many private concerts

tissue drawing 11I was obsessed with the slippery, unstable nature of the categories through which we learn to divide experience: time, the materiality of objects and the imperceptible slide into intangibility, what some called spirit though I would reject the word for its religiosity.

But then there were texts I encountered while researching secret and sacred languages: “. . . And they saw the words coming forth from his mouth like birds of gold, silver and precious stones, which flew over the brethren in secret . . .” (from The Cult of the Seer in the Ancient Middle East, Violet MacDermot, 1971).

On New Years Eve, 1976, I gave a performance at Action Space, London (maybe solo, or maybe with dancers Miranda Tufnel and Eva Karczag, I don’t clearly recall), during which I poured fine sand onto a steel plate amplified through a contact microphone, dipped my fingers into lighter fuel and set them alight, imagining their silent flicker as the thin high song of hidden birds.

In Andrew and Marilyn Strathern’s Marsupials and Magic (1968) I had read about the concept of ‘calling upon’, used in relation to Mbowamb spell-making in the western Highlands of Papua New Guinea, a means of understanding a statement by “hearing the name of the action mentioned in it.” A comparison is made, a simile such as the gleam of a white marsupial/the shine of human skin; the simile is then spoken. Within the domain of sound and listening I experimented myself with this ‘calling upon’ various properties, processes and transferences in order to understand better the connectedness of phenomena.

de la Tour Education of the VirginMore recently I began to use paper, fascinated by a strangeness that we take for granted. Flexibility, porosity, strength, a gleaming like the white marsupial. Reading, it might be said, is listening to paper. I scratched paper, wrote on it, treated it as a drum skin, thought of it as human or animal skin that could be responsive to touch and emit sounds. A book held open, illuminated by the drama of candlelight calls upon fire, warmth, the sound of breathing, a miracle of light in sooty darkness, words rising up like birds of gold, silver and precious stones.

tissue bloomUsing tight compression I crumpled paper close to microphones, allowing it to unfold slowly as if giving up a contained secret, its faint crackle fading with the gradually easing elasticity. There was a world in there, close to what we hear when we are alone and silent, nothing stirring, without movement, minds drifting and open. Is it possible to share this micro-world, as listeners collective yet separate? I tried; failed. I tried again; failed. I will try again.

David Toop will perform Many Private Concerts with Rahel Kraft, Wan-Chien Cheng, Tomoko Hojo, David Bloor, Deniz Paran, Brigitte Hart, Tu Pham and Alessia Franchi at Collective Capital, London Contemporary Music Festival, Ambika P3, NW1 5LS, 11 December 2015, from 19.00.

http://lcmf.co.uk/11-December-Collective-Capital

 

About davidtoop

David Toop is a composer/musician, author and curator based in London who has worked in many fields of sound art and music, including improvisation, sound installations, field recordings, pop music production, music for television, theatre and dance. He has published five books, including Ocean of Sound, Haunted Weather, and Sinister Resonance: The Mediumship of the Listener, released eight solo albums, including Screen Ceremonies, Black Chamber and Sound Body, and as a critic has written for many publications, including The Wire, The Face, Leonardo Music Journal and Bookforum. Exhibitions he has curated include Sonic Boom at the Hayward Gallery, London, Playing John Cage at Arnolfini, Bristol, and Blow Up at Flat-Time House, London. Currently writing a two-volume book on free improvisation - Into the Maelstrom: Improvisation, Music and the Dream of Freedom - the first volume will be published by Bloomsbury in 2016. His opera – Star-shaped Biscuit – was performed as an Aldeburgh Faster Than Sound project in September 2012. He is Chair of Audio Culture and Improvisation at University of the Arts London.
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