Last week’s edition of Zeit-Ton on Ö1 (Austrian radio) broadcast live recordings of the impuls International Composition Competition concert from February with Klangforum Wien and Ilan Volkov in Graz. This includes the premiere of this line comes from the past alongside new works by Jung-Eun Park, Hakan Ulus, Timothy McCormack, and Nuno Costa, plus a claim that I’m from the United States.
Over the last few years I have been working with Irving Goh on a special issue of CR: The New Centennial Review and it is finally online. It brings together statements by composers Joanna Bailie, Tatiana Catanzaro, Carolyn Chen, Ashley Fure, and Fabien Lévy alongside essays on music by Claire Colebrook, Jeffrey Di Leo, Jeremy Braddock and Timothy Morton, Jean-Luc Nancy, Naomi Waltham-Smith, and Holly Watkins. It also includes my own text, ‘Who Vibrates?,’ which tries to think about Carolyn Chen’s music and how New Materialist theories of vibration, vibrancy, and animation intersect with colonial histories of race and subjecthood.
I am very grateful to all our contributors who took the time to make this collection possible and to Irving for including me in the project.
You can find the issue on Project Muse, JSTOR, or directly from Michigan State University Press. Some of the papers (or their drafts) are also available from open access sources and I’ll try to keep this list updated as others come online:
- Irving Goh, “Editor’s Note: The Cry of Music”
- Claire Colebrook, “Escaping Meaning, Escaping Music”
- Holly Watkins, “On Not Letting Sounds Be Themselves”
- Chris Swithinbank, “Who vibrates?”
- Naomi Waltham-Smith, “A Music Worthy of the Name: Or, Agamben’s Museicology”
- Jean-Luc Nancy, trans. Goh, “Variations on the Reprise”
Here is a video from the first performance of always extra folds of birds of paper and you could move your finger along the length of them and have witnesses by Yarn/Wire.
This would not have been possible without the hard work of Yarn/Wire’s Ian Antonio, Laura Barger and Russell Greenberg, guest performer Eric Wubbels, and amplification performer James Bean. Thank you also to Jerry MacDonald (audio recording engineer), Manuela Meier (cameras), and Clara Iannotta (lighting). I am always grateful to Renee Gladman for her Calamities from which I borrow the title for this piece.
If you would prefer to just listen to the piece, there’s an alternate take without the video on SoundCloud:
Huge thanks to Martin Fahlenbock, Shizuyo Oka, Barbara Maurer, Åsa Åkerberg, Melise Mellinger, Jaime González, Klaus Steffes-Holländer, and Christian Dierstein of ensemble recherche, to Clara Iannotta and John Pax who performed as guests, to Anthony DiBartolo & James Bean for respectively recording and amplifying the performance, to James and Seth Torres for their help with this tricky mixing job, and to everyone else at Harvard who helped bring this into the world.
To complement the ‘Gender Relations in Darmstadt’ panel put together by Ashley Fure at this year’s International Summer Course for New Music Darmstadt, I put together a visual overview of gender balances at concerts at this year’s festival.