Posts tagged Alkan Chipperfield

At Time’s Up the real, probable, improbable and fantastic blurred. We would probe the interstices of speculation and physical narrative, collectively dreaming and dredging up the fragile, elaborate gossamer webs of a lucid peninsula — a gleaming, satin-dark alternate reality. At the same time, we would celebrate. It seemed that a celebration was always imminent: the launch or conclusion of a project; the completion of a pressure-cooker booksprint; birthday parties, surprise or not; arrivals, departures, beginnings and ends. Here, the blurring of realities was mostly, and most pleasantly, a factor of social euphoria and endless bottles of wine, and it sometimes felt that I had stumbled into an enchanted realm where non-stop parties were the norm. But whether parties or physical narratives, everything we did at Time’s Up was infused with the carnivalesque.

via https://medium.com/@alkan/a-fragment-of-times-up–62efedfbbf39

If the creative process were to be seen as a syncopated beat in alternating Dionysian and Apollonian modes, we’d definitely reached a Bacchic ad libitum on Wednesday night. Fuelled in part by the cumulative effects of nearly three days’ commensality and countless glasses of wine, participants were in a riotous mood. Distinctions between work and play grew fine indeed. The mounting insanity, the atrocious DJ’ing, cabin fever induced by the overcast weather — I had to escape. I fled the loft to walk in the twilight and talk to yaks and, returning to an eerily silent downstairs by the fire, became absorbed in black elephant selfies. By the end of this evening (and I don’t exactly know when it ended) we had 34,111 words. Tomorrow, it seemed, the sober process of redaction would have to start all over again.

via https://medium.com/@alkan/attersee-booksprint–2014-e8454127cc18

The images and characters of Werner Herzog’s cinema have come to inhabit or possess me deeply, and yet their habitation or possession has occurred so fluidly that I suspect they were inside me all along, requiring only to be articulated in the inimitably concrete and idiosyncratic way they are in Herzog’s films. Few other filmmakers have so silently and gently explored the abysses of ecstasy and darkness; few have observed, from such an inscrutable, Olympian remove, the ludicrous and grotesque minutiae of life. For surely Herzog’s conception of the sublimity and ridiculousness of what is called the human condition brings him as close in spirit to the ancient Greeks as it does to that dark and satirical current of Germanic Romanticism represented by Kleist, Hölderlin, or Büchner, and which remains his indelible cultural heritage. Yet through the eye of Herzog’s lens the world is transfixed, rendered hopelessly, exquisitely weightless, ultimately diffusing beyond grasp the solid structures within which tragedy or satire can take root.

via https://medium.com/@alkan/murmurs-from-a-shadowless-land-fragmentary-reflections-on-the-cinema-of-werner-herzog–3bb1b89ecfd2

Stevie Wishart was FoAM’s “composer in transience” at the Brussels studio for most of 2015. Her residency emerged as a natural consequence of a long involvement with FoAM spanning several years and numerous projects, including most recently Wheel & Time(less), Candlemas Concerto, FutureFest, Smoke & Vapour, and Inner Garden. When I had the opportunity to talk with her in the spring of 2015 she was deeply immersed in a large composition that would be performed by the Orchestra of the Age of Enlightenment in May. Our discussions therefore gravitated around the particular challenges and musical innovations she was imminently preoccupied with at the time — which made for some fascinating comparisons and contrasts between these and the very different contexts and approaches entailed in working on a musical project at FoAM.

via https://medium.com/@alkan/in-conversation-with-stevie-wishart-e95eeaa29b28