mark so

Into Silence
June 2, 2013 @ 530PM



Live Reading:

Into Silence
readings 23 / for John Cage
2007
(6h15'30'')

with 4 channel cassette tapes:

part i:
Air in my path
["Fear of Death," John Ashbery]
readings 46
for Lewis Keller
2012, c90'

Brite Spots
for Brian Blanchfield
2012, c90'

TWO CUTS
2012, c90'

(2HRS IN SAN FRANCISCO)
2012, c60'

the forests of change
(It's part of a complicated
Flirtation routine, anyhow, no doubt.)
["Mixed Feelings," John Ashbery] readings 43
2012, c60'

*

part ii:
4 tape environment from
reading 'Illuminations' - readings 41
for Julia Holter
2012, c60'

*

part iii:
TWICE AROUND
for Liz, Dicky, Eileen, Lucky, Dave and Tashi
2008-11, c90'

out of light
Into everyday oblivion
(pictures of moments)
["Ode to Bill" and "Sand Pail," John Ashbery]
readings 47
2012, c60'

LEAVING LAS VEGAS
2012, c60'

HOOVER DAM
2012, c60'

along 'Way'
["Way," Leslie Scalapino]
readings 48
for Julie Tolentino
2013, c60'

THREE HOURS IN SAN FRANCISCO
2013, c90'


PROGRAM NOTE
"...there still remains to be reconstituted, with the infinitely small elements which we thus perceive of the real curve, the curve itself stretching out into the darkness behind them."
-Henri Bergson, Matter and Memory

Into Silence composes something like a phenomenological history of music after Cage: an amalgamated record of changes generally related to the field of hearing as they have been underway, traced at the perceptual base of the history of experimental music practices—that knowledgeable contact with the world which has been the constant, changing companion of musicians and composers involved in this tradition, present in their responses and reflections upon their work as well as in their every setting-out to act. This movement, while irrecoverable in its original unbroken continuity, nonetheless lies exposed, quasi-photographically, in the shards of observation—ranging from offhand statements to scores—that trace its curve through the remains of its history. Drawn from all manner of textual artifacts, Into Silence experimentally reconstitutes a record of perceptual change in the field of hearing, both as reflective essay and score to be performed.

BIO
Mark So’s work explores ordinary situations in various open frames of perception and action through simple means of recording/ transcription/reading, as well as changing experiences of silence. His work often takes place in anonymous, open environments, and realizations have ranged from instrumentals, spoken texts, and performed actions, to tapes, films, quasi-installations, and other, more fanciful/obscure manifestations. Over the past 10 years he has maintained a vast output of scores—primarily, but not exclusively, text-based—grounding diverse experiences of straightforward literacy, where suitable action emerges between complete adequacy and pure discovery. Some 300 pieces alone concern the poems of John Ashbery, and So's Heliogabalus trilogy of operas for 1, 2, and 3 readers combines Artaud's text with one of his own. In addition to performing widely as an experimental musician, he has collaborated on unique projects with a range of artists including Rick Bahto, Chris Girard, Julia Holter, Eileen Myles, Adam Overton, Julie Tolentino/Stosh Fila, and Manfred Werder. So published his book BANGS (with Manfred Werder) in 2009, and two of his scores, performance documents, and an essay are anthologized in Word Events: Perspectives on Verbal Notation (2012). His music appears on two recent cassette releases from Recondite Industries (reading ‘Illuminations’/a book of palms) and winds measure recordings (sitting and listening).

He lives in Los Angeles, CA.


documentation

630pm
1130pm