Credits of the performance / 'Emonaldiaren' kredituak / Créditos del 'tiempo de dar' :
2008/10/24 Tiempo de dar. Emonaldia
Oier.I.A. & Loty negarti
Mikelazulo Kultur Elkartea (Beheko kalea, 4. Errenteria-Orereta)
Composición bitriangular para ttakuna y herrena que será interpretada el día 24 de octubre del año 2008 de 21:58 exactas a 22:28 relativas según el reloj atómico, por Loty Negarti y Oier I.A. El acto será considerablemete “unplugged”, por lo que se requerirá el máximo silencio posible.
Será en Mikelazulo Kultur Elkartea (Beheko kalea, 4. Errenteria-Orereta).
Ttakuna: Voz, globo, aspirinas, piano, plato-motor artiach, teléfono móvil y bote metálico.
Herrena: Pilas, botellín de ciclista, aspirinas, cámara de fotos, radio-cassette, bafles, cajas de poliespan y una bolsa del supermercado.
Ttakun eta herrenerako konposizio triangulu-bikoitza, 2008ko urriaren 24an eta erloju atomikoari jarraituz 21:58etatik zehazki 22:28etara erlatiboki joko dutena Loty Negarti eta Oier I.A.-k. Saioa nahiko “unplugged” izango denez, ahal den ixiltasunik handiena eskatuko da.
Errenteria-Oreretako Mikelazulo Kultur Elkartean izango da (Beheko kalea, 4).
Ttakuna: Ahotsa, puxika, aspirinak, pianoa, artiach plater motorra, telefono mugikorra, ontzi metalikoa.
Herrena: Pilak, txirrindularien ur botilatxoa, aspirinak, argazki kamera, irrati-kaseta, bozgoragailuak, poliespanezko kutxak eta supermerkatuko poltsa.
Bitriangular composition for ttakuna and herrena. It'll be performed by Oier I.A. and Loty negarti the day october 24th of 2008 from 21:58 exact to 22:28 relative depending on atomic clock. The act will be markedly umplugged so, the maximum possible silence would be required.
It'll take place at Mikelazulo Kultur Elkartea (Beheko kalea, 4. Errenteria-Orereta, Basque contry).
Ttakuna: Voice, ballon, aspirins, piano, artiach motor-plate, mobile phone, metallic cap.
Herrena: Batteries, cyclist's small bottle, aspirins, photo camera, radio cassete, speakers, poliexpan box and plastic shopping bag.
During the last years the fields of experimental music-making has sufered different changes. The coming and superposition of free improvisation over other ways of producing music is one of the biggests fact that influences the scenes. Trying to depict the whole set of proposals becomes an impossible task. But in spite of this impossibility, it wouldn't be very risky to say that it is a common place, almost a rule, to identify 'experimental' with 'free improvisation' as if it was the only way of experimenting. But also in the last times diverging voices have arised within the improv-music-world1.
I use to perform alone or with other people usually improvising. Theoretically it could be understood as a way of brakeing the boundaries between what is musical sound and what it is not, between the assumed clichés and inherited ways of approaching music. After years and years of free improvisation it could be said that paradoxically (contradictorily) there is a school (almost an academy) of free improvisers. However improvisation continues to be a pretty interesting way of producing and living music: it functions (at least for the performers) as a gymnastic for emotional responses and suspicious creativity. Nevertheless you have to assume this problematic and contradictory aspect of free improvisation, and try to react against the solidifications and contradictions inside it.
There is in the culture of the Basque Country a percusion instrument called Txalaparta2. Basically it consists of two (sometimes more) planks of wood put over two supports. The instrument is played by two performers, each one has two stics in the hands and beats the planks producing a percusion sound. Physically it could seem as some african drums. Anyway the interesting point for us is not in the kind of sound it produces but in the way of playing it. The basic idea is that one of the performers improvises freely (Herrena) over the ritmic and stable structure of the other (Ttakuna). So the former is following something like a foreseeable structure while the latter is moving freely without any stablished rithm.
We centered our attention on this aspect of the txalaparta for the performance which took place during a night of decenber in Mikelazulo (Errenteria). We were not worried about the kind of sounds but in the kind of game this popular instrument proposes to play. The space was divided in two main areas, both located in a corner of the room and the audience was between us. In this relation of opposition and diagonally situated we played following the basic rules of txalaparta, not literally but abstractly. We wrote something similar to a score (a free map) with the time well calculated and the instruments for playing in any time specified. This was the Ttakuna-rol performer and he was following the time with a chronometer. In the opposite place, there was the Herrena-rol perfromer with a set of sonorous objects and with the Ttakuna role score within of sight but playing free over him.
The point in the work is to try to make music in a hinge situation between free and tied, spected and unespected: composition and improvisation. Try to experiment using the roles of the perfromers in such a way that you are not merelly following your taste or creativity but playing with half-fixed structures.
Loty negarti, Donostia 2008
1See, for instance, Michel Henritzi's work: http://www.mattin.org/recordings/Keith_Rowe_Serves_Imperialism.html
TIEMPO DE DAR.EMONALDIA (Time to give) is an aesthetic experience made by two artists in the field of experimental music. The performance is carryed out as if it was a magic game of disappearence and emergence. In fact it, by showing a disappearence of two central elements of the grammar of music (that is the melody and the rhythm), is enlightened the emergence of a sound, conveyed by noise, and of a time, which is the chronological time. This is the music performance: the rhythm of the composition is replaced by the time of a clock and the melody by the noise of physical and environmental sonorous entities.
The structure of the composition is an ontological relation between two structures. It correlates the temporal structure, which consists of 7 pars of three minutes and seven parts of 1 minute, executed in an alternate way, and it ends in one part of two minutes, with the physical and material structure, which consists of the material objects being played: Voice, ballon, aspirins, piano, artiach motor-plate, mobile phone, metallic cap, batteries, cyclist's small bottle, aspirins, photo camera, radio cassete, speakers, poliexpan box and plastic shopping bag .
The temporal structure is like a software or a program by which the hardware of the performance is organized. By hardware of the performance I refer to the physical and material objects by which the sound (the noise) is made.
Between the two structures, that is between time (software) and sound (hardware), there are the actions of the artists, the performance. It emerges like an interface between time and noise. The two artists behave as if they were interfaces interconnected by the flow of time. And here the double rule of the time, which not only organizes the material reality of the sound, that is the noise, but connects the agents to that reality.
As a result, the performance displays as an aesthetic experience of reconciliation with the noise of the environment. In fact the performance follows and pursues that delicate thread by which that noise becomes sound. It, the sound, simply emerges as if it was magic. When that environmental noises are transformed into musical sounds then happens that aesthetic experience 'to be listening'. That experience puts in listening humans with the entities of which is composed the environment (the reality), in the way in which those entities come themselves in relation with the human presence, that is in the 'way of the given'. The 'way of the given' represents the base of the modern metaphysical views for which the Cosmos, that is the universe as ordered totality, is a Digital Universe composed of entities which is called data (or 'given') and by which our universe is made.
As far as I can tell you, “Emonaldia” could be inscribed in that experimental tradition which finds its roots in Cage's “4'33”. But “Emonaldia” represents a second moment in respect to the hypothesis of the impossibility of silence about which Cage's composition is. In fact it not only takes the impossibility of the silence as a principle, but it takes it as projectuality and works on that 'givens' which constitute the impossibility of silence. This contrains to rethink the rule of artist and of the artistic experience. The artist behaves more as an artisan which creates the artifact from a preexisting materia rather than like a god which creates the artifact from nothing (nothing is the silence).
TiEMPO DE DAR. EMONALDIA (CDR by Hamaika)
Somehow I lumped Loty Negarti as a noise boy in a my telephone book, but perhaps I
am mistaken. Here he plays voice, ballon, aspirins, piano, artiach motor plate,
mobile phone and metallic cap, while Oier I.A. plays batteries, cyclist small
bottle, aspirins, photo camera, radio cassette, speakers, poliexpan box and plastic
shopping bag. That could be a guarantee for lots of noise, but its very much the
contrary thing here. One has to put the volume all the way up to hear something at
all. The cover contains the 'score' of this, all in Basque of course, but it gives
an idea about the consistency of how this is performed. Very soft with carefully
placed sounds and at some point a text read. The sounds are far away, which doesn't
help concentrating on listening to this. Its a bit far away, its a bit too soft and
careful. Or perhaps this is just not the time of day to hear this, or perhaps I
should be using headphones - which I hardly ever do - to enjoy this. It would have
been best however to experience this as a concert, I think. Then it would have been hard to
escape this and truly enjoy it. Now it's not bad, but not the full potential has
been used. (FdW)