Why do we have to be quiet tonight: Christian Marclay’s Everyday

Everyday, a struggle with language, with time. Just to say something simple: on Saturday night I went to a concert, but to see it, to hear it? What we have learned from gender and language is that these problems are not easily resolved. Writing on demand, which is more or less all writing, since demand comes from somewhere, from the need to speak, from the noisy imprecations of a digital platform or from a paid commission, also raises many problems. How to articulate ideas that are too fresh or growing stale? I want to write when I want to write but when is that?

Something about the hall – the Queen Elizabeth Hall – and the nature of Christian Marclay’s Everyday exacerbated these problems. I felt the smallest degree of distance from the work, close to the stage but swallowed up in comfort and darkness at the outer edge of a cave. My responses rose torpidly out of some state of intellectual hibernation, untrustworthy and out of focus. Everyday is a provocation of moving images and sound, so whether you see the concert or hear it is impossible to parse, but it also bounces around in a cloudy zone between registers, history, document, myth, the real and the hyperreal. Cinema is the score but of course more than that. Drawing from the archive of cinema, what it presents via a screen to the audience and musicians – Marclay himself, Steve Beresford, John Butcher, Mark Sanders and Alan Tomlinson – is a series of everyday gestures whose sounding is central to their impact as image and narrative: a knock on the door, footsteps in high heels, ships’ whistles, gunshots, dancers, a jukebox, a stylus placed into the groove of a record. They are everyday and yet they are not.

This business of time, thinking slowly: the next day, a Sunday, I read two reviews of new books, The Big Screen by David Thomson, and Country Girl by Edna O’Brien. Thomson was quoted on cinema: “It’s a pattern of dream and desire”; O’Brien was quoted on James Joyce: “. . . the lush descriptions of corpses and steers and pigs and kine, and sea and sea stones, and then the extraordinary ascensions in which worlds within worlds unfolded.”

A knock on the door in a film; think about it. There is dread, maybe for one party or both, or there is desire, maybe for one party or both. Maybe dread and desire are the same. The knocking may be reversed invitation, the prelude to an opening, or death knell, a hammering from hell like the phantom or interior knocking that shakes the house (but only for some) in Robert Wise’s 1963 adaptation of Shirley Jackson’s story, The Haunting of Hill House. A knuckle strikes wood and on the other side of that resonant wood surface another story is set in motion by the unknown part of a sound, the drum and its interior. Simple. But this everyday sound has been heightened by cinema to become, as Thomson argues, indivisible from our dreams. Last night I was woken from a dream, not a nightmare, by three thunderous bangs. They forced me to get up, prowl the house yet they came out of sleep  and a beating heart, not the house, and who is to say that their origin was not a convergence of my currently troubled mind and the rapid sequence of rat-a-tat door knocking that opens Marclay’s Everyday?

In this way cinema ran parallel with literature, the two growing (unlike now) together. Writers like Joyce, Kafka or Woolf heightened the everyday, disrupted and overlaid time, revealed interiority and the life of the torrential mind, unfolded worlds within worlds, both in imitation of cinema’s montage and cutting, and as an inspiration to its progress. Think of Faulkner (a screenwriter) and his opening chapter of The Sound and the Fury, the plunging in and out of place, time, character, class, race, accent, language, noise and repeated calls for silence, as if sudden death is preferable to the torment of social relations, family, children, the innocent impossible demands of the autistic Benjy. What are we to make of it except to read it as cuts, flashbacks, a polyphony of voices (uncontrolled and controlling), thoughts, crackling emotion, a cast of strangers teeming like fish in a pond: “Please hush . . . rattling in the leaves . . . making all this racket . . . that damn loony to bawling . . . time he start bellering . . . hush now . . . so I hushed . . . tried to say Whooey . . . why do we have to be quiet tonight . . . but I didn’t hush . . . shut up that crying . . . make them be quiet . . . hush . . . shhhhhhhh.”

Sound in cinema can silence both music and text. A gap in the script. Voices fall silent; the empty orchestra offstage is given a well-deserved rest. Theatre dies (finally) to make way for the everyday. Jacques Tati was the master of this. Complex surfaces, Michel Chion says, writing of Tati, describing scenes as if they were Duchamp’s nude, descending the stair in planes and fragments of time. “CLANG goes the now famous swinging door in Les Vacances.” A thousand other noises of the everyday besides, all noises quiet deafening short extended and silent raised to the brief intensity of fireworks. The founding myth of contemporary art, Duchamp’s readymade, is caught up in this everyday. A door swing, CLANG, nothing. But Tati makes it swing again, then again, then again. Now we hear it, not as a special door that would compel us to book our own holiday just to be able to hear it, but as all doors: CLANG.

There is an orchestra of noises on the screen, so suddenly we are more aware of this relationship of the vertical flatness and all of that bright saturated colour of dread and desire emanating in a blast force outwards, and then the musicians in shadow on their horizontal surface, working in three dimensions, disturbingly close to the reality we voluntarily vacate as our eyes drift from screen to stage and back. The tension is evident: sounds on film act as a score for improvisation yet they caution against unsubtle mimesis. A finger covers the lips: shhhhh. Time and again I watched Mark Sanders choose to play what was not obvious. A typewriter clatters; he waits, plays a tangential pattern on ringing metal. The balance is delicate. Focus and poise: to follow the rapid succession of sounds and images closely, sliding almost imperceptibly in and out of diegetic sound, yet loose enough in the realm of listening and intuition to allow another kind of form to emerge, a symphony of noise that lives in its own space just beyond the everyday yet one foot in, one foot out of the dream. The point is underlined when a brass band marches through the auditorium from one entrance to the opposite exit. Many people in the front row missed this moment, perhaps hearing it as a sudden thickening of the sound, some diffusion trick, rather than an irruption of the real in uniform, full colour and pomp. So real, in fact, that it seemed the closest of all to a dream.

In the theatre and the concert hall we are constrained in ways that we no longer know except as the way we were and always have been. Why do we have to be quiet tonight? Can the body be twisted around to investigate? It feels funny to do so, to meet the gaze of the person behind who is facing forward. Also funny, in the sense of a creeping feeling of how we have been remade, our dream state blown up to the size of giants and monsters in leaping flat colour and explosions of noise, is this dwelling in the presence of the sounding everyday.

About davidtoop

Ricocheting as a 1960s teenager between blues guitarist, art school dropout, Super 8 film loops and psychedelic light shows, David Toop has been developing a practice that crosses boundaries of sound, listening, music and materials since 1970. This practice encompasses improvised music performance (using hybrid assemblages of electric guitars, aerophones, bone conduction, lo-fi archival recordings, paper, sound masking, water, autonomous and vibrant objects), writing, electronic sound, field recording, exhibition curating, sound art installations and opera (Star-shaped Biscuit, performed in 2012). It includes eight acclaimed books, including Rap Attack (1984), Ocean of Sound (1995), Sinister Resonance (2010), Into the Maelstrom (2016, a Guardian music book of the year, shortlisted for the Penderyn Music Book Prize), Flutter Echo (2019) and Inflamed Invisible (2019). Briefly a member of David Cunningham’s pop project The Flying Lizards (his guitar can be heard sampled on “Water” by The Roots), he has released fifteen solo albums, from New and Rediscovered Musical Instruments on Brian Eno’s Obscure label (1975) and Sound Body on David Sylvian’s Samadhisound label (2006) to Entities Inertias Faint Beings (2016) and Apparition Paintings (2020) on Lawrence English’s ROOM40 label. His 1978 Amazonas recordings of Yanomami shamanism and ritual - released on Sub Rosa as Lost Shadows (2016) - were called by The Wire a “tsunami of weirdness” while Entities Inertias Faint Beings was described in Pitchfork as “an album about using sound to find one’s own bearings . . . again and again, understated wisps of melody, harmony, and rhythm surface briefly and disappear just as quickly, sending out ripples that supercharge every corner of this lovely, engrossing album.” In the early 1970s he performed with sound poet Bob Cobbing, butoh dancer Mitsutaka Ishii and drummer Paul Burwell, along with key figures in improvisation, including Derek Bailey, Evan Parker, Georgie Born, Hugh Davies, John Stevens, Lol Coxhill, Frank Perry and John Zorn. In recent years he has returned to collaborative performance, working with many artists and musicians including Rie Nakajima, Akio Suzuki, Max Eastley, Tania Caroline Chen, John Butcher, Ken Ikeda, Elaine Mitchener, Henry Grimes, Sharon Gal, Camille Norment, Sidsel Endresen, Alasdair Roberts, Thurston Moore, Jennifer Allum, Miya Masaoka, Extended Organ (with Paul McCarthy and Tom Recchion), Ryuichi Sakamoto and a revived Alterations, the iconoclastic improvising quartet with Steve Beresford, Peter Cusack and Terry Day first formed in 1977. He has also made many collaborative records, including Buried Dreams and Doll Creature with Max Eastley, Breath Taking with Akio Suzuki, Skin Tones with Ken Ikeda, Garden of Shadows and Light with Ryuichi Sakamoto and co-productions (with Steve Beresford) for Frank Chickens, the 49 Americans and Ivor Cutler. Major sound art exhibitions he has curated include Sonic Boom at the Hayward Gallery, London (2000) and Playing John Cage at the Arnolfini Gallery, Bristol (2005-6). In 2008, a DVD of the Belgian film – I Never Promised You a Rose Garden: A Portrait of David Toop Through His Records Collection – was released by Sub Rosa, and in 2017 his autobiography – Flutter Echo: Living Within Sound – was published by Du Books in Japan. His most recent records are Dirty Songs Play Dirty Songs (Audika, 2017), Suttle Sculpture (Paul Burwell and David Toop live, 1977, Sub Rosa, 2018), John Cage: Electronic Music for Piano with Tania Chen, Thurston Moore and Jon Leidecker (Omnivore, 2018), Apparition Paintings (ROOM40, 2020), Field Recordings and Fox Spirits (ROOM40, 2020), Until the Night Melts Away (with Sharon Gal and John Butcher, Shrike, 2021) and Garden of Shadows and Light (with Ryuichi Sakamoto, 33-33, 2021). He is Professor Emeritus at London College of Communication.
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3 Responses to Why do we have to be quiet tonight: Christian Marclay’s Everyday

  1. Steve Beresford says:

    Thanks for this, David. Was so absorbed in it I missed my stop.


    PS – I don’t think that the door in ‘Les Vacances…’ goes CLANG. It’s more of a DOINK mixed with a CLUMP.

    Steve Beresford mobile: 07961 176 459

    Or, at University of Westminster: 020 7911 5000, extension 4650 [room CG25, Harrow campus]

    (from a UoW ‘phone you can dial mobile code 1720)


  2. Maureen kendal says:

    Polyphonic voices
    Poly morphous perversity
    Sound waves
    Porous touch of the body
    Where are or are there – any limits?
    A dance of silence and song
    A dance Of forms and spaces

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