How is _copyist_ going to approximate nothingness?
(1) “For, when, after convincing oneself ignorantly that sound has, as its clearly defined opposite, silence, that since duration is the only characteristic of sound that is measurable in terms of silence, therefore any valid structure involving sounds and silences should be based, not as occidentally traditional, on frequency, but rightly on duration, one enters an anechoic chamber, as silent as technologically possible in 1951, to discover that one hears two sounds of one's own unintentional making ( nerve's systematic operation, blood's circulation), the situation one is clearly in is not objective (sound-silence), but rather subjective (sounds only), those intended and those others (so-called silence) not intended.” (John Cage, “Experimental Music Doctrine”)
(2) “To speak of a thing, one has to speak of a thing that exists. Since we can speak of a thing in the past, this thing must still exist (in some sense) now, and from this he concludes that there is no such thing as change. As a corollary, there can be no such things as coming-into-being, passing-out-of-being, or not-being." (Parmenides in Sahakian & Sahakian)
(3) “To distinguish an element (to hear it in itself, for the sake of its texture, its matter, its colour). To repeat it. Repeat the same sonic fragment: there is not an event any more, there is music.” (Pierre Schaeffer, À la recherche d’une musique concrète)
(4) “‘Nothing Happens’: this definition of the everyday is often appended to films and literature in which the representation’s substratum of content seems at variance with the duration accorded it. Too much celluloid, too many words, too much time, is devoted to ‘nothing of interest.’” (Ivone Margulies, Nothing Happens)
(5) “People today who still have time for boredom and yet are not bored are certainly just as boring as those who never get around to being bored.” (Siegfried Kracauer, “Boredom”)
(6) “A soundscape consists of events heard not objects seen. Beyond aural perception is the notation and photography of sound, which, being silent, presents certain problems… Though the misfortune of having to present data on silent pages, we will be forced to use some types of visual projection as well as musical notation; these will only be useful if they assist in opening ears and stimulating clairaudience.” (R. Murray Schafer, The Soundscape: Our Sonic Environment and the Turning of the World)
*** Many tracks included in Nothing may have fit just as well, if not better, into our previous projects, Social Soundscaping + Idioglossia. In the context of Nothing, we point to the non-existent space created in Roberto Musci’s Tower of Silence, one between times and places. Yet, we can also hear a new musical language formed by the blend of indigenious instruments, synthesizers, and electronics. Meanwhile, Scott Gailey’s Polysensuality pulls its inspiration from R. Murray Schafer, Hildegard Westerkamp, and the World Soundscape Project, who are all featured in Social Soundscaping. Yet, in Nothing we cannot help but to notice Polysensuality’s spaciness and moments of overwhelming silence.
~ read featured texts in full in this public folder ~
"Nothing seems to me the most potent thing in the world."
Chantal Akerman, Je Tu Il Elle, 1975
“... (Boole) made the 1 no longer stand for a quantity, but for a presence, and the 0 stand for an absence (of something—whatever it may be). The real revolution lies here: Boole’s binary logic detaches itself from mathematics; it abandons the material quality of what it describes. Because it oscillates between the universe and the void, it can describe anything.”
(Martin Burkhardt + Dirk Höfer, All and Nothing)
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