Polymodal Lexicon and Corporeal Functioning
The score employs a polymodal compositional lexicon, one that not only incorporates varied textures and techniques but also invites the performer to inhabit the space of the viola—the auditory space—as a site of corporeal functioning. In this space, the ins and outs, the apertures and embrasures, become loci of interaction between the performer and the instrument. The viola emerges as a protagonist with nearly conflicting exit strategies, hesitantly captivating yet subordinated to more aggressive, actionist tendencies.
This interaction is not linear but spatial-temporal, requiring the performer to navigate through a complex network of corporeal gestures. The notation itself distills these gestures into pictorial representations, challenging the performer to move beyond traditional interpretive acts and into a realm where the visual and auditory merge into a singular experience.
In this piece, we encounter both a quasi-traditional notational archetype and a radical deconstruction of traditional musical notation. The intricate network of spheres and circles fashioned from 3D models and proprietary colorization techniques represents a shift from the linear, two-dimensional plane to a multi-dimensional, spatial-temporal representation of sound. These geometric forms do not merely symbolize musical elements; they embody a multiplicity of potentialities—a différance that signifies and disrupts the expected continuity of the musical narrative.
The spheres and circles demand an interpretive act that is as much about what is not there, the absences and silences, as it is about the audible notes. This interpretive act is a negotiation with the void, with the spaces between the notes, inviting the performer to engage with the score as a dynamic process, a site of continuous becoming. The traditional boundaries of notation are thus interrogated and expanded, offering a new lexicon for musical expression.
Colorization and the Play of Presence and Absence
Colorization in this score is not mere aesthetic embellishment; it is an integral signifier within the notational system. Each hue and shade resonates with the music’s thematic and emotional undercurrents, enacting a play of presence and absence that guides the performer through a landscape of meaning that is as much visual as it is auditory. The colors themselves become a text, a script that must be read and interpreted in conjunction with the sound.
This visual-aural interplay extends the performer’s gaze beyond the immediate visual field, compelling an engagement with the horizon of experience. The score, in this sense, is not a static entity but a dynamic pharmakon—a remedy and poison that heals the fragmentation of traditional notation while introducing an irreducible complexity. The spheres and circles, with their inherent curvature and fluidity, embody a non-linear, rhizomatic structure, echoing Deleuze and Guattari’s concept of a map that is always in motion.
The Score as Immersive Environment
The score’s ambition is totalizing, seeking to absorb our gaze and the entirety of our experience. It situates the performer and the audience within a network of relations that is constantly shifting, constantly redefined by the act of performance. This immersion disrupts the clear boundaries between the score, the performer, and the audience, positioning each within a dynamic interplay of presence and absence.
In this context, the score becomes a site of jouissance, a space where the limits of language and notation are tested and transgressed. It embodies a Lacanian real that eludes full comprehension, presenting a kernel of the impossible at the heart of artistic creation. The performer, in engaging with this score, navigates a terrain where meaning is always in flux, where the act of interpretation is a perpetual negotiation with the unknown.
Transformative Potential and Future Implications
Entangled Dreams in the Concrete Mirage stands as a testament to the transformative potential of music and notation. It challenges us to rethink the very nature of musical representation, to embrace the complexities and contradictions inherent in artistic expression. By destabilizing traditional notation and introducing a polymodal lexicon, this score points to a future where the boundaries between sound, sight, and meaning are ever more fluid and intertwined.
In this future, music is not merely heard; it is seen, felt, and experienced in a multiplicity of dimensions. The score invites us to engage with music as a dynamic process, a continuous becoming that resists closure and embraces the endless play of différance. This is the promise of Entangled Dreams in the Concrete Mirage—a promise of a music that is always in motion, always becoming, and always opening new horizons of experience and interpretation.
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