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We’ve (finally) uploaded the score, the program, Dave’s schematic for connecting the games to the soundboard, and two audio files (dress rehearsal and the premiere performance) to UO Libraries’ Scholars Bank:


We were thinking there might be other items to present, but there aren’t and Dave may post about that in the future. I will note on my end that I can’t find the original score to the 3rd movement, so the score that I scanned was the enlarged (to 11×17) score that we used during performances (enlarged so we could see it better), hence the wrinkles and otherwise battered look of the pages in the pdf.

Now that these materials are preserved for posterity, the work of IJCno1 comes to a close for me (and by work, I mean the whole process including creation and performance). There may yet be trails of work related to IJCno1 – maybe Dave and I will publish something about it or maybe we will perform it again (who knows?) – but by and large it feels finished to me. This has led me to a strange feeling: IJCno1 has always been to me a performance piece, but now I can imagine recording it; not recording another live performance, but doing a studio recording without any players. Part of this is an impulse to create a high-quality, “definitive” version, but part of it is destructive. Here’s an excerpt from Cage’s lecture on “Indeterminacy” (published in his Silence: Lectures and Writings):

One evening Morton Feldman said that when he composed he was dead; this recalls to me the statement of my father, an inventor, who says he does his best work when he is sound asleep. The two suggest the “deep sleep” of Indian mental practice. The ego no longer blocks action. A fluency obtains which is characteristic of nature. The seasons make the round of spring, summer, fall, and winter, interpreted in Indian thought as creation, preservation, destruction, and quiescence. Deep sleep is comparable to quiescence. Each spring brings no matter what eventuality. The performer then will act in any way. Whether he does so in an organized way or in any one of the not consciously organized ways cannot be answered until his action is a reality.

Following Cage, I think I want to destroy IJCno1 in order to usher in a new Spring, to open up a space for eventuality. In the end, we may do a studio recording of IJCno1 or not, but it doesn’t matter. What matters is that the work of IJCno1 now includes this moment of preservation, the memorialization of the first performance, and in this memorial I can start to sense the possibility of a new work: a new work that may resemble what remains of the first work or may not, but either way it will resemble or not resemble on its own terms.