the demanding threat to monstrosity
before its next occurrence spurned them
radial enclosures to a diametric curve
turning contradictory patchwork miracles
on shredded enmity burgers left unloaved
as bred through enigmatic cost deferments
the cordoned force shoved to threaten
eclipsing farcical calypso lamentations
along the forward shore that indented
wither fabric bringing the rack to a chill
implicating climate grain’s intemperate silo
begging to drain the latitude from starch
embryos histrionic with tabular keels hauled
a matching dealer past the gathered pelts
the gabardine social call waivers accrued
matching envy for dollar-whistle sand bars
cragging isotope ingrates toward figurine
displays belching numismatic replays
where gender buttons finesse the bagel
cost applied to red shard envy banners
attributable to forest rations left unseen
where the crew stationed new storage
brigades marching toward the future
every forward step landing in its place
Passing Words
entropic declensions
hirsute as corporeal tonguing
repeat the shredded past
a clangorous fuselage kissing
shade’s meek disturbance
towers head south
toward open gavel country
spreading ablatives
to pattern a passive descent
*
trail fury
seeks grotto assemblies
marked
for tantrum spoon regatta
shakers
grasping at claws
*
recalling the cold-fire haze
percussion datives mixed rebukes
under a hair-cloth banner
climbing strands
eyeball detention camp singalongs
Wednesday, December 12, 2012
Jayinee Basu - Kayla Sanchez Genesea
Kayla Sanchez Genesea:
she can pick up what you're saying.
“Hello!”
To take a note for it,
She’ll just take it indefinitely
“it,” word yet now she’ll it it
and the Timberlinks enthusing it too long.
But likes appointment to cut out for checkpoints
but like it's coming Hankison cancel
I cut you off.
When you can think of anything,
save your very confusing
Lake of the Woods
are centerless, clear.
Better do you want to be cleared for her?
I just want use naturally because off it it'll naturally.
Send it out like a little earlier hundred it
Townesbury viscosimeter comes
it wasn't published on the bullion
added it to penning the latest Montherlant tissue
I don't imitation of them.
No, she doesn't know what that is
so that's what makes it just exotic
do differently Capeville talk talking.
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