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e-lit jazz @ ELO'16

Sandy Baldwin (@ghost_dog) + Rui Torres (@telepoesis)

SHUFFLE

And

  • do notions of transcoding, assemblage, etc. fit particularly well with this notion of improv, i.e of emergent forms?

    • Impossible

  • is literature, as letters, impossible qua improvisation?

    • Thing

  • reading and reading-writing engage in the not totally objective and thing-like aspect of the work.

    • Score

  • static devices of inscription, such as the score, do not accommodate improvisation.

    • Modes

  • classic, free, scored, how do these different modes of improvisation map_onto e-lit?

    • Sorting

  • sorting out: improvisation as a particular practice within jazz versus improvisation as a potential in any musical act, indeed any performative act.

    • Authors

  • does improvisation replace authorship with clusters of bodies in action?

    • Why

  • why improvisation now? to lead us to reconfigure community, collectivity, action, in/and e-lit?

    • History

  • what examples of e-lit, past or present, suggest improvisation? - The ELO Collections?

    • Futures

  • can we predict how e-lit will be, what it will become?

    • Code

  • does code improvise?

    • Bodies

  • the work as score for bodies in motion - is this literature any longer?

    • Feeling

  • does e-lit resist theorization?

    • Institutions

  • can we create reading environments - sites for theoretical and practical research?

    • Collaboration

  • improvisation and e-lit cannot be finalized: they are based on indeterminacy, they always remains incomplete.

    • Presence

  • how is presence connected to immersion?

    • Words

  • linked in a complex network of interactions, words act out during the act of reading only: e-lit jazz is a flux of relations involving code, meaning, and culture.

    • Cobra

  • a structured free improvisation for an improvising ensemble with cues and cards, hands and baton gestures.
    • wheel_of_fortunAly + poemario.js by Nuno Ferreira + Rui Torres | sounds by Aly