Haruki Murakami A wild sheep chase London: Harvill
Harry Partch Genesis of music New York: Da Capo
Ian Stewart Natures numbers London: Orion
Goscinny & Uderzo Asterix and the chieftans shield London: Hodder
Lloyd Spencer & Andrzej Krauze Hegel for beginners Cambridge: Icon
Guy Debord Society of the spectacle New York: Zone Books
David Minton Teaching skills in further and adult education London: Thomson
Yvonne Hillier Reflective teaching in further education London: Continuum
Augusto Boal Theatre of the oppressed London: Pluto Press
Raymond Williams Culture and materialism London: Verso
Variant Issue 35 summer 09 Glasgow: Variant
Oliver Sacks Musicophilia London: Picador
George Lewis A power stronger than itself: The AACM and amercian experiemental music London: University of Chicago Press
Herman Hesse The glass bead game London: Penguin
Paulo Freire Pedagogy of the oppressed London: Penguin
Saturday evening in about a month and a bit should be a great night of free playing and improvising! Do come down if you have the opportunity…
Started work on a few drawings after having not really done any drawing work for quite a few months. This began just trying to start out with one of the simplest shapes and one of the first recorded marks by mankind: theres spirals all over prehistoric stuff. Also it tied in with some of the ideas relating to microtonality or true tonality or Just Intonation; whichever you want to call it: that the circle of 5ths actually being a spiral due to tiny differences in frequency as you add up.
Also wandered about the possiblities of using spirals in graphic scores: a great shape to describe shape, mass and weight as well as giving an impression of length, could be combined with boxes and shapes as potential time indicators too.
Currently Im also figuring out some actual practical applications of whole tone ratios for the guitar. After a summer reading up on the ideas of Harry Partch and Just Intonation and being slightly bemused but very excited about the theoritical possiblities I finally realised a bit of simple maths, a ruler and a glass slide was all I needed to actual make it practically relevant with the guitar.
Im going to put a longer post explaining all this in a lot more detail once I feel like ive totally got to grips with it!
Summertime a few years ago I think, at the Klondyke in Levenshulme supporting Lianne Hall and Drei. Was such a charming June evening we decided to play out in what passes for a wild flower meadow in Lev. From what I recall there was only one incident with a passing car; there was also an audience, sadly out of shot, I suspect we’re probably trying to interact with them in the middle shot.
In the final one im playing my esraj, its only live outing so far. You can hear it on the Kalbakken record though, track 9 I think.
Thanks to Bela for the photos and Daz for lending me his lovely Taylor guitar you can see in the first two pictures.
Some snaps above of our ongoing bicycle based horrorshow live at Islington Mill in Salford last night. Show was notable for my nearly totalling all of the bike based instrument sculptures with my first physical gesture of the set.
Disaster was narrowly avoided via some careful cable wiggling and shouts of “Youve ruined Christmas now Jimmy” from the more lively parts of the audience. Managed to lay down some good grooves though eventually; mostly informed by the rhythmic memory of Huw’s 90s reggae tape that we had on repeat in the Volvo on the way over. You can’t make this stuff up.
Bike Orchestra wise we’re playing on the Thursday 29th of October as part of the Vaudeville night at the Greenroom in Manchester. We will be in the studio with the talented and brave Joshua Kopecek in the next few weeks and hopefully this session will produce material for a download and CDR release on Manchester’s Concrete Moniker and a tape split on Ikuisuus.