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AdamJamesDavis / ASeriesOfCompositionsForPostposthuman

 

Adam James Davis
(2009)
page last updated Sun, 29 Nov 2009,  4:15pm PST

 

 

Score / Notes
1.

 

To play the harmony of interconnectedness.
To play the harmony of self-similarity.
To play them in synchronisation to the rhythm of the strange, feedbacking loops caused when escaping infinity.
To escape infinity, only to arrive back at infinity, for the infinite nature of infinity must include the area outside of it.

 

2.

 

To use whatever you see around you now as three-dimensional graphic notation and to play it.

 

3.

 

This piece requires the performer to wilfully initiate their own existence and free will, and to subsequently dance, in an improvisational manner, to the rhythms of the feedback/contradiction of wilfully initiating one’s own existence and free will.

 

4.

 

This piece requires the performer to be transcended of contradiction and physical nonsense, and proceed to split energy from vibration, whilst simultaneously and symmetrically splitting vibration from energy for resultant energy-less vibrations and energetic changelessness.

 

5.

 

To be an infinitely long, conical pyramid with an infinitely large base and an infinitely small summit point.

 

6.

 

A singularity is an infinitely small point of perfect harmony. Play and improvise around said harmony on a harpsichord.

 

7.

 

Compose a composition that requires a composer to compose a composition that, in turn, requires another composer to compose another composition, ad infinitum. Subsequently, dance to the fractalline properties of this piece and it's performance.

 

8.

 

Infinite tones of infinite frequencies, infinite amplitudes and infinite wavelengths in infinite combinations; infinite copies of all said tones phasing and flanging with them and one another in infinite frequencies, amplitudes and wavelengths.

 

9.

 

For a performer to vocalise in such a manner that the waveforms produced will form, when scribed onto a flat medium, a discernible self-portrait of the vocalising performer in real time across time, of which the self-portrait will have an almost identical facial expression and posture as the actual artist during the performance.

 

10.

 

For a performer to cause an infinite feedback loop by curling up inside it's own uterus, and for a troupe of dancers of infinite number to dance to the rhythms of this loop by switching and syncretising infinite genders in infinite combinations and re-combinations...all choreographed and within synchronisation to one another.

 

11.

 

To make the microsound be the rain that, once torrential, becomes the blissful choir.
To make the microsound be the rain on your posthuman skin,
And the nanoprobes that rejuvenate the symphony.

 

12.

 

Play the fact that this is not a prose score.

 

13.

 

To use any musical instrument or combination of musical instruments as three-dimensional graphic notation and to play that notation on the very same instruments. Movements of the instruments as they are being played will also form part of the notation in real time, and the music must be played in time to the rhythm of the feedback loop of playing the instruments that already form the 3-D graphic notation of the music in real time.

 

 

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