Bureau d’Espoir thinks you might be interested by the lecture of Samuel Vriezen the Location of Hope. Samuel Vriezen is a dutch pianist and composer and philosopher and will talk about the location of hope in poetry and music practices.
Samuel also would like to play his score “10 readers” and for that he needs 10 volunteers.
Each participant would have to download a mp3 file and bring it Sunday 22nd in the evening together with a book of your choice in English, French or Dutch and a mp3 player.
If you’d like to participate we’ll assign you with a file number and you should be present at ZSenne gallery one hour before the lecture, meaning you’d have to be here at 6pm.
If you want to participate please let us know fast by posting here or by sending an email to email@example.com!!!!
Here bellow you can find a description of the project by Samuel.
Be very well!!
A note about the piece:
10 Readers is part of a series of pieces in which I use spoken text. In many of those pieces I do not actually prescribe the text, but I specify how performers put together texts that each of them bring to the occasion. What you get is something like a chance encounter of texts, and out of it might emerge a super-text or a diagonal text, which is no longer part of a single text stream but evokes a community of texts.
In this piece in particular I thought of the typical coffee house environment, where people might sit together sipping coffee and reading their book or newspaper or magazine. Everybody is in a private world but at the same time, these very private worlds form something like a social scene. In such situations we seem to be on the very border of being private and being public, and that is precisely one of the most fundamental borders to our modern culture. We’re private individuals or public citizens, and the drive in how we organize our culture is towards making those two spheres as separate as possible. And that divide can actually be quite problematic.
Practically, what I was interested in were two things. First, the idea that you could “puncture” those private worlds, and so play with this fundamental divide. Second, there was the idea that we could produce a text that has no conscious author whatsoever. This is an ideal that can’t ever be quite reached, I think. Of course, in the history of experimental poetry there have been all sorts of techniques by which an author would try to divest him/herself of his/her authority, like chance procedures etc. Usually however those techniques will always select from a consciously chosen source text and the choice procedure itself will reflect some kind of literary bias. Here, I thought it would be interesting not only to relinquish my own control over what the source texts could be – the only thing I specify is, it should be books and none of the readers may influence one another in their choice – but also to put the readers in a situation where they can’t actively control what fragments will emerge in the process to be part of the final text. For that reason I used the click track rhythm, with its unpredictable clicks guiding the choice of word. Which has the additional theatrical advantage of evoking people listening each to their own music as they read – something that people do, always to my slight amazement.
The most interesting thing I learned from the piece however is that it can actually cause new social situations. Not merely in performance. But it’s a real work of performance art that does not take high-level performance skills or too much preparation – you only need to run it a couple of times and make sure everybody is comfortable and able to pronounce the words well and that’s more or less it. So it’s very easy to organize and you can organize the ensemble by just calling friends, friends of friends, etc. Often, the piece brings together an unexpected group of people, who get to share a very odd responsibility. So it creates these social bodies that can of course be evanescent, still they exist. I feel that music in fact can be a great way of thinking and experimenting with social structure, and my experiences with this piece have strengthened that conviction.