Coyote in Memphis

by David Kanaga &

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st valentine;s day gift from LOVE to DUSTY in memphis to COYOTE to me &&&& // PROCESS USED -- load track from album onto a sampler, place fingers on 3 keys (this is TOUCH MUSIC), pinky and thumb an octave apart, a middle finger on the fifth in between (i.e. G3 -> D3 -> G4) // scrub around the waveform, DRIFT through, it's like going for a walk, after all, look at the peaks and the troughs and explore accordingly (it's visual music, too) -- counting as one with FUZZY edges, you can define and redefine spaces at will -- that is, you might surf a trough for a while, this is a contained possibility space (a subset of the 1-D timeline & more), but letting in a BURST (maybe an accident, always give thanks for the gifts-- thank you coyote! (gifts flow, input/output, dont forget)), and the space has opened up, in the whole room, even though we've SEEN the peak there all along, we've now hopped up there, on the mountain, o! things are getting more intense here, the room is actually HOTTER // the middle finger can drift, too -- the RULE is that we stay on the fifth, but who's to say what changes coyote's gifts will bring? the story of symmetry is the story of harmony, of elective affinities (this is our theory of AFFECTS), and inviting COYOTE is even more dangerous than inviting the captain and little ottilie (or are these lovers, too, gifts from coyote?) coyote, who has brought us already... fire, possibility.. to you, CHAOS, traces of the virtual-- who needs your expansiveness when NOW is eternal.. coyote, your gifts, what else?? // PLAY, improvise this way, surfing, as long as you are fully engaged, and ONLY this long -- this is like the card game we've played starting with cooper and taylor, but now with others, too -- that you MOVE ON when you get bored -- so, what you hear here is a FOSSIL of total engagement, a gift in this way, though possibly a gift of boredom more than anything (can you reconstruct the touch-spaces?) // this is TOUCH MUSIC -- i'm sorry that you cannot touch it in the same way that I have, but ive done my very best to provide a clear outline for how you might replicate this or a similar process yourself, because though it is HEARD (and here are the traces of the virtual), and this is the touch inside your ear, IN PLAY the movements, the symmetries are in fact very different from what's coming at you, because there is a series of discrete events which plays WITH the automated movement of the fixed sound object, which has by now become totally SMOOTH in the ear -- this is not to say that these discrete events hold the meaning (we can still do some reconstruction, hearing "edges", beginnings and ends of sounds), but that it is like a conversation between the smooth and the discrete, and to ignore either of these will lead us to trouble // we have to begin touching to recover the discrete, though, and in this way, to recover the true smooth, which is not prior to, but between, BEYOND the discrete (and from here a cycle starts again, ROUND "like a circle in a spiral..." &c) //

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released February 14, 2013

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