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References

Andersen, Eric. 2012. “In Mezzo a Quattro Tempi.” In Word Events: Perspectives on Verbal Notation, edited by John Lely and James Saunders, 79–82. London: Continuum. Anderson, Michael L. 2003. “Embodied Cognition: A Field Guide.” Artificial Intelligence 149...

Chapter 05

Say No Score: a Lexical Improvisation after Bob Ostertag

...require time in the physical world. The relentless intensity of the material and the lack of physical preparation and release give the virtual instrumental parts a superhuman quality that renders them technically unperformable by humans playing physical instruments; this had...

Chapter 00

Chapter 0: The Ground

A Personal Beginning In 2007, violist Mary Oliver and contrabassist Rozemarie Heggen invited me to write a piece for their duo incorporating improvisation. Despite my diverse experience writing chamber music, free improvising, interpreting, and working in a host...

Chapter Ω

Chapter Ω

The End? Tactile Paths is modular in nature; as I mention in Chapter 0, its constituent chapters, or paths, can be traversed in any order. It might therefore seem odd to offer a conclusion, since readers are encouraged...

Chapter 03

Entextualization and Preparation in Patterson’s Variations for Double-Bass

...sloppy; conflicting performative indications are less likely to be digested. 6 For this reason, Patterson’s jumble of annotations is more likely to paralyze than to animate the average contemporary music performer whose scriptocentric view I have expressed in the previous...

Chapter 01

Seeing the Full Sounding

...the subjective movement of cameras onstage. Like the alternation of wide-angle shots and overhead closeups in Child’s television series, 6 this allows us to trace and focus subtle movements that evade the unaided eye and ear. We also include offstage...

About

...Darmstadt Summer Courses, the Arts Council of Catalunya, Goethe Institut, Hauptstadtkulturfonds Berlin, the Festival Acanthes, and the American Documentary Film Festival. He also co-curates the Berlin concert series KONTRAKLANG, and works with sound experience designer Charles Morrow Productions. www.christopherisnow.com...

Chapter 04

Invitation to Collaborate — Répondez s’il vous plaît!

...artistically groundbreaking project, Halprin’s liberatory model of notation, and my proposal at the beginning of this chapter seems in this case to have failed. 6 Returning to the proposal with which I began this chapter, Score + Response = Collaboration...

Contact

...Please send comments, criticism, etc. to christopherisnow [at] gmail [dot] com...