recently i’m thinking about one thing. which is “concentrate on nothing”. or “focus on everything”. it’s neither focus on one thing, nor with no concentration. it’s from some discussion about improvisation in improvised music. people always say good manner means listen carefully to other’s sound. don’t be big ego. but actually no one can do it because you have to listen to your own sound, the sound all together, and environment sound or so-called atmosphere. if it’s small venue the atmosphere could be changed by audiences when they change a sitting posture or adjust their breath. if they are in tension they would not move at all. if they feel loss they might make lots sounds. and all these are feedback into the performance. nobody would concentrate on listening to these but musicians’ percipience is on. you know everything without intentionally to know.
these years i feel boring with classical european free improvised music. especially the dialogues between instruments. dialogue is a very classical european concept. in everyday life you can see people really enjoy nonsense conversations during parties. of course this is related to the tradition of democracy. and it’s also related to the limit of ability of imagination on democracy.
in europe, after concerts, i often hear comments as “it’s very concentrate”. but i don’t like to have only one focus, as perspective in oil painting after renaissance. be concentrated is a mental status instead of operational process.
in the field of field recording, i don’t remember any favorite artist using directional microphones often. many use a pair of omni-direction microphones (for instance, toshiya tsunoda). this leads to a scene with totally no specific event. the shock from this kind of listening is more intense and deeper than any spectacular art. according to michel foucault (on maurice blanchot), sometimes you have to keep silent in order to let people to listen to you.
this is live recording of a “living room tour”. we had a simple composition. one hour composition. so the recording we leave here is also about one hour.
it’s not just a document. it’s here waiting for another action such as playing back, listening or whatever.
thanx to li yingwu.
composition: yan jun
objects: yan jun (in living room and in absence)
violin: ake (in bedroom)
clarinet: zhu wenbo (outside and in living room)
recording and editing: yan jun
mastering: taku unami
art work: sean lee
a “living room tour” live recording; afternoon of april 30, 2016; beijing
more about “living room tour”: yanjun.org & subjam.org