Video Seijiro Murayama: percussionist/drummer, Ryuzo Fukuhara: dancer, performed at Menza pri koritu in Ljubljana, Slovenia 13 August 2009. Seijiro Murayama Ryuzo Fukuhara

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Ryuzo Fukuhara and Seijiro Murayama, collaboration excerpt part 2

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Seijiro Murayama: percussionist/drummer, Ryuzo Fukuhara: dancer, performed at Menza pri koritu in Ljubljana, Slovenia 13 August 2009. Seijiro Murayama Ryuzo Fukuhara

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Komentiral: koxttx, dne 04.10.2012 ob 06:10
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Komentiral: fvgwzmnxgpf, dne 02.10.2012 ob 11:10
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Komentiral: yluchs, dne 02.10.2012 ob 06:10
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Komentiral: Pari, dne 01.10.2012 ob 09:10
Hi Richard, thanks so much for your tthguohs and sorry about the lack of editing facilities here. I don\'t know how to fix that.Regarding Mattin\'s interest (or not) in subverting the audience / performer relationship- yes certainly there is a great deal in this book about extending the process of the performance out from the musicians\' perspective. There is much discussion about what it means to be an improviser and how this can be changed, extended etc there is a lovely line in there- plinky-plonking is not enough. That said, there is also plenty written (I suspect by Brassier) about expectations of this kind of performance and how these can be confounded. Maybe he is particularly conscious of this from his perspective as a philosopher, who might be expected to read, or talk, but instead plays guitar. There is discussion in the text about twisting the conventions of the concert situation into something else, so giving the audience a more responsible or active role.One of the difficulties of this little book is that it is written by four separate people. It does look like there are four distinct sections, one each written by each of the quartet, but the parts are not credited to any one in particular. This is undoubtably deliberate and is a reflection of the music itself, wherein its hard to know exactly who is doing what. Although the four sections never really contradict each other, they do seem to view the same experiences from differing viewpoints and with individual focus placed on slightly different concerns. So there is an awful lot in the thirty-six pages and maybe what Mattin took from the process is markedly different from one of the others. As for my comment about the music possibly being irrelevant perhaps what I should have said was that maybe the whole process here renders evaluation of the music irrelevant. the musicians themselves state that judging the performance as good or bad is absurd. The entire process, from the initial ideas, the constraints deliberately placed upon the performance and then the later analysis of all of this is about setting up a situation within which things can happen, an environment as far from idiomatic music structures as possible. The important aspect of this project to me is the systems and non-systems used to create the performance. Maybe they created interesting music, maybe they didn\'t, but to judge the music through one set of personal criteria would probably be missing the point. The significant difference between this project and the Rowe album is the focus (or lack of focus) on an end result. As I see it, the quartet introduced systems and rules that allowed something to happen, but not a specific something. The writing analyses far more than the actual music or how it was created, in fact it barely discusses the actual sounds used at all. Keith\'s piece about his solo performance has always struck me as virtually a retrospective score. While the quartet here are merely opening up the potential for something more unusual to happen, Rowe just describes his reasons for making certain decisions, explains why he chose to bring certain sounds to the performance. The important work of the quartet could be argued to have been undertaken before and after the actual performance. Certainly for me the most interesting aspect of Idioms and Idiots is the description and later analysis of the situation that the musicians placed themselves in. How the performance then panned out almost didn\'t matter, for me at least. The Rowe piece is more of an artistic statement in itself, the significance and construction of which is then later broken down in the ErstWords text. Rowe evaluates a finished piece of work and its individual parts, many of which were pre-determined and brought to the music with a particular intention of how they would be used in place. For this reason the two pieces of writing are considerably different to me, and serve different purposes.

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