Vexations of ephemerality: extreme sight-reading in situative scores - for makers, performers, audiences
2017
What do we do when we subject musicians and audiences
to music prompted by real-time scores? Such situative
scores create a new kind of immanent relationship
between performers and audiences, between composers
and performers, composers and audiences - a relationship
whose ingrained disregard of context, memory, and
knowledge has often been ignored. The use of situative
scores seems to inscribe itself into a more general societal
trend that uses technology to ephemeralize our lives, to
decouple presence from its history. While this immanence
has often been perceived as a force for the emancipation
of performers and spectators, it can also give rise
to unaccountability. Do artistic practices that ephemeralize
our artistic 'regime of perception, sensation and interpretation'
(Ranciere) - such as situative scores - foster
abuses of immanence?. In this paper, I will look at such
questions from the perspective of the performers, the
audiences and the makers of such scores - the composers.
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