Program
shifting inflections (1₁)
shifting inflections (1₂)
shifting inflections (1₃)
shifting inflections (1₄)
the shifting inflections series will grow (expand, proliferate) as if it was a mold spore.
here and there. sometimes unseen. sometimes seen.
with the potential to suddenly explode and (re)connect in unpredictable ways.
erewhon: both no-where and now-here.
something not present in an actual state, but present in a virtual state: potential.
performed by Tyler J. Borden, Madison Greenstone, Celeste Oram, and Anthony Vine
Luke Martin is an experimental composer, musician, and poet currently living in Allston, MA (Boston). His work focuses on the concepts of silence, blandness, and community and is primarily interested in exploring the limits of perception. More specifically, he is interested in the combined use of poetry notation and graphic notation, silence and sound, and listening and active sound-making, as equally considered elements in the compositional practice; for instance, the composer's task is not only to consider the parameters of determined sound making, but also — particularly — the parameters of how we listen, and how we may interact with and frame silence. The composer, then, seeks to create situations of possible events which the audience, performer(s), and composer may experience concurrently. Further, it is essential to critically consider the hierarchical roles and power relations at work between composer, performer(s), and audience; or in other words, the nature of the political/social significance of that situation. In short, the composer is not simply someone who composes a musical performance, but rather someone who composes a social situation in which there is, regardless of their desire or intent, sound. Recently inspired by David Dunn's notations for listening and Lasse Thoresen's spectromorphological analysis of electronic music and sound, Luke is developing a notation for the performance and analysis of silence (i.e., incidental sounds, contingency).
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