Ablinger, Peter

Peter Ablinger - A Letter From Schoenberg from mediateletipos on Vimeo.

A Letter From Schoenberg: reading piece with player piano (2008) - Peter Ablinger with Winfried Ritsch

Remix

Lawrence Lessig - Remix
Making art and commerce thrive in the hybrid economy

Publication: October 2008
Paperback: 352 pages
ISBN: 978-1408113479
Dimensions: 23.4 x 15.3 x 2.6 cm
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via bloomsburyacademic.com


This work is licensed under a Creative Commons Attribution-Noncommercial 3.0 Unported License.

Book of Disquiet

The Book of Disquiet by Fernando Pessoa (1888-1935)



The Book of Disquiet by Fernando Pessoa (1888-1935). 'The Book of Disquiet' is a collection of prose manuscripts, written in the style of an intimate diary.

"No intelligent idea can gain general acceptance unless some stupidity is mixed in with it." — Fernando Pessoa, The Book of Disquiet

"It was to Bernardo Soares that Pessoa ascribed his Book of Disquiet, first made available in English in a briefer version by Richard Zenith in 1991. The translation is at once penetrating and delicately observant of Pessoa's astute melancholy. What is this Livro do Desassossego ? Neither 'commonplace book', nor 'sketchbook', nor 'florilegium' will do. Imagine a fusion of Coleridge's notebooks and marginalia, of Valery's philosophic diary and of Robert Musil's voluminous journal. Yet even such a hybrid does not correspond to the singularity of Pessoa's chronicle. Nor do we know what parts thereof, if any, he ever intended for publication in some revised format." — guardian.co.uk: A man of many parts. Fernando Pessoa's multiple voices have different styles and idioms, and each one is extraordinary. George Steiner raves about The Book of Disquiet. By George Steiner

"Once we're able to see this world as an illusion and a phantasm, then we can see everything that happens to us as a dream, as something that pretended to exist while we were sleeping. And we will become subtly and profoundly indifferent towards all of life's setbacks and calamities." — Fernando Pessoa, The Book of Disquiet

"Everything, all that I've written, is grey. My life, even my mental life, has been like a drizzly day in which everything is non-occurrence and haziness, empty privilege and forgotten purpose. I agonize in tattered silks. In the light and in tedium I see but don't know myself." — Fernando Pessoa, The Book of Disquiet

"I've never seen suicide as a solution, because my hatred of life is due to my love of life. It took me a long time to be convinced of this unfortunate mistake in how I live with myself. Convinced of it, I felt frustrated, which is what I always feel when I convince myself of something, since for me each new conviction means another lost illusion." — Fernando Pessoa, The Book of Disquiet

"To feel today what one felt yesterday isn't to feel - it's to remember today what was felt yesterday, to be today's living corpse of what yesterday was lived and lost." — Fernando Pessoa, The Book of Disquiet

Nude Descending the Staircase

Marcel Duchamp, Nude Descending the Staircase (1912)

Liszt, Franz

Liszt, Franz (1811-1886)
Souvenir de Liszt (1840) Ölgemälde von Joseph Danhauser.
Alexandre Dumas, Victor Hugo, Georges Sand, Marie d'Agoult.



Dank an A.S.

Ford, Richard

Ford, Richard —
The Lay of the Land. New York: Knopf, 2006.

Richard Ford
Hochgeladen von Mediapart

Chojnacka, Elisabeth

Chojnacka, Elisabeth — extraordinary harpsichordist.
Poulenc, Ohana, Xénakis, Luc FERRARI, Aldo CLEMENTI, André BOUCOURECHLIEV, Manuel De Falla, Thomas Marco, Cristobal Halffter, Roberto Sierra, Giovanni PICCHI, Johan Jacob FROBERGER, Michelangelo ROSSI, Jean de MACQUE, Louis COUPERIN, John BULL, Giovanni PICCHI, György LIGETI, Marius CONSTANT, Franco DONATONI, François-Bernard MÂCHE, Grant Mac Lachlan, Mauricio Sotelo, Graciane Finzi, Toshi IchiYanagi, Stephen Montague.



Henryk Mikołaj Górecki (*1933) Concerto for Harpsichord and String Orchestra, Op. 40 - Elisabeth Chojnacka, harpsichord, Narodowa Orkiestra Symfoniczna Polskiego Radia Antoni Wit, conductor Recorde.

Links:
harpsichord2000.com

self-erasing narratives

self-erasing narratives —

"Im Grunde ist alles, was gesagt wird, zitiert. (...)"
— Thomas Bernhard, Gehen

Calatrava, Santiago

charlierose.com: A conversation with architect Santiago Calatrava

Istanbul (Pamuk)

Istanbul. Memories and the City
By Orhan Pamuk; translated by Maureen Freely

Orhan Pamuk
Istanbul. Erinnerungen an eine Stadt
Übersetzt aus dem Türkischen von Gerhard Meier

Reviews:
- nytimes.com: A Walker in the City [Orhan Pamuk]. By CHRISTOPHER DE BELLAIGUE
- sfgate.com: Eastern glow, Western grays. By Sandip Roy


charlierose.com: A conversation with Orhan Pamuk

more links:
orhan-pamuk.de
orhan-pamuk.de: Ausschnitte aus dem Film über Orhan Pamuk "Die Entdeckung der Einsamkeit" von Florian Leidenberger

Hoffnung

Ernst Bloch (1885-1977), Das Prinzip Hoffnung. Blochs Hauptwerk von 1953-1959 in drei Bänden mit insgesamt 1655 Seiten.

"Wer sind wir? Wo kommen wir her? Wohin gehen wir? Was erwarten wir? Was erwartet uns? Viele fühlen sich nur als verwirrt. Der Boden wankt, sie wissen nicht warum und von was. Dieser ihr Zustand ist Angst, wird er bestimmter, so ist er Furcht. Einmal zog einer aus, das Fürchten zu lernen. Das gelang in der eben vergangenen Zeit leichter und näher, diese Kunst ward entsetzlich beherrscht. Doch nun wird, die Urheber der Furcht abgerechnet, ein uns gemäßeres Gefühl fällig. Es kommt darauf an, das Hoffen zu lernen. Seine Arbeit entsagt nicht, sie ist ins Gelingen verliebt statt ins Scheitern."

— Das Prinzip Hoffnung (Aus dem Vorwort)

Hope:
To wish for something with expectation of its fulfillment.
To look forward to with confidence or expectation.

Link: suhrkamp.de: Ernst Bloch

Glenn Gould and Harry Brown

Type: Radio broadcast
Broadcast: CBC, The Scene
Notes: mock sports report: Glenn Gould and Harry Brown debate on the value of competitive sport, games, and the effect of technology on art
Date: 1972 Oct 7 (Saturday)

Ungleichheit

Ungleichheit —

"(...) Die vormoderne Gesellschaftsordnung stand und fiel mit der Annahme, dass die Menschen von Natur ungleichwertig seien und dass der Ursprung der sozialen Ungleichheit in Gottes Willen zu suchen sei. Mit der aufklärerisch-revolutionären Forderung der Gleichheit aller Menschen zerbrach dieses Weltbild. Wenn die Menschen von Natur nicht ungleich, sondern gleich sind, dann unterliegt die soziale Ungleichheit dem Wandel, dann können die Privilegierten von heute die Ausgestoßenen von morgen sein. Und politisch heißt dies: Alle Ungleichheiten sind prinzipiell veränderbar und rechtfertigungspflichtig. (...)"

"Wir erleben erneut einen epochalen Wandel der Welt- und Gesellschaftsordnung, der jedoch gerade erst im öffentlichen Bewusstsein ankommt. (...)"

— zeit.de: Ungleichheit ohne Grenzen. VON ULRICH BECK

Poetry is doing nothing but...

"Poetry is concerned with using with abusing, with losing with wanting, with denying with avoiding with adoring with replacing the noun. It is doing that always doing that, doing that and doing nothing but that. Poetry is doing nothing but using losing refusing and pleasing and betraying and caressing nouns. That is what poetry does, that is what poetry has to do no matter what kind of poetry it is. And there are a great many kinds of poetry."

— Gertrude Stein (1874-1946), U.S. author. "Poetry and Grammar," Lectures in America, Random House (1935)

Gertrude Stein's influence on John Cage

Gertrude Stein's influence on John Cage —

archive.org: Joan Retallack lecture, Geometries of attention, Cage's silence, July, 2002. (July 3, 2002)

"When you are writing before there is an audience anything written is as important as any other thing and you cherish anything and everything that you have written. After the audience begins, naturally they create something that is they create you, and so not everything is so important, something is more important than another thing ..."

— Gertrude Stein (1874-1946), U.S. author and patron of the arts; relocated to France. "What Are Masterpieces and Why Are There So Few of Them," (1936)

"It takes a lot of time to be a genius, you have to sit around so much doing nothing, really doing nothing."

— Gertrude Stein (1874-1946), U.S. author. Everybody's Autobiography, ch. 2 (1937)

Links:
epc.buffalo.edu: Joan Retallack
writing.upenn.edu: Joan Retallack
John Cage - Story from Living Room Music

Audiopoeme

Audiopoème —


George Henry Koehler reads "Build-in sense of time" simultaneously with "Ink markings" by Ralph Lichtensteiger, 2001


George Henry Koehler reads "I've just gotten into problem" [excerpt] by Ralph Lichtensteiger, 2001


George Henry Koehler reads "Uglybeauty is..." [excerpt] by Ralph Lichtensteiger and George Henry Koehler, 2001



Click PLAY on both players simultaneously and listen to Saba Tewelde reading and singing Ralph Lichtensteiger's poem silence | silence for Jacques Derrida

"Language as a real thing is not imitation either of sounds or colors or emotions it is an intellectual recreation and there is no possible doubt about it and it is going to go on being that as long as humanity is anything."

— Gertrude Stein (1874-1946), U.S. author. "Poetry and Grammar," Lectures in America, Random House (1935)

Beispiele:
- ubu.com: Henri Chopin

Klangcollage

Klangcollage — [sculpture musicale]


Sound collage for John Cage [28:05] by Ralph Lichtensteiger · Instruments: analog Tape Recorders operating at the same time, plus modified turntable · © 2008 by musique trouvé


Sirens [11:36] [excerpt] by Ralph Lichtensteiger, 2007. A "compendium of shreds" | field recordings — rain, water, wind, thunderstorm, found noise | flow tracks, Max/MSP | Spongefork_3_2_2 tracks | piano | prepared piano | voices | Sirens is affected by James Joyce's Ulysses, Episode 11 - Sirens | Possible simultaneity with voyageacoustique four · Train Sonor (2007) and/or Argonauts part XIX (composition "essay two", 2006-07). Aural diagram [by Peter Lichtensteiger]


violin collage [03:02] by Ralph Lichtensteiger · BEGINNINGS Part I


Toy Symphony Part 1 [02:05] by Ralph Lichtensteiger · BEGINNINGS Part I


Pattern Element #2 [03:39] by Ralph Lichtensteiger · BEGINNINGS Part I

Beispiele:
- Hören Sie hier den Klang des Oktoberfests: Soundcollage-Oktoberfest
- Train Sonor · simultaneous [Ralph Lichtensteiger]
- — if computers learn how to tell a joke, artists are in big trouble — [Ralph Lichtensteiger]
- mirrors/flipside I & II | 68'36'' for A.S. | 75'34'' for A.C. | Sonorous reflection / meditation in two parts by Ralph Lichtensteiger
- rollingstone.com: Lumpy Gravy by Frank Zappa
- So klingt Che
- Edgard Varêse and Le Corbusier · Poême électronique (1958)
- Stockhausen: Gesang der Jünglinge (1956)
- time4time: Glenn Gould - Dialogues on the Prospects of Recording
- time4time: Glenn Gould: THE RADIO ARTIST
- archive.org: "sound assemblage" [espace intermédiaire] with overlapping compositions by David Braden, Doyle Dean, Ralph Lichtensteiger, Lothar Reitz and Philip Schuessler (2007)

"Collage is the noble conquest of the irrational, the coupling of two realities, irreconcilable in appearance, upon a plane which apparently does not suit them."

— Max Ernst

Sonatas and Interludes

Sonatas and Interludes. By John Cage · Sonata No. 7 [Paul Rowley]


Links:
Six views of the Sonatas and interludes. By James Pritchett
lichtensteiger.de: Cage

Quatuor pour la Fin du Temps

Quatuor pour la Fin du Temps — Todd Brunel "Abîme des oiseaux" from "Quatuor pour la Fin du Temps" (Messiaen,1940).



Todd Brunel performs the third movement of Olivier Messiaen's Quatuor pour la fin du temps ("Quartet for the end of time"). The third movement is for solo clarinet and is called: III. "Abîme des oiseaux" (Abyss of birds).

Links:
brockendossiers: Olivier Messiaen
time4time: Olivier Messiaen

Messiaen und Cage

Messiaen und Cage — (antagonism (antithesis) Cage/Messiaen). Did John Cage ever comment on O. Messiaen‘s music in his writing or interview? They had strong similarities:
nature - sound (birds, gurgle shells, environmental sound etc.)
mysticism, spirituality, and philosophy - concept of art, life and music
investigation in sound, new concepts of the orchestra (orchestration)
ground-breaking piano compositions

Messiaen: "Mode de Valeurs et d‘intensités" for piano was the first work of total serialism, and "Vingt regards sur l‘enfant Jésus" | Olivier Messiaen (1908-1992) | Oiseaux

Cage: The Music of Changes, chance adapted from the Chinese "Book of Changes."
Messiaen: adapted techniques from non-Western music (such as the Indian raga system) and medieval music (isorhythm)

Cage: "Sonatas and Interludes" for prepared piano. | Six views of the Sonatas and interludes. By James Pritchett
electronic instrumens

Messiaen: incorporated new instruments such as the ondes martenot (an early electronic instrument)

Cage: Imaginary Landscape No. 1 (1939): Cage experimented with the electronic equipment, composed a part for "Imaginary Landscape No. 1" that required disc recordings to be performed on a variable-speed record player. etc.

The antagonism (antithesis) Cage/Messiaen opens a wide range of interesting thoughts.

"Natural sounds suggest music to us, but are not yet themselves music... Tonal elements become music only by virtue of their being organized, and that such organization presupposes a conscious human act."

— Igor Stravinsky: Poetics of Music, Harvard University Press, 1942, S. 23

in opposition to Cage‘s "anti-organization" of sound.

What I mean is that Cage‘s music after 1940 (his non-intentional, chance operation technique orientated music)
refused a particular „approach“ or „philosophy of organization of the sonorous material. The still traditional "form" of organisation of sound, even in serialism and/or dodecaphony, handled the material basically in a comparable way as Wagner or Alexander Scriabin did - the composer tried to more or less anticipate the music in his head during the process of composition/writing. I think Cage‘s "approach" was to integrate the sounding, the performance into the process of composition/writing - in order to destroy the autonomy of the "result" as an arefact.

Another aspect came to my mind today:
Cage: the ordinary, the profane, the raw, the beauty of the profane
Messiaen: the sacral, the holy (saint), the beauty of the sublimated
Messiaen‘s music is more like a Mark Rothko painting (ampleness, depth, opulence, earnestness, aristocratic, festivity)
Cage‘s music is more like a Joseph Beuys object (rawboned, provisorily, humor - J. Joyce, Leopold Bloom, unspectacular, "street smart")

> CAGE > MESSIAEN > Exotismus > Mode de valeurs et d’intensités > Ondes Martenot