and then Francesco Gagliardi
(score)
Looking at the score structurally, we find three sections of articulation. First a section of single words, followed by a section of photographs and finally a phrasal section consisting of full sentences. Each section features four groups. The first three are always isolated individuals while the final fourth is composed of a pair, suggesting a correlation between each group across the three sections. The final instruction of suggested duration, perhaps the most objective and easily attached to a historical practice of music, falls just outside the noted pattern.
The intention in performance was to wade the area along the spectrum of listening which this piece addresses; which seems to be somewhere between casual listening and a kind of unperceived ambiance. We wanted to encourage a kind of listening where sounds are experienced but not always noted so closely, so as to allow them to blend into one another without the complete awareness of the listener. This intention was embedded within a higher goal of facilitating a time of serene monotony, where no single moment stands out, no form or narrative is remembered, rather, an experience for which a state of mind or a certain color would suffice as a description. Kind of like remembering a walk through the park, and not thinking of a woman seen, or a puddle stepped in, or any other details in particular, but just that it happened, and that somehow it was very nice.
The chosen instrumentation consisted of amplifier hum, field recording pushed through small speakers, peruvian flute, yarn, coins, lighter, rain jacket, book, along with various woods, metals, glass, and ceramics.
performed 20 october 2011 in Denton, Texas at UNT on The Square Gallery by anteroom.