The Tomb of the Grammarian Lysias

[Note: this little essay was originally published on April 24, 2015, FWIW.]

One of my primary compositional projects of 2014 was a setting of Constantine P. Cavafy’s poem The Tomb of the Grammarian Lysias for voice and audience members’ mobile devices. Cavafy has been described as first great modernist poet of Greece, and he wrote this poem sometime between 1905 and 1915 while living in Alexandria. I premiered my setting at the joint International Computer Music Conference/Sound and Music Computing Conference in Athens last September and performed it again at the Beijing Central Conservatory of Music’s MusicAcoustica festival in October. Then in January I presented it in a new Web Audio version at the first Web Audio Conference in Paris, co-hosted by IRCAM and Mozilla.

Soundcheck at the University of Athens. Photo by Charles Nichols.
Soundcheck at the University of Athens. Photo by Charles Nichols.

The soloist sings without amplification, and the accompaniment of the piece consists entirely of fragments of his (i.e., my) voice deployed algorithmically from the mobile devices of the audience. As the voice of the soloist (singing in Greek) is recorded and transmitted to the phones and tablets of audience members, a heterophonous, chant-like texture emerges. In works like this, I explore crowd-deployed speaker networks as a highly flexible and portable alternative to traditional electro-acoustic sound reinforcement infrastructure. This underexplored configuration, which I have been investigating in the App Choir ensemble I founded here at Berklee’s Valencia campus, allows engaged audience members to enable the performance of a piece in a way that is somewhere between active participant and passive listener, and an unexpected intimacy results as the sound of a performer’s sung voice emerges from a listener’s very personal device. After the Paris performance, someone commented that this was one of the rare concerts at which the audience wasn’t fiddling with their phones and tweeting or texting, since they were actually using their phones to allow the music to happen.

The audience during my performance at the Web Audio Conference (Mozilla headquarters). The sound man is bored, since he had nothing to do during my piece. Image by Paul Adenot.

The audience during my performance at the Web Audio Conference (Mozilla headquarters). The sound man is bored, since he had nothing to do during my piece. Image by Paul Adenot.

I started composing this setting simply because I was inspired by the poem and recent circumstances, and I was also curious to explore this unique format, with no particular performance prospect in mind. When I saw the call for scores for the International Computer Music Conference in Athens on the theme of “From Digital Echoes to Virtual Ethos,” it seemed such a perfect match: my setting was in Greek, based on a tuning system first articulated by Ptolemy in the second century AD, consisting entirely of digital echoes of a soloist’s voice on audience members’ mobile devices. My piece was accepted and included in the opening concert of the conference on September 14, 2014, in the historic Ceremonial Hall of the University of Athens.

The poem might seem an odd choice, but I was drawn to it for several reasons. It describes a space, variably navigable, and presents a non-prioritized list of different types of writings, which, together with the Greek term γραφές that has been translated as “variant readings,” suggested an intriguing approach to text setting that incorporates some kind of variable, real-time process, such as I often employ in my work.

I just received word that a paper I co-authored with Javier Sanchez (who helped tremendously with the code architecture) describing this composition has been accepted to the ISEA 2015 conference in Vancouver this August, so I’ll save the technical discussion for then. [Update: You can read that paper here!] For now I’d like to share a bit about the particular constellation of personal associations that kept this text in my mind as 2013 drew to a close.

In French, a bachelor party is an “enterrement de vie de garçon:” the burial of the carefree life of a young man. While it’s an amusing term, the funerary imagery underscores what a dramatic transition the nuptial proceedings represent. (Although since Jutta and I had just a short time with friends in Berlin before our wedding in August 2013, we ended up simply combining our bachelor and bachelorette parties into a group dinner.) We honeymooned in Greece, the first visit for both of us. On the island of Santorini, we bought books of Greek poetry at Atlantis Books in Oia, following the recommendations of the proprietor. We watched the sun set from the roof of the bookstore and drank assyrtiko, and I read Constantine P. Cavafy’s Ithaca to a small group of tourists.

The caldera of Santorini. That's Oia off to the right.
The caldera of Santorini. That’s Oia off to the right.

Then on November 22, my grandfather died. In all of his 106 years, it is unlikely anyone ever referred to him as a grammarian. But I was reminded of something Laurie Anderson said, that when her father died, it was like a whole library burned down. Art Houge was of 100% Norwegian stock, and I’m pretty sure he had never been to Greece, maybe not even to Europe. But I had recently read an article about the exceptional longevity of people living on certain Greek islands, and I thought of the photographs we saw adorning cremation boxes in an isolated chapel on the hills of Amorgos.

A cemetery on Amorgos
A cemetery on Amorgos

I probably read “The Tomb of the Grammarian Lysias” for the first time on Amorgos, or if not, shortly after. I can’t remember if it immediately struck me as well suited to a musical setting, but at some point the commemorative aspect of the poem became associated with a recording of Greek Orthodox music I bought at the Nikos Xilouris shop in Athens on the final leg of our trip. I decided to set it in the original Greek, so I asked my student Niko to read the poem for me to record, and I wrote a simple app to play individual phrases at the touch of a button, which I used to practice reciting the text on my twenty-minute walk to work every day, gradually getting a sense of the inflections and formulating a melody.

In my video game work and sound installations, I explore sound as a landscape, rather than a narrative, or maybe landscape as a kind of narrative. This poem describes a space, a library within a city, with indications of the relative positions of things. There’s a description of the kinds of texts found in the library, listed in an arbitrary order, as though selected from browsing the stacks. Lists, like a litany or a mantra, can evoke a kind of interior landscape, a state or mood. I remember Psalm 150, which I set for The Esoterics using similar techniques in 2004, in which the psalmist exhorts us to praise the Lord with a long list of instruments, but I’m sure we’re not intended to follow the instructions sequentially.

The poem provides a space that is a memorial, a place you come to remember, as books and writing are ways of remembering. I consider my setting, composed at a time of significant life transition and dedicated to the memory of my grandfather, as a way to pass among these books.

Λυσίου Γραμματικού Tάφος
Κωνσταντίνος Π. Καβάφης

Πλησιέστατα, δεξιά που μπαίνεις, στην βιβλιοθήκη
της Βηρυτού θάψαμε τον σοφό Λυσία,
γραμματικόν. Ο χώρος κάλλιστα προσήκει.
Τον θέσαμε κοντά σ’ αυτά του που θυμάται
ίσως κ’ εκεί — σχόλια, κείμενα, τεχνολογία,
γραφές, εις τεύχη ελληνισμών πολλή ερμηνεία.
Κ’ επίσης έτσι από μας θα βλέπεται και θα τιμάται
ο τάφος του, όταν που περνούμε στα βιβλία.

The Tomb of the Grammarian Lysias
Constantine P. Cavafy

Very near to the right of the entrance to the library
of Beirut, we buried wise Lysias,
a grammarian. The spot is very well suited.
We placed him near to those things that he may
still remember there – commentaries, texts, technologies,
variant readings, volumes filled with Hellenistic studies.
And also this way, his tomb will be seen and honored
by us, when we pass by the books.

Translated by Niko Paterakis and reproduced with kind permission.

Amorgos

 

On Sound Art

I just finished reading an incredibly frustrating yet nonetheless fairly informative book on sound art called Sound Art: Beyond Music, Between Categories by Alan Licht (Rizzoli 2007). I think Mr. Licht and I were doomed from the beginning not to get along; he set out to write a book that defines and differentiates sound art from other media, whereas the main crux of my artistic endeavor is to demonstrate the connections between seemingly disparate disciplines. Yet even after acknowledging this fundamental difference in perspective, there were occasions when my furious margin notes could scarcely contain my indignation!

The overarching problem with the book is organization. The table of contents tips you off: there are only three misshapen chapters entitled “What is Sound Art?” “Environment and Soundscapes,” and “Sound and the Art World.” Threads are started, then dropped, topics change mid-paragraph. Instead of persuasive arguments and cohesive ideas, rambling lists substitute for synthesis. The text too frequently diverges into only mildly relevant territory: a history of film sound, the development of earth art, a section on “art bands,” another section on film sound unlinked to the first.

I thought the subsection entitled “Art and Pop Envy” that started out with Laurie Anderson exhibiting a jukebox at Holly Solomon Gallery (p. 151) raised some interesting questions, but then it dropped them all in favor of a dull parade of “art bands” (strangely omitting Velvet Underground, whose link to Andy Warhol as a sonic facet of his practice was tipped in the previous section, p.136). Laurie Anderson’s tape loops in boxes are included in the “art band” section, not the sound sculpture section, where they would seem to belong (p. 151). The section on site specificity is strangely not part of the “Environment and Soundscapes” chapter, although that chapter does include mention of David Dunn’s pieces scored specifically to be performed in the Grand Canyon and the Anza-Borrego Desert; if that’s not site-specific, what is? A specially tuned La Monte Young piano is also included as a site specific work, just because it’s heavy and hard to move (p. 45). That’s not site specific; that’s just lazy!

Mr. Licht never settles on a persuasive tone for the book. He drops periodic anecdotes of sometimes questionable relevance, for example, recounting his experience of a baby crying at a Morton Feldman concert (p. 85) or watching Lighting Bolt perform in an alley (p. 155). His first person “I” floats in and out of the book, between long, dull lists of names and events. Twice he inexplicably switches to the present tense (p. 143, and again on p. 150). In a book that seems to be attempting an objective, historical overview, he sometimes makes what come across as arbitrary jabs at artists who don’t meet his criteria for sound artist.

Certain artists are treated rather dismissively, on no cited grounds. Ed Tomney “must” be categorized as a professional musician (rather than a sound artist), despite a list of his art world activities; I’ve never heard of the guy, but given his treatment here, I’m on his side. Similarly Bruce Odland and Sam Auinger (also new to me) are dismissed as “anti-Russolo, and maybe even anti-Cage” (p. 118) for using resonators to tune ambient sounds in a public space (an idea I’ve actually been wanting to play with for a while, but it looks like they beat me to it); this is notwithstanding the quotation from Russolo a few pages earlier that “we want to give pitches to these diverse noises, regulating them harmonically and rhythmically” (p. 74). There’s a very odd jab at Dolby surround sound (p. 123), in which the author seems to confuse the difference between the number of sound channels and the relative loudness of sounds on those channels, although Dolby is later discussed in quite a positive light (p. 209). Steven Vitiello’s pieces “are perhaps more a consolidation of ideas gleaned from other sound artworks and gestures that may not add more than a few new wrinkles to the form” (p. 285), which strikes me as unnecessarily condescending.

And there’s a pervasive confusion regarding metaphor: “sculptural sound” (p. 203), the “surface of sound” (p. 136), “dirt as noise” (p. 80). The discussion of “sculptural sound” (p. 203) does not make clear the distinction between a sculptural object that emits or suggests sound, and a sound (including music) that suggests a physical object in its cohesion, scale, stasis, or palpability (I’m thinking particularly of some of the high-volume “noise” concerts I’ve been to). “Noise” as a genre or theoretical category (p. 77) is already incredibly problematic (I’ll elaborate on that matter another time), and the meandering section on “dirt as noise” (p. 136) only confuses things further, conflating noise with land art and tossing in radio (p. 118) for no apparent reason. The section on music and painting, which talks about the “surface of sound,” particularly struggles to make a point (p. 135 ff), especially when citing the writings of Morton Feldman, who has a very idiosyncratic way of talking about music’s “surface” that seems taken out of context here.

The heft of this hardcover book belies its modest content. While it’s nice to have a lot of pictures, it feels a bit cheeky to use them all twice: in addition to the full page version, they’re printed again in the lower margins of the pages (which also means less text on each page). Photographs of speakers in bottles are presented with no explanation that might convey something of the actual experience of the piece; only from reading the biographies in the back of the book can you glean an idea of what, for example, Steve Roden and Steve Vitiello’s installations might be like (pp. 26-31). And the photos are disproportionate to the text; for example, Hermann Nitsch is only mentioned in passing (p. 149) in a list alongside other Vienna Actionists, and yet he gets eight pages of photos (pp. 168-175)!

The selections on the CD accompanying this book are frustrating, too, containing only two or maybe three examples of sound art, even by the author’s own definition! Alongside eleven minutes of Bill Fontana’s masterful Harmonic Bridge and Bernhard Gal’s 57A, we get composer Alvin Lucier’s Still and Moving Lines of Silence in Families of Hyperbolas, multitracked free improv of Jean Dubuffet, and an “untutored foray into electronic noise” (p. 149) by art/noise band Destroy All Monsters (like Nitsch, mentioned only very briefly in the text, and similarly overrepresented in photos, pp. 176-179). Steve Roden’s rust, and really Gal’s piece, too, adhere more closely to the definition of electro-acoustic composition (there’s no indication that they were excerpted from an installation) than with any definition of sound art Licht provides (and the fact that Roden’s sound source was a Harry Bertoia chair doesn’t change that). Furthermore, disappointingly, Bernhard Gal isn’t even mentioned in the text, although I’m happy to have him on the CD (I had dinner with him after he played a NOIShanghai show at Yu Yin Tang in 2007 or so, quite an accomplished and personable fellow).

OK, those are my objections as a writer. More egregious are my objections as a sound artist.

I think Mr. Licht knows what he’s trying to say, but he’s got a hard time getting it across. He talks around a definition of sound art without supplying one in any concrete terms. “Sound art is not about a stage show” (p. 13), he writes; it occurs in “an exhibition situation rather than a performance situation” (p. 14). He quotes Stockhausen: “You have to compose differently when you know that the listeners are coming and going” (p. 44). So far, so good.

But the idea that sound art “comes from the appreciation of the total environment of sounds, both wanted and unwanted” (p. 116) is an unsupported and inaccurate generalization; as a practicing sound artist, one of my biggest concerns is keeping unwanted sounds from interfering with my pieces (a challenge the author somewhat duplicitously goes on to admit on the subsequent page). He asserts that sound art is involved in an investigation of “extended time duration and repetition” (p. 121), and that “sound artists sought the elimination of time” (p. 124). While these statements are often true, they cannot be used as absolute criteria for categorizing work as sound art or not; in fact one of my major concerns is avoiding repetition in my pieces.

In fact, there is no specific quality, parameter, or attribute of sound art that categorically distinguishes it from music. What characterizes sound art is rather a question of emphasis. Generally, yes, sound art tends to be more interested in the phenomenology of sound, in space and site-specificity, and in developing continuous or non-teleological behaviors (or if not developing new ones, simply reusing the oldest one in the book: “loop it!”). Max Neuhaus’s beautiful comment (not included in this book, but you can read it here) that he sought to fix sound in space, rather than time, to allow listeners to make their own time, sums up this aesthetic quite succinctly.

The historical precedent in music seems to me a necessary point of departure for any useful introduction to sound art. I bristle at the suggestion that occurs in these pages (p. 136) that sound or music may serve as a new medium for artists, when of course, an artist whose medium is sound has been known for millennia simply as a musician. (While I appreciate a cow with a subtile nose as much as the next guy, the recording of Jean Dubuffet scraping away on a violin on the CD accompanying this book is nothing more than a historical curiosity, contributing absolutely nothing to the evolution of sonic discourse). Allegations are often made about the limitations of music (e.g., Rolf Julius’s assertion that a composer “doesn’t know about texture” on p. 267), and they all stem from a shallow understanding of what music is, has been, and can be. Many of the artists cited as pioneers of sound art identify primarily as musicians: John Cage, Alvin Lucier, Edgard Varèse, Karlheinz Stockhausen, et al. Several times the truism that music is somehow more “time-based” than sound art seems to be taken at face value, but of course sound, by definition, can only exist in time (and if all sound artists are as inherently phenomenologically oriented as Mr. Licht suggests, this physical fact should scarcely bear repeating). What remains, then, for many artists working with sound (and this is also an important focus of my work), is to find a new approach to time that functions as landscape, rather than narrative.

Mr. Licht burned the last shred of my goodwill with the last paragraph of his book, which is sheer folly, if not nonsense. In it, he asserts that, unlike music, sound art’s “effect on the listener is between categories. It’s not emotional nor is it necessarily intellectual.” On the other hand, “music either stimulates, reinforces, or touches on emotional experiences either directly (through lyrics) or indirectly (through melody and harmony),” it “deals with human thought processes, technology, and behavior. Music speaks to a listener as a human being, with all of the complexity that entails, but sound art, unless it’s employing speech, speaks to the listener as a living denizen of the planet, reacting to sound and environment as any animal would” (p. 218). I’m sure many sound artists will be as dismayed as I to learn that the possibility of intellectual rigor or emotional depth is denied to our medium. The comments about of speech and “lyrics” come out of nowhere, a blindside that would seem to dismiss the expressive and communicative power of pure sound. Unfortunately for Mr. Licht, those characteristics he assigns here to music, the logical structure of those “human” and “intellectual” thought processes, are also what make for compelling reading; he has essentially underlined the major failings of his book.

Nonetheless, I admit there’s a lot of good information here, a lot of important names (I was particularly pleased to make the aquaintance of Michael J. Schumacher), all well indexed; I’ll definitely keep this book around as a useful reference. The artist biographies at the back of the book are also useful, although like the CD, only loosely related to the text. (For reasons that the text does not care to explicate, Hermann Nitsch is also included in the bio section.) Perhaps the reason I found this book so frustrating is that, in fact, we agree on quite a bit about sound art, which makes our differences of opinion all the more acute. He makes a lot of the points I would like to make, but he doesn’t make points in the way that I would have made them, and of course, that’s much more frustrating than disagreeing completely.

Here, if you want to make a book on sound art, these are the sections I would like to see:

-Sound as object (going back to Satie and Varèse, culminating in Cage; tie in sound poetry as well, Schwitters et al; if you had lots of time, you could even start with a discussion of “materials” and “themes” in traditional music theory)
-Sound as physical phenomenon (in fact, the logical extension of taking sound as object, touch on acoustics, including psychoacoustics)
-Sound in space (in compositions by Stockhausen and Henry Brant, also as part of the environment, furniture music, ambient music, wallpaper music, Muzak)
-Sound sculpture (sculpture that makes sound as well as sculpture that suggests sound, which would include lots of Christian Marclay’s stuff, as well as Bruce Nauman’s chair tuned DEAD, touching on instrument construction, Partch, Trimpin, et al)
-Sound in time (musical form, durational structures, narrative and drama, non-linearity, sound of indeterminate duration, correlation to other media, including abstract painting [Klee, Kandinsky, and many others], the dubious category of “visual music”)
-Acousmatic sound (i.e., sound abstracted from original source; talk about recording technology, musique concrète)
-Documentary and conceptual sound (relating back to sound sculpture, Marclay, “Box with the Sound of its own Making,” Vito Acconci, Bruce Nauman)
-Sound as a multimedia component (start with history of sound in opera, ballet, theater, touch [briefly] on film sound, radios and tape recorders as sculptural elements, sound in an installation)

A lot of these ideas flit through the pages of Alan Licht’s “Sound Art,” but no clear case is made. If anyone wants to write that book for me, I’d be happy to read it. If you’re lucky, I’ll compensate you with a longwinded, rambling, unsolicited review on my blog!

Shanghai Traces at the Guggenheim! And e4c!

Two super exciting bits of news about my Shanghai Traces video!

I’m pleased to announce that Shanghai Traces has made the shortlist for YouTube Play, the Guggenheim’s new Biennial for Creative Video. Here’s the full press release. The entire YouTube Play shortlist is on display at http://www.youtube.com/play (keep an eye out for AleaBoy!), as well as at kiosks in the Guggenheim Museums in New York, Berlin, Bilbao, and Venice, through October 21.

I also just realized that I am already at liberty to announce that Shanghai Traces has been selected to be screened at Seattle’s e4c Gallery early next year! Check out their announcement. I’m going to adapt the piece to run across four monitors at 4Culture‘s innovative downtown storefront gallery for digital art, and once it’s up, it will be in rotation for a full year! I’m also planning some Seattle performances around that time; when it’s all nailed down, you’ll be the first to know.

Here’s the video in question:

(Read more about the genesis of Shanghai Traces here.)

The Guggenheim says they received over 23,000 entries from 91 countries for YouTube Play, which they eventually narrowed down to 125 for the shortlist (and, yes, they promise they watched them all). For more info, be sure to check out YouTube Play’s companion blog The Take.

The next step is adjudication by a celebrity panel comprised of Laurie Anderson (a longtime hero of mine), Animal Collective, Darren Aronofsky (I hope he digs up my glowing twitter review of The Fountain from a year or two ago), Douglas Gordon, Ryan McGinley (whose work I just saw at UCCA in Beijing a few months ago), Marilyn Minter, Takashi Murakami, Shirin Neshat, Stefan Sagmeister, Apichatpong Weerasethakul (who film Uncle Boonmee Who Can Recall His Past Lives just won the Palme d’Or at Cannes; can’t wait to see it!), and Nancy Spector from the Guggenheim. The jury will select up to 20 of their faves to be presented at a special event at the Guggenheim New York on Oct. 21.

I’m particularly stoked about the prospect of Laurie Anderson spending a few minutes getting to know my work, after all the time I’ve spent getting to know hers. I attribute her, in a roundabout way, to connecting in my brain the world of classical music that I was studying in college with the world of pop music to which I’d been listening (and which I’d been writing) growing up. She was also the reason for my only visit to New York so far, to catch Songs and Stories from Moby Dick at BAM in 1999. Though I wonder how she’s going to find time for all this adjudication with her new performance piece in full swing.

Anyway, wish me luck!

And of course any day now Shanghai Traces should be up at Glamour Bar on Shanghai’s historic riverfront. Since they wanted to show it on a big 42” screen, I obligingly created a high resolution version of the piece, which you can view below (click the four arrows icon in the lower right corner to go full screen).