e-lit jazz @ ELO'16
Sandy Baldwin (@ghost_dog) + Rui Torres (@telepoesis)
do notions of transcoding, assemblage, etc. fit particularly well with this notion of improv, i.e of emergent forms?
is literature, as letters, impossible qua improvisation?
reading and reading-writing engage in the not totally objective and thing-like aspect of the work.
static devices of inscription, such as the score, do not accommodate improvisation.
classic, free, scored, how do these different modes of improvisation map_onto e-lit?
sorting out: improvisation as a particular practice within jazz versus improvisation as a potential in any musical act, indeed any performative act.
does improvisation replace authorship with clusters of bodies in action?
why improvisation now? to lead us to reconfigure community, collectivity, action, in/and e-lit?
what examples of e-lit, past or present, suggest improvisation? - The ELO Collections?
can we predict how e-lit will be, what it will become?
the work as score for bodies in motion - is this literature any longer?
does e-lit resist theorization?
can we create reading environments - sites for theoretical and practical research?
improvisation and e-lit cannot be finalized: they are based on indeterminacy, they always remains incomplete.
how is presence connected to immersion?
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.
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