<?xml version="1.0" encoding="utf-8" standalone="yes"?><rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom"><channel><title>Experimental Music on emptyname</title><link>https://emptyname.org/tags/experimental-music/</link><description>Recent content in Experimental Music on emptyname</description><generator>Hugo</generator><language>en-US</language><lastBuildDate>Fri, 30 Aug 2024 17:00:40 +0000</lastBuildDate><atom:link href="https://emptyname.org/tags/experimental-music/index.xml" rel="self" type="application/rss+xml"/><item><title>Zero Miles Per Hour</title><link>https://emptyname.org/zero-miles-per-hour/</link><pubDate>Fri, 30 Aug 2024 17:00:40 +0000</pubDate><guid>https://emptyname.org/zero-miles-per-hour/</guid><description>&lt;figure class="work-video"&gt;
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&lt;p&gt;Effects of the isolation are many. Perhaps, the first to notice is the spatial confusion and the loss of clarity of your physical presence. Where are you when you partying over Zoom? And where are those twenty people (with you) whom you impress with the Covid knowledge? The mere number of activities and the geographical distribution of their reference points and impacts, questions the relevance of the territorial coordinates defining the position of your body, and maybe even questions the physicality of your body itself.&lt;/p&gt;</description></item><item><title>Cage-Duchamp-Cage</title><link>https://emptyname.org/cage-duchamp-cage/</link><pubDate>Sun, 10 Dec 2023 19:12:45 +0000</pubDate><guid>https://emptyname.org/cage-duchamp-cage/</guid><description>&lt;p&gt;Set against the backdrop of John Cage’s composition, this audio collage features Marcel Duchamp discussing his ego-driven intention to ‘kill art.’ It then transitions to John Cage, who advocates for creating art free of the artist’s ego, focusing on its removal from the process.&lt;/p&gt;</description></item><item><title>The Riverscape</title><link>https://emptyname.org/the-riverscape/</link><pubDate>Wed, 29 Nov 2023 21:59:27 +0000</pubDate><guid>https://emptyname.org/the-riverscape/</guid><description>&lt;p&gt;&lt;em&gt;“The notation is more important than the sound. Not the exactitude and the success with which a notation notates a sound; but the musicalness of the notation in its notating.” (Cornelius Cardew)&lt;/em&gt;&lt;/p&gt;</description></item><item><title>Music in the Arts</title><link>https://emptyname.org/music-in-the-arts/</link><pubDate>Tue, 28 Nov 2023 20:47:29 +0000</pubDate><guid>https://emptyname.org/music-in-the-arts/</guid><description>&lt;p&gt;When we speak of ‘art’ today, we should be aware of the ambiguity that this term drags along. This idea is pivotal – the word ‘art’, as it echoes in our contemporary discourse, is a deceptive homonym hinting at divergent conceptions. Indeed, there are multiple facets to this concept, but let’s not lose ourselves in this labyrinth; we’ll focus on the two primary ones.&lt;/p&gt;</description></item><item><title>Painting for Two Instruments</title><link>https://emptyname.org/painting-for-two-instruments/</link><pubDate>Tue, 28 Nov 2023 14:37:02 +0000</pubDate><guid>https://emptyname.org/painting-for-two-instruments/</guid><description>&lt;figure class="work-video"&gt;
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 &lt;img class="gallery-full is-active" src="https://emptyname.org/uploads/2023/11/one_plus_one-scaled.jpg" alt="Painting of a dense lattice of dark tree silhouettes screening a luminous lakeside sunset reflected in the water below, across seven horizontal planks that a duo reads as foreground and background, translated into sound." data-caption="The Lake" loading="lazy" decoding="async"&gt;
 &lt;img class="gallery-full" src="https://emptyname.org/uploads/2023/11/P5200046-scaled-e1701180924427.jpg" alt="Painting showing the canvas &amp;#39;The Lake&amp;#39; lit on a wooden easel in the dim studio, amid tables of paint, palettes and brushes - the score-painting in the place of its making." data-caption="In the studio" loading="lazy" decoding="async"&gt;
 &lt;img class="gallery-full" src="https://emptyname.org/uploads/2023/11/score_page_2.png" alt="Painting showing &amp;#39;The Lake&amp;#39; overlaid with its interpretation scheme - the canvas split into seven numbered bands marked &amp;#39;Minutes&amp;#39; down the left edge, each plank standing for one minute of the seven-minute composition, read top to bottom." data-caption="Performing instructions" loading="lazy" decoding="async"&gt;
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