The Seven Propositions About The Global were written after the completion of Produktionsmittel III and were used as program notes for its first public interpretation, which took place at the Ryan Opera Theater in Evanston, Illinois on May 17, 2016. The propositions are incomplete conclusions. These are thoughts that surfaced after having finished Produktionsmittel III, but they require further examination and growth. They represent both the final and the first—in that order—stages of a holistic thought process that permeates a variety of fields of knowledge. One hopes that, while the propositions emerged from an artistically creative activity, they may be repurposed into other contexts, perhaps far from their ontological origin.
New Music
Superconversation 44: Eyvind Kang responds to Kader Attia, “The Loop”
The game is to overturn the Pythagorean conception of the string, its harmonics and their respective relations with the series of natural numbers. Under this hegemony, the sound object is conceived of in terms of, or as a number, which in turn becomes the condition for physical structures of the body, initiating sound-action from the executive neurological capacity alone . . . These dynamics, when set into motion, exceed all models founded on transverse vibrations of the string and suggest resonant capacities and emergent properties in the manner of a complex physical system. In practice, the game of Harmonic Criticality is an entrainment with the instrument as object on a neurophysiological level which can be extended to the biochemical and mineral substrates.