Flow, Gesture, and Spaces in Free Jazz.. Towards a Theory of by Guerino B. Mazzola, Paul B. Cherlin, Mathias Rissi, Nathan

By Guerino B. Mazzola, Paul B. Cherlin, Mathias Rissi, Nathan Kennedy

Mazzola G.B., Cherlin P.B., Rissi M., Kennedy N. (eds.) move, Gesture, and areas in loose Jazz.. in the direction of a thought of Collaboration (Springer, 2009)(ISBN 354092194X)(O)(140s)

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Specific flow in free jazz. Group flow is related to a distribution of the artistic identity in a wider space of agents. Its original description was anticipated by the painter Francis Bacon, who described his creative energies coming from a graphical discourse that innervates his paintings and lets the painter be part of a body of art instead of controlling his artistic activities from a higher standpoint [101]: “The marks are made and you survey the thing like you would sort of graph. ” Bacon is in a flow in resonance with his artistic utterance, the graphical objects being dispersed on the canvas, and the force fields they create for the painter’s embedded action.

The first is rather harmless, namely the possibility to alter, to deform, to extend or compress motives in every messaging action. In contrast, dodecaphonic composition enforces the total instantiation of one of the derived series. It is not stipulated to take proper parts of such series. The second is the important and dramatic one: There is no explicit methodology in dodecaphonism for making the relations between any two of the series in the composition explicit. We only know that they are derived from the original series by one of those contrapuntal transformations (generated by transposition in space or time, retrograde, and inversion).

The idea is that space need not be an a priori given thing in the Kantian sense. Einstein posited that the inertial systems of space-time are relative, and they interact by relative motion and the associated Lorentz transformation. , the construction of space(time) by motion: “ex-pati”. This discussion supports the argument that space is not necessarily a fact, but can be made, can be an aspect of the making. 42 5 Which Collaboratories? ) without changing them, like commercial products on the shelves, and (2) the open spaces, which one may manipulate, expand, deform, and transcend by strong gestures.

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