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Max Roach on electronics in music

Electronics "come from Creation. When people say electronics, they act like it just happened, but electronics have been in existence since the beginning of time. We have always had electrcity in the atmosphere and now mankind is beinnining to harness and utilize it...I think it's an asset"

-Max Roach in Notes & Tones: Musician to Musician interviews, page 108-9

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“We must not tell ourselves that the indeterminate, the uncertain, the un-obvious, is a weakness. We must say to ourselves that it opens our minds to unexpected forms of complexities. The Tremulous thought is not a thought out of fear, scared thinking, it is a thought that is opposed to systematic thinking. All the poets have said it. The gasping, the breathing, the pulse, the misfortunes, the fears, the insane hopes, and the sterile obsessions. All of these need to be relearned and remixed. The poetics of this endeavor seems more important than the categories of quick thinking, that lead to definitive and fixed conclusions. We understand the world better if we tremble with it.”

— Édouard Glissant in One World In Relation (2010), Manthia Diawara. Film.

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Butch Morrise collaborating with Senga Nengudi

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Excerpt from In the night by Jamaica Kincaid:

There is the sound of a cricket, there is the sound of a church bell, there is the sound of this house creaking, that house creaking, and the other house creaking as they settle into the ground. There is the sound of a radio in the distance—a fisherman listening to merengue music. There is the sound of a man groaning in his sleep; there is the sound of a woman disgusted at the man groaning.

the sound of Mr. Straffee, the undertaker, taking her body away. There is the sound of her spirit back from the dead, looking at the man who used to groan; he is running a fever forever. There is the sound of a woman writing a letter; there is the sound of her pen nib on the white writing paper; there is the sound of the kerosene lamp dimming; there is the sound of her head aching.

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Milford Graves at Queens museum

"I've been thinking about sculpture as a teaching tool. There's a saying I used to always hear: "sculpture is frozen music." I want something with some kind of movement to it. I'm adding elements that are not static, like transducers. I also use my years and years of experience in music and my training in martial arts to understand sculpture. There were movements I used to do that would be very quiet, maybe something from aikido or tai chi. Very slow, very slow... then all of a sudden you would burst out with this explosive, passive-aggressive energy. I wondered how I would put that into a piece of sculpture. I thought the explosion would be to put together some unorthodox elements and have contradictions set in. If a person were to look at it, it would provoke a kind of psychological motion inside of them."

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waking dreams 

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from Vol. 20, No. 1 (Winter 1997) IN HISTORY by Jamaica Kincaid

Returning to a text I read in school to remind myself of something

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From Flipping physics

Study of resonance

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Odetta, Photo by Herb Snitzer, 1990

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Black Comedy 2 1997

Donald Rodney

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Babi, 1977, Milford Graves

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Studio Venezia, Xavier Veilhan, French Pavillion

National Pavilions / 57th Venice Biennale

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Atone

Atone has its roots in the idea of reconciliation and harmony. It grew out of the Middle English phrase at on meaning “in harmony,” a phrase echoed in current expressions like “feeling at one with nature.” When atone joined modern English in the 16th century, it meant “to reconcile,” and suggested the restoration of a peaceful and harmonious state between people or groups. Today, atone specifically implies addressing the damage—or disharmony—caused by one’s own behavior.

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