Mine, abstracted footage of a tree at dusk when the light dims and the camera acts like the retinal cells, the rods, seeing essentially in black and white. Each of our autopoetic systems closed from each other, selectively referring to their own environments. Two autopoetic systems: my short film, Alphacore's music score, without any reference to each other as we separately created them.
As John Cage said once, 'He does what he does, and I do what I do and for your convenience, we put it together.' I thought that was a remarkable way of thinking about it.""įrom " Merce Cunningham: Dance at the Edge," an article by Renee Montagne on NPR. And it was like opening your mind again to another possibility. "When Cage would play the piece, there would be moments when in the other way of working, I would have thought there should be a sound, but his sound would come perhaps just after what I had done. "Given a certain length of time, let’s say 10 minutes, I could make a dance which would take up 10 minutes and John Cage could make a piece of music that occupied the same amount of time, and we could put them together," Cage recalls. Sometimes the performance was the first time they heard the music. Cunningham made no attempt to fit the dancers' movements to the music. "Often when he collaborated with John Cage, Cunningham would create a dance and Cage would compose the music - separately. We regret that Uyen Hua, previously scheduled to read, will be unable to make it.Direct link: One Hand Clapping. (Last Gasp, 2015), and The Cruising Diaries (with Janelle Hessig, Gimme Action, 2014). We are pleased to announce a late-breaking addition to tonight's line-up: Oakland's own artistic polymath Brontez Purnell, reading from his recent works Johnny Would You Love Me If. Spread across five frames, these conducting hands perform a choreography of encouraging and holding back. One Hand Clapping is a found footage film in which the hands of five orchestral conductors, taken from historical concert recordings, perform a dazzling dance. We are excited to screen a recent short work by acclaimed filmmaker Peter Delpeut in the galleries as well. Gambits will be performing original music based on John Cassavetes's independent film masterpiece Love Streams (screening August 14), touching on its themes of isolation, alienation, freedom, and madness, paying homage to the filmmaker’s risk-taking vision and subtle humor. Styles from jazz, classical, and folk to funk, Balkan music, and blues inform Gambits, a Bay Area music collective consisting of Steve Adams on baritone saxophone, Alisa Rose on violin, Theo Padouvas on cornet, and Vijay Anderson on drums. He reprises some of that music tonight with an all-star lineup of local musicians, including Kjell Nordeson on percussion, Safa Shokrai and Scott Walton on basses, and Tom Djll on trumpet and electronics.
Late last year, Ochs recorded The Fictive Five (Tzadik), an album of structured improvisations mostly inspired by the work of filmmakers like Wim Wenders and Kelly Reichardt. Larry Ochs, the stellar composer and saxophonist, and a leader in the Bay Area improvised music scene for over thirty years, returns to BAMPFA with a new ensemble.
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