It was impossible to hear every speaker as papers were being delivered
simultaneously in several locations. I
will just bring out a sampling of a few of the significant remarks in the papers that I was able to hear in what was an overwhelming experience and saturation of improvisational hypothesis and information.
Guest with Douglas Ewart, Ajay Heble and Douglas Al-Maini
interesting to me was the report from Bob Boster on "Tablecore" which is a term
he used to characterize a type of musical trend occurring which is the creative offspring
of a younger generation of amateur music experimenters. What he had to offer was an
extremely important example of the activity of today's youth. Engendering a direction away
from the market control of youth, and towards a community of musical experimentation with
a do-it-yourself aesthetic. Challenging from the hard-core rock scene to the amateur
production of techno, noise, industrial, electro-acoustic, ambient, and home-made,
sometimes "experimental", and non-idiomatic practice of improvisation, which is
outside the idiom of jazz. These youth are doing solely for the soul of playing for
one's pleasure, an underground bedroom music.
The music exists largely on the
internet, and through 'tape trades', facilitated by internet communications. Most of the
kids are active in other artistic activities. The practitioners range surges from true
improvisation to pieces through composed by samples of other people's work, or created
entirely on the computer keyboard as elements in a game.
Bob Boster states as well as poses
the question, "These are youthful amateur practitioners and hobbyists. Is it
appropriate for an "outsider" art such as this not to be looked at
as much as the contemporary & academic forms of expression as a historic barometer
of our times?" Hobbyists and informal art production is often ignored. The
Entertainment Industry pressure is trying to foster a consumptive audience. In the face
of the pressure to shut up and consume, these kids have to do this! The work of these
kids is a resource and inspiration for cultural action!
Bob Boster has conducted a survey
of "Youth Tablecore" on the technical methods, generic association, improv vs.
compositional methods, and outcomes expected from the kids and their output. He has
compiled a number of email address and websites of kids involved in this music revolution.
His work is extremely significant in recognizing the role of creativity and artistic
expression in the every day lives of ordinary human individuals, especially the youth, and
is an indicator of the potential social direction that can be spawned by listening to
the voices outside and beyond our own! These are the voices of RIGHT NOW. This
is not a study of a significant musical & social movement of the past, but one of the
present and future.
Also, I found that in spite
of the long and foreboding titles of many of the papers, most of the content was down to
earth and engaging. One such was David Borgo's The Art of Juggling and Thinking about
the Laundry: Evan Parker, Embodiment, and Enactive Cognition. Now, how's that for a
title? At any rate, Borgo related many fine points that were easy to hear coming from the
master saxophonist Evan Parker's mouth over his own playing approach, and spoke loudly to
my own inspiration and spirit. I'll share a few here.
Parker linking his own musical results from tongue, breath,
to create an illusion of polyphony on a monophonic instrument, a
hyper-extension of the biological level of playing, which also includes circular
breathing, recognizing that "the techniques are not the substance of the music, but
its enabling factor." -E. Parker
that the notes and the music are like the spokes of a
spinning wheel. When it is moving, you can't count all of them, but they fit together and
generate by their speed, the overall blur of vision, slur into harmony/polyphony. The
music is NOT what you hear in an analysis. It's what you hear in the real time experiment.
like juggling, which is balancing objects and gravity,
there are skills and risks involved.
Listening to bodily functioning taking over the music: the
fingers, larynx, breathing, the mind in trance.
Borgo proposes the notion of the concept of Embodiment as
including the body function. Going away from objective analysis embodied in history and
shared psychological experience grounded in culture, into an experience of permanence and
flux, process and reality, Borgo states that a circular causality doesn't explain the
linear thrust that history gives us. As Evan Parker just puts it, "This is a new day,
but it's got a lot in common with the day before."
Borgo refers to the dialectics from Cage's "Sound is just
sound" vs. an African-American philosophy that "Interactions are personal and
" and proposes that the music of Evan Parker as an example of the
bridging of the two.
Another paper, which I
thought really stood out, almost evangelically for our age, was that of Jason Stanyek, Articulating
Intercultural Free Improvisation. His
paper based on interviews with participants of the Synergetics project included a diverse
group of free improvisors from multi-dimensional and multi-cultural experience. In
Stanyek's highly engaging discourse attempting to untangle some of the issues surrounding
globalization and the notion of intercultural music making, he contends the notions of
"intercultural" vs. "cultural is explaining nothing, just labeling. That
sonic musical identity is not connected to a narrative origin, or a dehumanization of
human sound. It is not connected with idioms, and he notes the violence that naming does
to music and her ability to construct her own identity. That diversity is her best
characteristic, making no limiting of musical richness. Stanyek concludes that free
improvisation is "less a type of music with a definable sound-scape than it is a set
of strategies deployed by musicians to engender a very inclusive space for music
making." He furthermore, in exploring how power is employed within musical
communities, (cultural imperialism, the global/local dichotomies) makes a grand case that
due to its inclusive character, its openness, and recognition of diverse elements, that
the practice of free improvisation provides a particularly fertile space for intercultural
Of course, speaking of diversity, there was no limit to the range of subjects covered in the Symposium, everything from Improv
& Technology, to discussions of Ornette and Bach, to "Jazz, the State Department and Africa". At least, an attempt to video-document each
proposition and discussion was made by the Symposium staff. Perhaps in the future, a more
inclusive account of the research and perceptions held will be forthcoming. To me,
however, the mixing of musicians and scholars in the open forum discussions, which followed the papers, were even more inspiring and useful than the
hypotheses and studies.
The following are just a few of the
highlights from my notes of the lively panel discussions, which generated an enormous
wakefulness in the halls. With communication through human conversation so stimulating,
there should no excuse for the dulling of human intelligence through the habitual and
inane watching of television broadcasts, commonly referred to as
.I like to think of the atmosphere of an old
fashioned English round-table pub, no disco, no loudspeakers masking the silence,
a good beer and a good conversation.) These are excerpts from some of the discussions, and are examples of what the epitome of human entertainment can rise to.
Please be aware that they are not necessarily direct quotes, as the speakers always
are ahead of my hand. But I tried to catch
what I could
discussion, we can simultaneously think,
have fun, be entertained, inspire, and enrich.
We come from different points of history and
experience, but improvisation allows any entry level,
building community, and you can enter without losing your tradition or your identity.
- Sarita McCoy Gregory, who gave a wonderful lecture on cultural and political implications of
improvised music, makes the claim that
spontaneous music is perhaps
based on nothing, and proposes the question, "Is this musical memory or musical
- Eddie Prevost asserts that
for him, in England, improvisation emerged as an alienation factor, "How
do we make a meaningful space out of our culture?"
- Jonathan Glasier: I see the
improvisor as a wholistic musician
- Tom Nunn: Our tradition is imagination. For instance, how
about a one hour concert on a coffee table?
Eddie Prevost with
Symposium organizer, Dana Reason.
A discussion about the kids,
the legacy and future of jazz, the Tablecore aspect, the aspect that kids ideas will
always be different from the parents...
- A discussion of the "next concert hall" being
the web comes up. Pauline Oliveros mentions to everyone to check out www.turbulence.org and that on April 18, there will be a web improvisation.
- Alvin Curran: these utopias have bobbed up on the
sea of whatever. In living off of the alternative during the 60's, we created a
and this tradition is in peril. Not only is it on a collision course with
technology, which may be just England being behind
but because of
the enormous global strategies that are present in our society, the category of artists,
musicians, and thinkers is endangered. We are an endangered species.
- Douglas Ewart: We must
infect the children in such a way that we won't have to worry about it
tradition or a
true current in musical practice.
- Alvin Curran: Think about the facts about the
millennium, and the end of this century. We are leaving this amazing century where the
most horrible things in history happened. And where the most amazing human feats also
- Chris Williams (student):
When I heard "Improvisation Across Borders", I thought, "shouldn't we just
grab an instrument and go down to the border right now!"
community, we're interested in the language of access, privilege, breaking down the walls,
looking for ways to combat the realities
- Ron Robroy: Even in the most tightly composed
pieces, there are a multitude of insurrections going on. Leadership is ceded to another
voice. And, there's the allusion of breathing.
- Benneta Jules Rosette: African art, writing and Music is
based on improvisation. But here's the question, "What's on your mind when you're
playing your music?" I explore, "what's on his mind?" Speaking as a
sociologist, improvisation becomes a social necessity for people that are struggling,
whether it is in a style of hip hop, african, or paris blend. Improvisation is a code of
life. The necessity to improvise is an absolute survival technique to organize the
code of minority people with the code of dominant cultures
(there was a break in which bagels of all
sorts were offered with coffee and California teas)
The second discussion panel began with introductory remarks from each of the
participants before open discussion commenced. By this time, I was really fatigued from
writing, so the memories are even more fragmented, but here goes:
- David Antin: (after a moving and
hilarious account in celebration of the artistic life at its center, improvisation has the
ability to attend to every circumstance) "
.why shouldn't we invent as well as
Go on! Make it perfect! Instead of the attitude of
invent as well as you
can under the circumstances. Most situations are available to do something in a human
context, if you can get to a human context.
- Mchaka Uba:
you know, in those days people didn't refer
to us as African-Americans. People have referred to us as 'afro-this or that'. When I was
growing up an Afro was a hairstyle! Words have meaning. Talk is cheap, and people talk in
their sleep. They say, "A picture
is worth a thousand words." Now picture this! When I was in Chicago some many years ago, and
I was in a bad-ass gang, you know, that's where it was at, to be, then. Well, we used to see George
. We used to see "little" George going down the
.with his trombone
.I was an old man then, and he was just a little
.going down the street
to the University of Chicago
. And I thought to
myself, "We should go down there and "kick that little fat boy's ass!" But something told me
. ? And NOW! Well. Now,
. that George can kick
ANYBODY's ass in here! (laughter)
(Mchaka Uba pulls an empty vodka bottle out of his back pocket) "You know, I've been
thinkin about drinkin
" He introduced his wife. And at this point a taped
musical interlude was presented with her singing a moving rendition over his delicious
improvisational bass solo, "I've been thinking about drinking
away," which was a testament to how music can move the souls of everyone in the room.
Guests with Pauline Oliveros and George Lewis
- Catherine Sullivan, coming to us from the
discipline of theater, began her presentation citing the problems with improvisation as
pertaining only to her discipline, theater. She acknowledged its use as a means of
developing material, saying that it was difficult to isolate the task of an actor, and
that for an actor improv is considered to be the domain of "genius". The tools
of an actor are emotional and psychological, and that their instrument is very different.
That there is a need to "master". The work of it is in honing a sensitivity of
people in a more democratic situation. She had questions as to whether improv was a
cultural necessity or an artistic necessity, and as to "what is finally
produced?". Furthermore, she asks, "is improv a fetish-i-zation of spontaneity?
Is it anti technique? Does it have conventions and formulas?" I got the impression that she had never
worked with improvisation as a serious art form, and was in fact, afraid of it.
- Eleanor Antin, a conceptual artist
and actress did much better with subversive activities, exploits and improvisational
experiments! Concerning the issue of traditions and spontaneity, she had no problem with
it. It was a matter of bringing it together. To bring it together "in a flash!"
She had been in a women's group where they brought objects together to work with. They
would build and make things, act around them, reach several climactic moments, then
achieve an ending. Everybody knew when the ending was. She also told many entertaining and
stunning accounts of her disguising herself in anachronistic characters and walking
through town interacting as a Shakespearean man among other things. This woman was a riot!
We all laughed so hard that we were in stitches! I don't know who is the funniest, she or
her husband, David Antin. As always happens when presentations are engaging and funny,
time runs out.
- At some point in the discussion
session, David Antin brought up upon the question of memory and improvisation that
"memory is like crossing the street". It's crucial to existence to remember to
look both ways. You've got to have skill, memory brings that. But you have to
.and remain open.
- Sociologist: "All of these are culturally
learned practices. You are participating in a reproduction where nothing will be
- A teacher from the audience:
But there has been in Massachusetts an educational standard, which Congress has just
set as a National Standard for education, that "every child must improvise". If you give eight kids who are six years old a pipe, a water faucet, an instrument, the children WILL
improvise. They will create a composition.
- George Lewis (moderator): "We have
brought up an enormous number of complex issues. We are in no way close to resolving, or
even exploring those issues
So we ended the discussions, inspired, with keen interest
and high emotions, much more to explore and to say, and
.out of time.
Finally, the Symposium had come to the
moment we had all been waiting for
the keynote address to be given by Pauline Oliveros.
Quantum Improvisation: The Cybernetic
Keynote address presented at the Improvisation Across
at University of California, San Diego April 11, 1999.
Dedicated to the memory of Robert Erickson who
encouraged us all to improvise.
According to Ray Kurzweil in his
new book The Age of Spiritual Machines: When Computers Exceed Human Intelligence:
"In a hundred years there may be no clear distinction
between humans and computers. There will be enormous augmentation of human perceptual and
cognitive abilities through neural implant technology. Humans who do not use such implants
are unable to participate in meaningful dialogue with those who do - knowledge is
understood instantaneously through assimilated knowledge protocols. The goal of education
and intelligent beings is discovering new knowledge to learn."
The speculations for the future in the Kurzweil book and others
concerning self aware machines with the ability to reproduce into future generations with
patterns of matter and energy that can perpetuate themselves and survive set me wondering.
It's already evident that computers and human intelligence are merging. What would I want
on a musician chip if I were to receive the benefit of neural implant technology? What
kind of a 21st Century musician could I be? Humans with the aid of technology already see
and hear far beyond the capability of the unaided senses. It's not long according to
Kurzweil when such aids will be available at the personal level as implants like personal
computers or digital assistants. All of us improvisers could have new input from this and
new challenges. I'll return to the question of my musician chip after looking back a
hundred years for some reminders and highlights:
The first magnetic recording came in 1899. One hundred years ago
- Sound is recorded magnetically on wire and a thin metal strip. By 1900 The Gramophone
Company advertised a choice of 5000 recordings. The human desire to record - to replicate
and preserve resulted in 52,000 CD Titles produced in 1998!
Early Jazz Improvisation emerged after the civil war and
emancipation. Improvisation developed in parallel with radio broadcast and recording
technology. It is not surprising that all styles and forms of improvisation from
historical to free have been empowered by recording. Recording is the memory and
documentation of improvisation and testifies to an enormous creative effort by innumerable
musicians. Musicianship for written forms of music has been empowered by recording as
The African aesthetic imposed on American and European dance
music leads to the decade of the birth of the Blues and blues influenced jazz - 1920-30.
Ma Rainey and Bessie Smith mothered this music and rose to short lived stardom as Blues
queens during the migrations from the South to Northern metropolitan centers. Horn players
of innumerable bands followed the lead of Ma Rainey, Bessie Smith and other singers in a
tremendous era of creativity and enterprize by people of African descent.
By 1930 60% of all American households have radios. Improvised
music spreads out from recordings and radio broadcasts. Music by Americans of African
descent is heard throughout the land and influences all of American music. This enormous
creativity is recognized and appropriated by the white entertainment establishment. The
black white exchange and interaction continues throughout the century and grows into the
billion dollar music industry which exists today.
In 1953 the first consumer model Tape Recorders are available.
This meant that musicians could record themselves at home or in their studios - a sound
mirror is available to use anytime. Musicianship escalated with the aid of technology.
Today's musicians are phenomenal in their performance skills in all styles of music
improvised and written.
Currently another wave of creativity originating from 1970's Hip
Hop sweeps world youth culture - influencing the whole world. All recordings are sources
for improvisation. Rather than frozen historical objects recordings become live material
through DJ scratching and re-mixing.
Classical music as taught in American establishment institutions
and conservatories regards improvisation as a kind of craft, subordinate to the more
prestigious art of composition. It's well known that Mozart as well as Beethoven
improvised on their tours. Improvisation as a lost art was excluded from the curriculum
and all but disappeared in America except for church organists and occasional cadenzas in
concertos. The denial of the validity of improvisation has a racist tinge and origin. In
America in the first half of this century improvisation grew mostly from Jazz and Blues -
heart music of Americans of African descent - the disenfranchised. After1950 improvisation
appears in white avant garde music through the influence of marginalized indeterminate or
aleatoric procedures, exposure to Jazz and Blues and to recordings and live imports of
non-Western music - also disenfranchised music.
What's the purpose of creating music in performance without
reference to memory or written form - improvisation ? The purpose varies according to the
function of the music. One purpose is to enter into direct dialogue through sound with
oneself and others. If the improvisation is creative then new mental and physical patterns
could be born such as happened with Ornette Coleman and Cecil Taylor breaking away from
Jazz traditions in the 50s and later Musica Electronica Viva, San Francisco Tape Music
Center and AMN breaking away from classical music restrictions with improvisation. If the
improvisation is historical such as replicating Charlie Parker, John Coltrane or the
legacies of other great improvisers with no new elements then the purpose is to affirm a
The improvising musician has to let go of each moment and also
simultaneously understand the implications of any moment of the music in progress as it
emerges into being - In historical improvisation the course is charted or set by the
conventions and codifications of the style - the Classicism of the music - In so called
free improvisation nothing is known about the music before it happens - this edge is the
challenge for human and for machine intelligence. Unless the styles of the musicians
improvising were already absorbed by the machine then what information would there be to
calculate a response? If the outcome is known in advance it is not free improvisation, it
is historical improvisation.
What in fact does happen when a creative musician makes new
music? How can it be new or free? What is it free of? What could be new about it? What is
happening with a solo improvising musician? a group? The soloist gives herself feedback
and enters a dialogue with herself and musical space - the group stretches the
possibilities for dialogue and new relationships come about creating a myriad of new
possibilities even though the course of the music - new as it may be - will flow with
ineluctable inevitability. The recorded legacies of innumerable musicians are waiting to
answer these questions.
What happens when a new musician chip is implanted in a human or
a machine? All ranges are increased. Processing is possible beyond known present human
capabilities. What could be heard? Could a new musical paradigm include a new spatial
domain? Moments of local sound - moments of moving sound with the ability to detect
locations from light years away - defining new interdimensional spatiality? What would a
spatial melody sound like - a pitch beginning on Saturn moving to Aldeberon to Sirius to
Earth? Space related frequency and amplitude - multidimensional melody - color/space/sound
melody. Who would be playing this tune? Who would be listening and where? Melody across
space stretched out and also happening everywhere simultaneously. Space is the place - I
hear you Sun Ra!
According to the current issue of Scientific American in the
article Is Space Finite by Luminet, Starkman and Weeks, "The universe may look
infinitely large, but that could be an illusion. If space folds back on itself like the
braids of a pretzel, it might be boundless, and light could spool around the cosmos
The usual assumption is that the universe is, like a plane,
simply connected, which means there is only one direct path for light to travel from a
source to an observer. A simply connected Euclidean or hyperbolic universe would indeed be
infinite. But the universe might instead be multiply connected, like a torus, in which
case there are many different such paths. An observer would see multiple images of each
galaxy and could easily misinterpret them as distinct galaxies in an endless space, much
as a visitor to a mirrored room has the illusion of seeing a huge crowd."
What if we could sound out, hear and perceive the shape of the
universe by bouncing sound around the torus? We don't have to be limited to the physical
definitions of our perceptual ranges. What about imagination? Here is the challenge of the
machine - the promise of hybrid human/machine forms through implants. The challenge of new
beings with formidable powers of perception, memory, reasoning, and interpretation. Non
carbon based beings created by humans to eventually replace humans. Are we creating new
beings to replace humans or are we expanding our minds - making a quantum leap into the
neo cortex to develop our own potential power?
In 1948 -Norbert Weiner coined the word "cybernetics"
meaning the science of control and communication in the animal and machine. The cybernetic
presence is definitely with us. Kurzweil says in his time line: "10 years from now
(2009) human musicians routinely jam with cybernetic musicians" This is a shallow
statement because there is no revelation concerning style, complexity or form. In fact
many musicians are already improvising with machines programmed to respond to improvised
input. Will Kurzweil's cybernetic musicians be self determining in 10 years?
In 1977 the first desktop computers from Apple are available.
Musicians and Hobbyists continue to work out programs to make and play music now in their
own studios away from Bell Labs, Princeton, Stanford and other institutions for computer
Improvisation is also developing and merging with new forms of
interaction made possible by machine intelligence. Computers expand the reach of solo as
well as group improvisers. The work of Laurie Spiegel, David Behrman, Warren Burt, Joel
Chadabe, George Lewis, Elliott Sharp, Jim Tenny, Deep Listening Band, Chris Brown, The Hub
and many others comes to mind.
By 1990 Computer hard disc recording and editing is available. A
powerful and revolutionary combination - the merging of recording and computing. What a
wonderful tool for the creative musician.
"In 20 years virtual musicians with their own reputations
are emerging". We need to know what constitutes a musician. How will humans with or
without implants compete or collaborate with the cybernetic presence? I don't feel
comfortable with the notion of surgical implants. I hope that some non invasive reversible
form may be available.
"30 years from now direct neural pathways for high bandwidth
connections to the human brain perfected. There will be a range of neural implants to
enhance auditory and visual perception and interpretation, memory and reasoning".
What would be enhanced? What and how would such powers be measured and valued and by whom?
What about imagination? What kind of improvisation could and inevitably will result?
Music and especially improvised music is not a game of chess -
Improvisation especially free improvisation could definitely represent another challenge
to machine intelligence. It wonít be the silicon linearity of intensive calculation that
makes improvisation wonderful. It is the non linear carbon chaos, the unpredictable turns
of chance permutation, the meatiness, the warmth, the simple, profound, humanity of beings
that brings presence and wonder to music.
We have looked one hundred years before and one hundred years
ahead of this 1999 conference Improvisation Across Borders. Now for what I would want on
my Musician Chip - what skills should the 21st Century musician have? What could she know?
In 1937 The Church-Turing Thesis stated that "All problems
that humans can solve can be reduced to a set of algorithms, supporting the idea that
machine intelligence and human intelligence are essentially equivalent".
Returning to the future Star Date 2336 we find a machine
intelligence - minus human emotions that evidently don't reduce to a set of algorithms
until lately - at work on the Star Ship Enterprise. Star Trek's android Lt. Commander Data
is an imagining of the future predicted by the Church-Turing theory. Data solves problems
and is a sentient life form with the same rights as other life forms. His ultimate storage
capacity is 800 quadrillion bits and his total linear computation speed is 60 trillion
operations per second. Data can remember every fact he is exposed to and can imitate
voices so perfectly that he can even fool the computer of the Enterprise into thinking he
is someone else. Star Trek's Data has performed as a classical musician on several
episodes. His classical musician chip allows him to perform any music superbly having
absorbed all known styles and all available recorded interpretations of written music. The
musician who learns to perform classic forms and idioms is a conservative who affirms and
preserves tradition. All of known music could be listened to, absorbed analyzed and
interpreted by machine intelligence and be contained on a chip.
The composer is an organizer who designs and formalizes music
prior to performance through notation. Computers already aid a variety of composer's
design calculations. Computers can engage in rule based composition, calculate and realize
Experiments in Musical Intelligence by David Cope describes the
basic principles of analysis, pattern matching, object orientation and natural language
processing. This system makes it possible to generate new compositions in the styles of
various composers, from Bach and Mozart to Prokofiev and Scott Joplin. The program SARA
(Simple Analytic Recombinant Algorithm) produces new compositions in the style of the
music in its database. Already audiences are hard put to tell what music is composed by a
human and what is composed by a machine All known styles of composition could be contained
on the composer chip.
Data could certainly handle all known styles of composition and
historical improvisation. Improvisor: is a computer program that creates original music,
written by Paul Hodgson, a British Jazz saxophone player. Improvisor can emulate styles
ranging from Bach to Jazz greats Louis Armstrong and Charlie Parker - historical
improvisation. What about the improvising musician as an evolutionary? What would an
improviser chip have to include for Data as a machine intelligence to engage in free
improvisation? To boldly go where no musician has gone before sounding through dimensions
of space - of time? Finding new sounds and new sound relationships?
Data could probably analyze all known instruments for instrument
makers, all performance abilities for performers and all known musical forms for
composers. The edge though is the unknown of imagination for performers, improvisers,
composers and instrument makers and the unification of all these roles.
On my musician chip I would like the:-
- Ability to recognize and identify instantaneously any frequency or
combination of frequencies in any tuning, timbre in any tempo or rhythm, in any style of
music or sound in any space.
- Ability to produce any frequency or sound in any tuning, timing,
timbre, dynamic and articulation within the limits of the selected instruments or voices
used. Maybe I would also like to morph from any instrument to any other instrument or
voice. at will.
- Ability to recognize, identify and remember any music - its parts
as well as the whole no matter the complexity.
- Ability to perceive and comprehend interdimensional spatiality.
- Ability to understand the relational wisdom that comprehends the
nature of musical energy - it's form, parts and underlying spirituality - as the music
develops in performance.
- Ability to perceive and comprehend the spiritual connection and
interdependence of all beings and all creation as the basis and privilege of music making.
- Ability to create community and healing through music making.
- Ability to sound and perceive the far reaches of the universe much
sound and perceive the vastness of the oceans. This could set the
stage for interdimensional galactic improvisations with yet unknown beings.
- I suppose it would be great to be able to print it all out as well
in 3D color.
Are improvisers conscious? Do they have self perception, self
awareness the ability to feel. What is conscious improvisation? For that matter what is
unconscious improvisation? The body knows what to do even if the small mind does not
comprehend. The body "dances" the music - the nerves fire and the mind notices
slightly after it happens. Conscious improvisation involves strategy - responding
strategically even if the outcome is unknown. A strategy of conscious improvisation might
be - play only if you are listening - or trust the body to respond. This melds of course
the notion of conscious/unconscious improvisation.
The capability of the human mind is unplumbed. We have far more
capacity than we currently use in the neo cortex waiting for evolutionary expansion.
Computers may actually instruct us in this process as we continue to merge with the
machine intelligence that we are creating and improvisation interaction. We must decide
though what a 50 year old structure of silicon is going to tell a five billion year old
structure of carbon before making irreversible changes physically.
Quantum computing is a revolutionary method of computing based on
quantum physics that uses the abilities of particles such as electrons to exist in more
than one state at the same time. Quantum computation can operate simultaneously on a
combination of seemingly incompatible inputs.
By analogy or metaphor Quantum Improvisation could mean a leap
into new and ambiguous consciousness opening a new variety of choices. Ambiguous
consciousness would mean the ability to perform in more than one mental state
simultaneously in order to reach or bridge past and future as an expanding present. There
could be new sound combinations anchored by increasing order even though choices might
seem incompatible. Such a quantum leap could mean the utilization of more of the neo
cortex the seat of creativity and problem solving. The newest part of the brain that is
waiting to evolve in association with the limbic system - the amygdala - old brain and
seat of the emotions. Quantum Improvisation could find new ways to express and understand
the relationships between mind and matter.
Ordinarily we use only a relatively small percentage of the neo
cortex - this reflects the style of most content oriented education in institutions, which
limits or suppresses rather than encourages creative problem solving. After enormous
growth spurts in the brain by age 16 many people are no longer interested in creativity.
Education - content oriented education particularly - does not necessarily access the neo
cortex - Rather there is the classic learning of forms - cortical learning - recognizable
forms with no encouragement or support for innovation, which requires creative problem
solving. This situation is particularly true of music. Performance of traditional music is
rewarded and encouraged rather than acts of creation. Performance and creativity both
could be rewarded and encouraged.
What is needed now is a complete program - an Improvatory of
Music for pre K through Post Doc in aural music including all forms of improvisation and
aural traditions to complement conservatories. As soon as possible young children could be
encouraged to improvise and create their own music. They could be introduced to sound
gathering and listening strategies. This program would not replace traditional music
learning but would complement, enhance and make it possible for all people to participate
in creative music making. An Improvatory would necessarily be interdisciplinary and
include all the arts and technology.
There exists now 100 years of recordings of the complete range of
improvisation from historical to free. This is an ample documentation, that could yield
many fruitful studies for advanced degrees. Improvisational strategies could be introduced
early and advance through graduate levels. Here is one example of an improvisational
strategy: "Only sound what has not been sounded before".
Once an improvisation has happened is recorded and studied it
becomes historical. Too much replication can be destructive of creativity. Replication
guarantees survival and perpetuation of form but It would be critical to hold the space
for creative problem solving - An advanced problem to solve would be how to do this. Music
teachers could encourage playing by ear as well as reading and writing music. The use of
recording and computing could accelerate the learning of reading and writing music through
What would one learn at an Improvatory of Music?
- Basic listening skills including the listening effect. Music only
happens with conscious listening.- Maybe quantum listening -
- Listening in more than one state simultaneously. If you are not
listening the music is not happening. A conscious observer is necessary. Conscious
observation affects sound.
- Ways of sounding and listening - strategies.
- Starting from scratch - Music by any means possible (i.e. bottle
caps, found objects)
- Sound ecology - what happens in the environment?
- Sound gathering through recording
- Sound provision with live feeds from sonically stimulating
environments such as ponds, oceans, natural soundscapes , the weather and many other
sources including industrial and urban sites.
- Relational techniques or relationality
- Evolving open form processes
- Computing - Computers may push us or teach us about the mind and
facilitate a quantum leap into unity of consciousness.
- Technology especially tools for expanding the mind through
listening. Instrumental research and development
The place for an Improvatory requires an architecture that is supportive of the process -
ideally. Chaos is a key resource in pushing evolution.- Meeting places might provide an
appropriately chaotic environment with reconfigurable levels, color, textures, sonorous
objects, acoustics, recording opportunities and open spaces. There could be many choices
This conference - Improvising Across Borders - brings a
new dignity to a creative activity, which has been marginalized by the Western,
established musical order. It is time now for an inclusive curriculum where improvised
music is no longer ignored or denigrated. Borders should not only be crossed, but should
dissolve. Degrees in both aural and written musics should be available equally. Aural
music informs written music and vice versa. Improvisation is a key process for creative
problem solving and the expansion of mind that is needed to meet the challenge of the
machine intelligence that we are creating. Improvisation is creative problem solving and
is a portal to quantum thinking - thinking in more than one state simultaneously.
What is free improvisation? - nothing is known in advance of
making the music. What's the algorithm for that condition? It may or may not be free of
historical patterns or it may use historical patterns in new ways. Theoretically free
improvisation is totally spontaneous like the big bang of creation. Maybe the big bang was
the first and only free improvisation. Algorithms anyone? How about holding the
possibility of the first unknown sound to begin an improvisation at an unknown time in a
group of players who are all new to one another? Imagine then a crowd of creative people
I thank the organizers for their courage and imagination.
Quantum Improvisation: The Cybernetic Presence
reprinted by permission