Day 11 - by Charlotte

Scott led the warm up
Working with imagined and felt internal landscapes
Deep voice and Alex's accompaniment of the warm up
A series of indications rather than exercises
Finding equilibrium in yourself in relation to the environment
Reorganising yourself in space
An organisational / compositional task to fix yourself somehow
Layers of sensation
Following and Leading
Fixing sonic artefacts
Electronic looping - is not real time - its actually fixing a moment that happened two minutes ago - a way of stretching time?
Scott talks about set shapes and durations of a choreography - is that enough? I sense not, for him, any longer.
He carries so much within his body and mind.
What is the context and circumstance of choicemaking?
We want to be practical in our approach
Whatis the analogue to dancing / looping ?

How to be in the moment musically if the moment has already passed?
Glen Gould decided to just record.

Looping
START AGAIN
DISTORTED TIME
RHYTHMIC VALUE
INFLEXION
REPETITION -humans make patterns to construe meaning - patterns give us some kind of foundation to work from

Open approach / live music - caught in our own moment
Loop - fixes time and infers a different process of decision making

Circulatory Loop
Respiratory Loop
What are the MEASURES of that Loop?
What are the measures of Time ?
RE-ENACTMENT - TRYING TO FEEL REAL THROUGH RE-ENACTMENT
What changes? What stays the same?
Are we looking for constancy or whats different?

Fixing something offers a framework against which to really see new things...
Looping as an act against vanishing?
The value of performance is that it vanishes - why try to fix it ?
Cultural pressure to fix things - to make a production.
Dont fetishise the time frame in which you make things.
Discomfort with the word IMPROVISATION - Scott prefers the word COMPOSITION
In music terms it is respected - in dance it has connotations he is not happy with
Looking for somthing that means something to him.

PM SESSION
CV Leading in response to morning discussion and thinking about SS warm up - is it possible to construct a task where music follows/stimulates dance and dance leads/ stimulates the music (A) and vice versa (B) and then the two have an exchange (C)? Reference to TestRun

A- Intention to use the environment (music) to bring stimulation to your form (body)
B- Intention to use your form (body) to determine the nature of what you are stimulating (musician)

A solo
A solo
A solo
A trio
A trio
Discussion -
When the 'music' is vocal based it quickly becomes closer to the rhythm of language
A kind of animation
There is an assumption of rythmic continuity in both parties
These are conversations (C) already
The watcher completes the frame
There has to be aresponse via the Central Nervous System
Whats the difference between PERCEPTION and SENSATION
Response to Bach fragment in middle of PK's playing - lyrical response - swept away - respond to the melodic nature of it and the connotations of the recognisable form
Dualism of the I in this excercise
B solo
B solo
B solo
B trio
B quartet - musician eyes closed

Discussion -
In being stiimulated by the dancer - the idea of the musician NOT GETTING ATTACHED TO THE 'STATEMENT' MADE BY THE MUSIC or to the PHRASE ATTACHED TO THE GESTURE - A PROCESS OF LETTING GO.

How to ARREST YOUR OWN MUSICAL INCLINATION - how this related to habits and shoulds and the PAUSE at the bottom of the Yoga breath

WHAT IS THE SOUND OF INACTIVITY ?

In a pause, the You is present bodily ( as a dancer because you are made of matter) but the You can perhaps be removed if you play an instrument - its external to You.

The instrument DISPLACES and FUNNELS and EXTERNALISES sound
The Body cant displace or externalise itself?
An instrument abstracts then
The voice narrates the 'scene' - more like animation
Breathing patterns expressed as vocal noise may be different
Some of these exercises had the feeling and rhythm of a conversation that couldnt take off - stuttering
Mickey Mousing to the music - illustrates the melody - needs more thought

There is always a slight delay in PROCESSING the PAUSE

In this exchange are the musicians
INTERPRETING
PROMPTING
STIMULATING
INFLUENCING
REACTING
ANIMATING
ILLUSTRATING
CONDUCTING
VOCALISING
the dance?

Counter Point - what part does this play in the exchange?
Can we achieve divergence through repetition?

When Alex played with his eyes closed, he translated the noise he heard from the dancers into a VISUAL IMAGE in space and Dimension

If something is leading, it doesnt lead for very long before it becomes a dialogue.