Publishing writing by musicians, artists, critics and listeners of contemporary music and associated arts practices.
1.
Is my primary responsibility as a composer merely the creation of substantive concepts and structures, or am I responsible for the formation and maintenance of a proper environment for such structures?
Beyond this the question must be asked:
What are the contextual limits for such an environment and of what might appropriate maintenance consist? Continue reading “David Dunn ‘An Expository Journal of Extractions from Wilderness’”
Jan. 1, 2013
there was a sound in my dream last night. i was set on a large rock semi-surrounded by a body of water, hearing some sort of horn sound, a long hanging note like a trainwhistle but slower in pitch. up above my head in a cliff face was an opening where i could see a camp site, and someone there was blowing a plastic horn, repeatedly. the sound came out of the opening with a bit of force, the opening serving as an extension of the horn’s flare. i thought (in the dream) of those horns that people blew at soccer matches awhile back. i remember reading about the practice, how it was characterized as an annoying sound, but i always found it fascinating. all those untempered notes massing together. Continue reading “Jeph Jerman ‘Sound Diary January 2013’”
Michael Pisaro, Carol Watts, Drew Milne and Paul Banister.
Chair: Will Montgomery
What is Field? took place at the Centre for Creative Collaboration, London, on the evening of Monday, 12 November 2012. The event was presented by the Royal Holloway Contemporary Poetics Research Centre and was intended as a follow-up to an event on poetry and Wandelweiser scores co-produced by the research centre and UK arts organisation Sound and Music at the same venue a year before. (A transcript of the round- table discussion at the 2011 event appears in Wolf Notes #3.) Continue reading “Michael Pisaro ‘What is Field?’”
Setting Out (Looking at Listening)
Where do I see people listening?
What is it I should be looking for?
An ear propped somehow against the air?
Is it anything as overt as a cupped hand placed beside the head? As the hair momentarily pulled back?
When do I see people listening? And at what times of day should I be looking?
Of course, there is always hearing.
What does listening really look like? Continue reading “Loren Chase ‘Paths for a Listener’”
Wolf Notes 