19 Decenber 2022
open18:30, start 19:00
Suginami Kokaido Small Hall (Kamiogi 1-23-15, Suginami-ku, Tokyo)
Director: You Nakai
Saxophone: Masanori Oishi
Tuba: Shinya Hashimoto
Piano: Aki Kuroda
Percussion: Yoshiko Kanda
Electronics: Sumihisa Arima
Koki Fukuda: staff meeting in progress (2022)
Akiko Koga: m(usi)c (2022)
Varun Kishore: peculiar convergence chamber for Zoom, saxophone, tuba, piano（2022）
Jenn Kirby: music: a movement (2022)
G Douglas Barrett: i am sitting in a zoo (on zoom) in memoriam, Alvin Lucier (2022)
Aiko Kono: music, in volumes (2022)
Hall admission ticket: advance ¥3000, student advance ¥1000, door ¥3500
Zoom distribution: Free of charge
How to watch: please register using the form below.
Deadline for subscription: 24:00 on Sunday 18 December 2022 (Japan time).
Supported by Nomura Foundation, Japan Arts Council
The COVID-19 pandemic brought a sudden and drastic change to our daily lives. As social distance was advocated to prevent the spread of infection, the use of various technologies for staging a virtual contact with others spread as quickly as the virus to compensate for the loss of physical contact. Music also followed this trend and concerts using ZOOM and other online communication systems began to take place everywhere. However, the majority of these attempts appeared to only aim at virtually reproducing the sort of musical experience people had been accustomed to, and not many of them took advantage of this change in the media environment to rethink the way music is composed, performed, and experienced.
In this concert, we will imagine that ZOOM could be regarded not as a transparent medium for simulating what has been lost, but as a “musical instrument” equipped with particular biases and affordances, and that there could be a new genre of music that can only be performed and experienced via this instrument: ZOOMUSIC.
Like all technology, ZOOM is biased by the political and economic forces and historical circumstances that created it, and functions by enabling many things while inhibiting many others. As we explore the specific nature of this instrument——its unique signal processing algorithm, interface design, the degree of indeterminacy, or the way it coordinates sound and image——the conceptual categories usually applied to music such as performer/audience, score/instrument, live/recording, music/non-music become dissolved, forcing us to think, perform, and experience music in unusual ways. For example, music performance could overlap extensively with filmmaking, and the very idea of “composition” or “work” might be called into question. On the other hand, choosing to experience ZOOMUSIC offline might approximate being present at a public broadcast of a television program, perhaps changing the meaning of an in-person music concert.
Please join us for a concert in the time of (post-)COVID-19, where strange new forms of music and pseudo-music will roam around inside and outside the venue, perhaps a bit like the park that places wild animals on display evoked by its title. The only thing we ask in advance is for you to make a selection (like a good critic): whether to experience it online or in-person.
(No Collective/Already Not Yet/Side Effects Laboratory Of the University of Tokyo)
You Nakai makes music(ians), dance(rs), haunted musical houses, nursery rhymes, and other forms of performances as a member of No Collective (nocollective.com), and publishes experimental children’s books and other literary oddities as a member of Already Not Yet (alreadynotyet.org). His extensive research on David Tudor’s music has been published as Reminded by the Instruments: David Tudor’s Music (Oxford University Press, 2021 remindedbytheinstruments.info). Other recent Tudor-related outputs include the double LP+booklet, Monobirds: From Ahmedabad to Xenon (Topos, 2021). You is currently affiliated with the University of Tokyo where he teaches curiosities such as “Archi-Choreographies,” “Zoomusic,” or “Fake Western Music History,” and hosts the Side Effects Laboratory of the University of Tokyo (selout.site).