my writing of infinite depth ========================================================================= my writing is my most important medium. it lacks the seduction of image and sound, of performance and the smell of bodies; it lacks the arousal accompanying the dreams or deliriums of the residue of flesh. instead, there is always a substitution: that of the body flailing behind the horse-drawn cart, bouncing from field to field, until not even the bones are left, just the broken skein of tissues that once harbored thought. it's here in this delirium that thought is born, out of exigency, out of urgency, before its disappearance into the lost furniture of the world. but it's where depth occurs in my work; nowhere else are wonder and beauty
This is a fair amount to watch, but it gives a good idea of the labor involved in music production, something I've wanted to emphasize. The oud is plugged in. To 'play like this' requires hours of practice and an exactness that's difficult for me; I've only been playing fretless instruments for maybe two years now. So the speed involves quick stopping and starting (with all the issues of accelerating and inertia involved), as well as hopefully minute adjustments to bring the position into tune. Fingers, wrists, arms are involved. To get a greater reach it's sometimes necessary to move the hand from under the neck, fretting from above; I gain at least a fourth from that,
Leonardo Music Journal is a print journal, published annually. Leonardo Music Journal is edited by Leonardo/the International Society for the Arts, Sciences and Technology, and published by the MIT Press.
In Closer, Susan Kozel draws on live performance practice, digital technologies, and the philosophical approach of phenomenology. Trained in dance and philosophy, Kozel places the human body at the center of explorations of interactive interfaces, responsive systems, and affective computing, asking what can be discovered as we become closer to our computers—as they become extensions of our ways of thinking, moving, and touching.
Performance, Kozel argues, can act as a catalyst for understanding wider social and cultural uses of digital technology. Taking this one step further, performative acts of sharing the body through our digital devices foster a collaborative construction of new physical states, levels of conscious awareness, and even ethics. We reencounter ourselves and others through our interactive computer systems. What we need now are conceptual and methodological frameworks to reflect this.