Don't wanna be here? Send us removal request.
Photo
We're going Trans-Europe in September...
Check your local radio stations for competitions to win caps, keyrings & meet & greets with your fave member.
0 notes
Text
Trans Europe Heads
We're off on our travels again with a September tour. Check your local radio station for competitions to win tickets, key rings & opportunities to hang with your fave band backstage...
0 notes
Photo
Both Human Heads playing at this show, in other configurations.
Marvo Men is Ben and Euan Currie of Edinburgh behemoths Muscletusk. 'Give some idea of the boys at work' CDR out on Chocolate Monk. Joe 'Posset' Murray reviews it here.
White Death is Hannah and Kelly Jayne Jones of Part Wild Horses Mane on Both Sides, playing this time with Joincey of many fine guises, most recently on Total Vermin.
More info at www.disconcertmanchester.com
0 notes
Photo
A short response to Hannah's post...
STRUCTURE FLUX
I think this problem is a central preoccupation for me and it is why the idea of an 'exploded' cinema appeals: the collective way of working anticipates a multiplicity and a fragmentation of the single form but the collective still needs a point on which to converge. I couldn't agree more! You need a purpose; whether this is an exercise or a stock narrative (Christopher Small's journey of the composer from 'here' to 'out there'). Although, it's still important to make sure that this is always open to the elements so to speak.
This idea resonates across other things we have talked about in relation to the project and are clearly articulated in the section 'Moribund image and defiance'. I think it is here that the possibilities of film, music, sound and improvisation come together quite nicely, especially when you think about prolonging this moment of fixity, countering the moribund idea of plucking something out of this flow of interpretation, and as Bruno Latour likes to say;
Freeze-framing, that is, extracting an image out of the flow, and becoming fascinated by it, as if it were sufficient, as if all movement had stopped” in favour of “a world filled with active images, mediators.
So Is this tension between multiplicity and structure still a central concern for us?
The stress between these two forces brings to mind an open film form that is contaminated by the unpredictable event; it relies on an unseen or unheard performance to punctuate it. This links it to improvisation in the widest possible sense, and this is where the two practices of sound and music meet for me. Or as Hannah put so nicely:
“The moving image is just a continual attempt to prolong that moment of defiance. Perhaps improvised music performance is a similar attempt to prolong a moment of possibility”.
Since we had these conversations I've read a really interesting book that brought a lot of things together about multiplicity and structure. In For Space, Massey describes space as that which is defined by an event or performance, basically, she builds up an idea of the unpredictability of space whilst breaking down the fixed territories of place to create something far more interesting than the binaries that exist between these two words. From reading this, and knowing and she and other human geographers like Nigel Thrift, speak about improvisation within wider contexts, I think that there are some fruitful connections to what we have been talking about. Also, Massey uses a interesting metaphor that has really stuck with me: the accidental neighbor. She uses this to describe chance and dealing with otherness in domestic, or other everyday spaces. Again this idea revolves around a fixed point, that of a fixed delineated place like the home, but unpicks this comfortableness by thinking about how otherness creeps into this, how the micro and macro relations present in our realities are always intertwined. So, the messy unpredictability, present in a musical object can be seen within a different territory. Spaces collide.
THE SCRIPT
This made me think that we should perhaps consider the possibility of filming footage onsite (perhaps to fit into an editorial framework already established.) Shooting or setting up cameras at the festival/environs.
I too quite like the idea of a script! And reading this, whilst thinking about character and narrative, got me thinking about what this could entail beyond writing:
- How could you collectively create a character?
- How could you create a character or narrative without resorting to a written script?
- Does listening play a part in creating this script?
A character or narrative could be created through an exercise (gathering text, objects or recordings through a day, setting out to answer a particular question, stock narratives/questions). In this way a character would come together through a collective process. On the other hand we could use a mixture of both a stock narrative and a character collectively composed of disparate elements, or vice versa (do you remember Vice-Versas, they were tasty!). So far we have talked about the relationship between film and sound; sonic and visual objects, and we haven't really discussed listening. A script that has been constructed by a collective that is preoccupied by listening could be really fruitful. Listening is an approach that encapsulates this idea of an active image, in a way, Latour's idea of the image borrows from a conceptualisation of listening proposed by Gemma Corradi Fiumara in her book The Other Side of Language, where listening: “risks all, never retreating because it possesses no territory and , therefore, occupies no space.” In these terms, listening does not lend itself to representation easily and it sets out understanding as a process of cooperation where meaning isn't something firmly posited by an artist, it is a much more messier and inter-related affair than that.
0 notes