I had my second meeting with Anthony Braxton yesterday, and I showed him Incarnadine as well as the Durrell cycle. He said all of the following (in somewhat less fragmentary form) about these pieces, as well as about his recollection of my solo performance a few weeks ago, basically getting my entire musical philosophy and goals from the get-go:
change state
amorphous, in a good way
clear conceptual sonic geometry
beautiful, on top of everything else, very sensitive writing
trans-idiomatic obliqueness: modern, a strange familiarity
event spaces “musical as hell”, sensitive
what looks idiomatic, what looks harmonic is not what it seems
summation logics
what you’re hearing is not what the music is
obliqueness as concept space: at first idiomatic, but soundposts are not there
continuum/sonic void
short movements, nothing going on too long to guess primary elements = oblique universe
secondary elements: idiomatic inputs = “tease”, like lights in a long tunnel
conceptual continuity reimposes “what is this?”, rhythmic logics do this too
confuses someone looking at it in a rationalistic way
“Your rigour is not even rigour, because it doesn’t do anything; it gives you one thing, but it’s not that thing.”
psychology that says sonic event in forward space, but interrelationships composed in a way that avoid easy solidification into one identity state
consistencies that don’t produce forward moment
universe with elements, but it’s about hidden elements in the void
obliqueness: known elements recognized; hidden elements also present but not developing, put in void supporting qualities
oblique conceptual and structural unity
continuities/disturbances: idiomatic markers, but not idiomatic
continuum has light of idiomatic elements placed in it (element markers)
oblique logic modelling: “disguise”
scatter logic for rhythm: bouquet (origin rhythm specific elements), logic of disturbances
development of adoptive oblique techniques and materials
oblique palette, oblique logic, oblique layout
geometric vs. non geometric consistencies
abruption, discontinuity, imbalances
image logic obliqueness: “Everyone is wearing a red suit, but the stage lights are red.”
combination logic
oblique agency: distance and trajectory
a different kind of non-obvious continuity, it feeds on itself, establishes activity, then disguises with secondary elements/sequential oblique inputs
aesthetically oblique produces question “what’s going on?”
uncertainty, secrets, distrustful of dogma, poetic obliqueness, Edgar Allen Poe
extraction: “obliquenize”
inherent meaning of origin materials to be transformed. oblique transformations: multiple in same moment
variations of scatter: multiple event eruption
trans-idiomatic, trans-material, not limited to any one state
oblique instance