Iain Cameron's Diary
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2004-03-19 - 6:56 a.m.

By some coincidence the LmY newsgroup has just sent:

“I hope this isn't too off-topic here. I work at the Getty Research Institute, and am involved in the project announced below. The GRI's Tudor holdings include some La Monte Young scores and correspondence with Tudor, and you'll find a annotated LMY score on the Tudor biographical page (http://www.getty.edu/research/conducting_research/digitized_collections/davidtudor/biography.html).

For a list of the LMY materials that we have, you could check our Tudor finding aid at:http://www.getty.edu/research/conducting_research/finding_aids/tudor2.html

We are delighted to announce the launch of a new Web resource drawing on the archival collections of the Getty Research Institute relating to the work of pianist/composer David Tudor (1926-1996). "The Art of David Tudor" expands the original 2001 Tudor Symposium Web site through original scholarship on Tudor's career, biographies of his collaborators, and links to pertinent Research Library Collections. The new site contains eight audiovisual clips featuring segments from the CalArts installation of Rainforest IV and the artists' panel that was part of the symposium, the symposium performance of Tudor's live electronic work Dialects, as well as clips from Tudor's collaborative underwater kite video piece Sea Tails (which will open as part of a Research Institute Gallery exhibition on July 13, 2004), his performances of pieces by Karlheinz Stockhausen, Pauline Oliveros, and John Cage, and an excerpt from the film David Tudor's Ocean, with an electronic score by Tudor which accompanied Cage's last piece with the Merce Cunningham Dance Company (1994).

Nancy Perloff (Research Institute Collections Curator, Modern and New Media Collections) curated the site; project management was provided by Sally Hubbard (Research Institute Digital Projects Manager). Steven Swimmer of the Getty Web Group provided technical assistance and expertise.

To explore this site, please visit: http://www.getty.edu/research/conducting_research/digitized_collections/davidtudor/

http://www.lamonteyoung.com”

.I have glanced through a couple of the articles and thought – oh that s how far they have got in sorting out what was really happening. It s a good job someone is trying to get to the bottom of it. And very useful that it is this institute that offers the material for free in an easily accessible manner. I like the idea that there was a common project embracing Cage, Feldman, Cardew, Tudor and others – maybe Young. It really is a short step from the collective endeavour to Cale and Glass and others.

More about the exhibition – it is by Blink – an artist collectivity – its on at St Mary’s Guildford and its free. The full title is Beyond Belief – an exhibition exploring identity, The artists are Janine Creaye, Lizzie Hill, Susanne Harris Hughes and Susan Ryland.

The theme of identity is strongest in Lizzie Hill’s Number 58615 – this is the pages of a diary kept by a soldier on the Western Front in 1918. It is laid out in pages in a line along a pew. Its quite hard to read and the entries are unemotional and factual. It stops when the soldier receives a fatal wound.

Susan Ryland’ s screen based works are about lights. She told me that she used to paint abstracts in the 1980s which could be seen as bits of sky. We talked a bit about Rothko and early Mondrian. This is full on painterly tradition – how the meaning and reference is in the heart of the paint on the surface. Lights and sky step easily across to belief.

Susanna Harris-Hughes is the artist with the closest connection to St Mary’s and her work has the strongest religious theme – the Annunciation. It is a sculpture of a chair suspended in space. The chair has a glass seat and on the glass and image of a magnified lily seed has been printed. The chair and the lily link to traditional iconography – but the piece is engaging for all kinds of reasons which blend conceptual and traditional art values.

Janice Creaye also sings traditional music – working with ballad narratives. Her work in BB is called Beyond Belief and is about “threeness”. I said to her that a lot of people at HT have no idea what the Trinity may or may not mean. I suppose the link with the singing comes through the threeness you find in the White Goddess. There is a reading of her vid which says that its about the transience of identity and its multiplicity.

For completeness I should say that there was a fourth piece of music used at BB – which is a joint composition by Gilbert and I – just over a minute or so long – it exists in two versions. The one used was the soprano sax version.

The whole episode will have an impact I think. I got to the exhibition around 4.30pm and started to work on the presentation – refining the pieces. Between then and 8.00pm I had a lot of time on my own in the space with the works – then we did the show – and then I had more chance to meet and talk to the artists. Today there was an immediate response – I found that I took a step along a specific production pathway – a series of chance events presented an opportunity to me which I took, Its directly related to the WSS in that Regan von Schweitzer was a major player in the WSS development – for example she brought her Cage specialist neighbour Richard Bengerfield into the enterprise.

She introduced me to a chant and then eventually to Ayeesha who had bought the chant to England. The chant ended up on Plunderfonix but the realisation path for the recording was very specific. In fact the chant is up on the link at the top of the page – under Music Making in the Dhorn section, track 10. Anyway the path which opened seems to be related to the one pioneered by that recording. Plunderfonix has a lot of links towards the BB music – it’s the first collaboration with Gilbert, it gets more and more conceptual and there a couple of drone derived pieces on it. I am also thinking just now about the tracks that didn’t make it onto Plunderfonix.

Anyway there is now a set of four pieces – Blink Music Beyond Belief.

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