The first three months living in Gent has been extremely productive and enlightening. Pictured above is the main conference room at the Orpheus Institute, where I am currently working. Their recent conferences and seminars focus on the idea of experimentation in music. Their manner of approach proves to move beyond the quick use of such a term. Instead, it is a three-year endeavor, consisting of an exhaustive perspectival investigation: from the point of view of the interpretor, the historian, the theorist, the composer, the improvisor, and the performer. And, not least the listener. With a working group (Orcim) as its center, there is a multitude of people orbiting around the institute, coming and going, arriving and leaving their marks, creating a sense of expectation for that which is to follow.
Above, pictured, are three of the composers who have been invited, not to mention the many theorists and musicologists, all who contributed to very interesting dialogues about artistic experimentation.
In the coming month I will have a chance to present some work of mine on and around the topic of re-embodied sound, the term I use for my work involving tranducers and resonant objects. With an arm reaching to the past, I will juxtapose with David Tudor’s Rainforest IV and the group ‘composers inside electronics’ that emerged from it.
Finally, I must say that I’m very excited with the enormous progress I’ve been making for a new work for orchestra, and I’ve managed to strike a good balance with my other projects, some of which I hope to write about in the near future. My tutor, composer Luc Brewaeys, has been extremely helpful, and I am learning so much from him (pictured below).