- shifting inflections -
this page will offer a description of the series of works and track each new iteration while outlining the trajectory for future performances
(a new score is written for each performance)
the shifting inflections series will
grow (expand, proliferate) as if it was a mold spore.
here and there. sometimes unseen. sometimes seen.
with the potential to suddenly explode and (re)connect in unpredictable ways.
erewhon: both no-where and now-here. something not present in an actual state, but present in a virtual state: potential.
each point (piece,
performance) has, within it, an immediate potential of four pieces.
any number of spores may be generated: shifting inflections (1), shifting inflections (2), shifting inflections (3) ...
each performance then allows for the realization of four derivative shifting inflections pieces:
shifting inflections (11), shifting inflections (12), shifting inflections (13), shifting inflections (14).
the structure of each piece is consistent throughout the series:
ca. 15 - 18 minutes long (the length will become more precise after the first piece).
an alteration between 24 second unintentional sounds (silence) / 24 second intentional sound(s).
each silence is recorded, by the performer, with a handheld recording device (e.g., Zoom H4N).
each intentional sound(s) is recorded by a room microphone (which also records the full piece).
the micro structure of each piece repeats from generation to generation and the macro structure of each four-potential-expansion repeats from generation to generation.
the four expansion types are defined below:
shifting inflections (11):
[repeated] 24 second silence, during which that performer records the silence, followed by a transcription of the performer’s intentional sound(s) (24 sec) from shifting inflections (1).
shifting inflections (12):
[repeated] 24 second silence, during which that performer records the silence, followed by a transcription of the performer’s recorded silence (24 sec) from shifting inflections (1).
shifting inflections (13):
[repeated] 24 second silence, during which that performer records the silence, followed by a playback of the recording of the performer’s intentional sound(s) (24 sec) from shifting inflections (1).
shifting inflections (14):
[repeated] 24 second silence, during which that performer records the silence, followed by a playback of the recording of the performer’s silence (24 sec) from shifting inflections (1).
the composer will transcribe the intentional sounds as well as, using ‘silence notation,’ the recorded silences. while the general instructions of the score will remain the same, the notation of sounds/silences will necessarily change in form and content from piece to piece.
the composer must be notified of performances and sent the recordings to transcribe. if someone wants to perform a new version, they should also be put in contact with the composer. each new piece in the series will be written expressly for the person who requested it, and for whatever sound-making device(s) / instrument(s) they want to use. if a performer would like to use multiple sound making devices, that is acceptable, as long as it is only a solo performer. this should be established prior to the creation of the (new) score.
as performances accumulate, opportunities for ‘cross-sporal’ combinations may occur: for example, playing two or more pieces concurrently, giving another performance of an older version, etc.
email: firstname.lastname@example.org | phone: +1.774.392.2446 (U.S.)
these pieces may be performed publicly or privately.
as in, a performer may make a realization at a concert hall for a ‘traditional’ audience, in a living room for friends, alone in the desert, etc. the choice of location, of place, becomes essential in this process.
as this group of pieces accumulates more and more performances, it may be possible to explore the nature of the context of their performance in relation to themselves (i.e., other versions). for instance, multiple versions may be performed during one concert time; the works may occur separately during that period, simultaneously, or be overlapping in some fashion. thus there may be potential connections across generations, spores, spaces, perform-ers/ances, times...
this is not meant to be an arborescent act or process, but rather one that has the potential to make unexpected connections and that functions closer to the growth of a rhizome. a performer may enter this series at any available point, may perform a previous version again or extend from a previous performance, may make creative and unpredicted situations with their performances/decisions, etc.
additionally, the more times this piece is performed and the more versions that are created, the larger the network-community of people will grow and the more the ‘piece,’ as it was originally sonically conceived, will fade. this is extremely important to me. it is encouraged that performers integrate their own connections (especially with people they know), and thus expand this piece outward from just versions initiated by the composer.
the expansion of the piece will be updated regularly on this website: www.lukecmartin.com.