The
Transcendental Map of Dialogue
By Debbie Iversen
"Mystery begins and endures in
the strange and forbidden."1
The
name and substance of the Strange Attractors VII Festival of Experimental
Intermedia
Arts is
significant. As David Means explained to us, the name Strange Attractors is a
mathematical term. On a very simplistic level, the term as I understand it, is
used in mapping out a structure for chaotic systems. Hence, an appropriate name
for a series of experimental intermedia arts experiences which have, as their
elemental basis, an exploratory relationship for chaos and order. The beauty of
art, regardless of its aesthetics, is its expression, its release of
experience, which then is shared by an audience. "Music is hardly just
sound that is passively listened to," notes Robin Balliger, "but a
sonic force that acts on bodies and minds and creates its own life rhythms,
rhythms that power recognizes and tries to monopolize through a relentless
domination of societal noise. But, because of its unique properties music can
be employed as a powerful counter-hegemonic device that goes beyond thought to
being."2
This
has been a great experience for me, to ponder and consider not only the
experiences of these performances, but the possibilities in terms of my own
work. I have always been respectful of audience, but these performances help me
to honor them. This is very interesting to me as a member of the audience and
as a creator seeking to converse with an audience. So, these are some of the
ways that taking this course has elevated my senses. One, by recognizing that
desire; two, by identifying that desire; three, by expanding the possibilities;
four, by realizing the limitations; five, by striving to break through those
limitations- "We are powerless without art, for without the forms supplied
by art we cannot communicate, and when we cannot communicate we cannot relate
as social beings."3
It can
be said of art that there is a universal need to communicate, to connect,
either subconsciously or consciously. That is what many of these performances
strive to do, whether it be with a specific message as Johnny Rodriquez,
Psycick Slutz or the Snake Lady; thematic exploration in Morphos; or
exploration of expression by the Deep Narratives Video Band in Always For
the First Time. Implicit with any specific message that drives performance
is an undercurrent striving to pull the audience into subtext that allows a
freedom to explore who we are and who may be. "Great art is the conscious
exploration through symbolic forms of the possibilities of human action."4
This exploration is a great challenge to me as an artist, a creator and writer,
and I am so very grateful for the opportunity. This is part of the validation I
have been seeking as a journey of message: that one can create with and without
intention and sometimes the greater message lies without intention and is not
less valid. Indeed, the subconscious journeys of universal consciousness can
sometimes create something greater than was ever intended. Simultaneously, when
we work to confine message, it may become trite, lackadaisical and ineffective.
These
performances provide an opportunity to ponder many issues including
self-inquiry and discovery. There are few opportunities in our regimented lives
for that introspection. "Great art creates forms which enable us to
explore consciously symbolic phases of experience."5 That, I think, is one
of the great things about the Strange Attractors festival. I only hope that
institutions like Metro U will honor a responsibility to provide that
opportunity. This is the freedom we, as a culture, must have to survive. This
is the freedom that defines who we are as a culture and who we might become. If
voices be silenced, if vehicles for expression and exploration are abandoned,
we lose a part of ourselves, that part of ourselves that must push on. If,
"it is only through the development of open, free, and informed
discussion, and the creation and distribution of a free art, that men will be
saved, how can this be done? How can we create and maintain criticism as a constituent,
and, therefore, necessary, element in community life? Art makes
criticism a constituent and public part of its institutional structure."6
Perhaps, these words are of no avail but are hopeful for a place where meaning
matters in decision. "The issue is about not limiting what is
shown."7 "Of course, without a show there can be no audience, and
without an audience there can be no conversation."8
To
embark upon the presentation of a performance is to make a statement.
Inevitably, there is a quest. Many performances seek to speak truth and in some
cases, that truth is simply revealed as the mechanism of expression and inquiry
by the audience. "It is important that artists seek to use the access to
larger audiences as a way to improve knowledge and understanding and not only
to entertain and sustain cultural numbness."9 These intermedia
performances emphasize the need, the necessity of freedom of expression,
particularly in quests for truth. "With an authentic and meaningful role,
the audience can experience the value of community."10 Conversation is
critical in all of the performances we have witnessed- "The conversation
that exists between members of an audience about what they are experiencing,
and the conversation that exists through the audience as a whole, is the
substance of our culture. Our culture exists in these conversations . .
.Understanding how the relationship between the audience and performance
creates the culture is crucial to the development of a great culture."11
"Music
is one of the greatest ways to communicate with people, because it's the
repository of knowledge. The music, dance and song is the repository of a
people's culture, history, genealogy, way of life, belief systems, expression,
social interaction, communication, love... all of it" according to Royal
Hartigan.12 These elemental truths are evident in all of the performances in
the Strange Attractors series. Implicit within these performances is Edwin
Schlossberg's identification of five ideas as structural center points denoting
the appeal of classical music: teamwork, sound, ritual and celebration, idea of
metaphors and links, and mapping and notation.13 The experimental nature of
these intermedia performances creates a shared platform of resistance. Balliger
expounds that, “…this highlights the necessity to locate resistance in relation
to specific strategies of control and domination." 14
What is
often forgotten or in danger of being lost is the audiences* recognition of
their importance in the creation of art and culture. Schlossberg details how,
"The culture values the audience's active role in the process as equal in
importance to that of the puppeteer or musician."15 The challenge of these
performances lies in their relationships with their audiences. "For any
idea to be understood, it must be presented so that the audience can recognize
a model of it in their mind."16 Hymnal provides a great example of
concerted interaction with the audience through its inclusionary exercises involving
a gender meter, the use of ritual and sharing of figs and song. "It is the
resonance between the audience and the show - all elements of the event- that
creates greatness in each. Excellence exists only in the variety and quality of
our interactions."17 A deliberative interactive process engaged the
audience to examine oppressive stereotypes, attitudes and behaviors.
"Thinking about oneself may sometimes have no effect on the object
(thinking about one's height does not make one taller). However, when the
object of knowledge is to some degree constituted by what one believes about
it, thinking can change the thing known. We have here another reason for
thinking Socrates was right to believe the examined life especially worth
living."18 In this case, the Psycick Slutz focused their performance on
the examination of sexism and other isms, which provided opportunity for
transformation of attitudes and beliefs. "Excellence in interactive
experience must be measured by the degree of conversation and transformation
that occurs in the environment and the degree to which there is a shared sense
that everyone is part of the process."19
The
Strange Attractors Series offers a stage that provides audiences with tools of
transformation. "Because of this fact - the fact that emotions are
discriminated from one another on the basis of, and are in part constituted by,
thoughts, beliefs, judgments and the like-changing one's beliefs can be a way
of transforming one's emotions. How one conceives, perceives, and understands
the world will in large measure determine how one experiences it; and how one
understands oneself will affect whom one is. This great power of reflexive
knowledge is, as Spinoza understood, what makes room for human freedom."20
"The
more we are aware of our role in each level of observation, perception, and
Conception,
the more we become responsible for our success and can truly enjoy the entire
show of our lives. "21 The closing scene in Hymnal engages the
audience as participants in ritualistic form through song to move forward and
beyond the performance with a heightened sense of awareness and embrace of
change that transcends the confinement of oppression. "They are inside
the creation as well as observers of the creation."22
Many of
the Special Attractors performances utilized aspects of ritual in raising a
multitude of questions, some ambiguous and some specific to premise.
"Unlike religious ritual, art opens ends, purposes, and values to inquiry.
Art is the realm of change, ambiguity, argument, and doubt.... In various
dramas of social order (such as rituals)... doubt, change, and ambiguity are
not expressed. In art which is functioning as art, and not as a channel for
official messages, the capacity to doubt and to endure ambiguity, and even to
revolt against the sacred principles of social order, is not considered weak or
treasonable, but heroic. We seek to open ends to reason. The 'inquiry' of art
is an inquiry over how to enact roles, not one "about" the reduction
of roles to environmental factors, as in physical science, or over how to
stifle doubt through faith, as in religion . . .Art does not teach us how to
'think about" relationships, or how to 'argue about' them, but how to form
roles so we can enact them in the social drama of community life." 23
The
nature of these interactive performances goes to the heart of thematic
exploration to elevate consciousness and discourse. "The audience becomes
part of the artist's work, and the appreciation, criticism, and discussion of
the work creates its place in the culture."24 The Deep Narratives Video
Band symbolized the interactive connections, to me, in the design of the
theater that I noted during the first performance. The performance was very
much like the pyramid painted on the right wall of the stage with its gold
grids, boxes born of bricks, on the top two thirds of the pyramid. The
presentation delved into the bowels of the pyramid where branches and roots
intertwine, interconnecting the boxes, the parts of the pyramid foundation. Those
grids are replicated on the metal mattress frame painted red and hanging from
the ceiling on the left side. The branches are duplicated atop a handmade
structure with table legs for a foundation. So, too, with the performance as
individual parts converge and intertwine. What appears to be a tin foil coil,
snakes, intertwines through the branches as technology inserted and intertwined
into nature. Similarly, the sax takes us on a journey through the winding pipes
displayed on the video wall. 'This thing that's already done." The pain of
the rigid confining boxes depicted in the red metal mattress frame is
symbolized by the tears of blood dripping from the eyes of a woman's face on
the painted wall. "The power of art...lies in its capacity to break down
the walls that separate men. . . Through art we are able to take the role of
others, and thus break down the unrecognized and unconscious barriers that
isolate the individual in modem society."25 The Psycick Slutz and
the other performances used that same stage to provide "a way for the
community to get together and have a shared experience."26
"There
can be no dynamic relationship between the audience and the artist until there
is a context in which this conversation can take place."27 Hymnal
challenged the audience to consider, reassess and break free of sexism and
other forms of oppression, through its well-considered interaction with the
audience. "As each person is considered and included in the audience and
as the audience learns from each other and about new ideas^ each and every
person can become a contributor to the quality of life. It is through this
process that the standards of excellence become simultaneously inclusive and
socially responsible.”28 The Psycick Slutz attack symbols of social
order that one could symbolize as grids. "Great art is what challenges us
to see each other and ourselves more clearly. Great art makes us understand our
relationship to the world we are in."29 The messages in Hymnal and Snake
Lady Sheds Her Skin! are particularly powerful in their attempts to raise
people's consciousness and transform attitudes and behavior. As Batya Weinbaum
noted in her essay, Matriarchal Music Making, "Women were often
banned from music making because their music was thought to be destructive to
men and male civilization in general, as witnessed in commonly held myths of
women's destructive power."30
"Locating
a position of vocality and self-representation is central to creating a
counter-narrative, positing a counter-essence and in critically attacking the
legitimacy of "objective knowledge and truth."31 Hymnal and Snake
Lady Sheds Her Skin! raise voice against the oppression of women and sexual
stereotypes. "Authorities seek to subordinate sex to their own principles
of social order.”32 The artists explore these territories of sexual roles,
experiences and identity, in part, through the use of parody. "Humor can
be an important welcoming device and can ease the strain of the experiment on
the audience. There is always a strain on the audience when experiencing
something new, because they are not sure what they can do or whether they will
be embarrassed for not doing it right."33 That freedom of experimental
expression is a critical vehicle for the expression of freedom itself.
"Irony exists in one type of social bond, the bond of open, free, and
informed discussion as a means to truth." The ironist "believes in
critical intelligence created in free discourse among men who believe that such
discourse creates and sustains social bond. . . In great comedy, unconscious,
hidden, and suppressed conflict is brought to light"34
In Snake
Lady Sheds Her Skin!, it makes sense that the Snake Lady's skin, "her
clothes", would be smooth and untorn, unscarred, whereas the skin that is
shed would be worn and tattered. So it is with people's lives. In this respect,
the Snake Lady Sheds Her Skin! shares a chord with Morphos, this
metamorphosis of change. Similarly, this performance incorporates the
repetitious aspects of ritual present Morphos, Hymnal, and El Dia de
los Muertos. Snake Lady Sheds Her Skin! has a more focused thematic
and structured presentation. It is examination of gender and relationships
expounds more specifically on some of the themes presented in Hymnal.
Both of those presentations and Always for the First Time refer to global
issues and perspectives. "When people cannot communicate they cannot
relate. . . If we cannot create forms for communication over new problems, or
adjust traditional forms to new conditions of community life, there can be no
consensus, and thus no common action."35
"Learning
occurs only when conversations, ideals, and goals have a shared and
understandable framework." 36 Both Hymnal and Snake Lady Sheds
Her Skin! address specific easily identifiable issues. "For a work of
art to be vital, it must become a lens through which our lives and our culture
can be seen. "37 Morphos and El Dia de los Muertos
are more ethereal. Those
four performances, while utilizing improvisation, appeared to be more formatted
than the performance by the Deep Narratives Video Band, which relied on
raw, improvised skill - raw in that the performers, and consequently the
audience, are laid bare to possibilities. Whereas, that is true of all of the
Strange Attractors' performances, it seemed more so with the Deep Narratives
Video Band. "For the musician the power of inspiration can be
transmuted into the power of
power.”38
There
are obvious ritual aspects of Morphos, Hymnal, El Dia de los
Muertos and to a lesser extent Always for the First Time and Snake
Lady Sheds Her Skin!. In cases where music itself represents the highest
spirituality of the culture, "Music itself being 'bodiless' and meta
linguistic (or metasemantic) is always (metaphorically or actually) the supreme
expression of pure imagination as vehicle for the spirit. The lowness of the
musician is connected to the
perceived
danger of music, its ambiguity, its elusive quality, its manifestation as
lowness as well as highness - as pleasure."39 In Snake Lady Sheds Her
Skin!, "One way to analyze the relations among thought, emotion, and
sensation is to consider the expression of emotion." Regarding El Dia
de los Muertos and Morphos, "We watch for acts that are bound
by rules, as well as for acts where rules cannot be used. The sacred is not the
realm of rules.'*41 Interestingly enough, Rodriquez's performance appeared to
be the most disciplined and controlled.
Because
of its thematic premise, the structure of the Morphos performance was
more apparent and methodical with the focused delivery of a main character
seeking to understand his metamorphosis and retain connection. The fact that we
do not necessarily know what change he is going through is relevant and
expansive. "The emotional counterpart in the individual of chaos in society
is the kind of deep anxiety which passes into 'formless dread.'"42 On
surface, the performance appears to focus on a soul struggling with what
appears to be death. On another level, the performance makes a strong statement
about life as a series of sorrowful experiences that occur with change as one
passes through the stages of life. "Art is a socially sanctioned realm of
change, ambiguity, and doubt. There is no 'truth', but many 'truths' in the art
world. . .. The social truth of art is found in communication among men where
there are many voices, not one powerful supernatural voice, raised in search
for truth."43
The
main character in Morphos appears to be saying farewell to his childhood, among
other things. He laments, "I'm always leaving." "Everything's
always changing." “There are places between where I am myself," a
soul in search of his being. The specific words and actions of the main
character were critical to the performance. "Through its ability to
mediate the social-temporally, spatially and bodily- music is a powerful site
of struggle in the organization of meaning and lived experience. "Music
can at the same time 'territorialize' and 'deterritorialize' the everyday,
evoking and transcending its terrains, spaces and temporalities as these are visually
and linguistically mediated.'"44 The universal relevance of the cultural
nature of X^Q Morphos performance begs the questions of why, what, and how this
person is coping with change. Posing those questions also gives a platform for
the larger question of relativity. Does it matter why, what and how changes
occur in a life? Is not the experience of change, the morphing of life from one
stage to another, transcendental, irrespective of particulars? What is the
relationship between a stage, life's theater, for an actor moving through
stages?
The
creative and cultural content of Morphos was presented less frenetically than
by the Deep Narratives Video Band in Always for the First Time, which was more
exhilarating. Morphos was more seductive. Both were disturbing in different
ways. The audience is left with sensations in both performances, that there is
more to the story, that the thematic exploration continues long after the
performance ends. My critical thinking was challenged to make connection and be
open to possibilities. Whereas, I liked and enjoyed both performances, it is
noteworthy that I like them even more as time passes. I continue to enjoy the
performances because they challenge me to think.
The
challenge of these performances, in some ways, is similar to the cultural
response to death inherent in the cultural roots of Johnny Rodriquez's
performance, "not to fear death but accept it." The same could be
said about experimental intermedia performances and their audiences. Culture is
critical to Rodriquez's performance constellation and shows how the spirits of
the dead are kept alive by the way we honor them. "Whatever our belief
about their divine origin, religious rites are human expression."45 Before
the performance began, Rodriquez told us to listen (remember) and be a part of
this. Implicit in the words to listen, to me, is the act of remembrance.
Sensations, once experienced, become a part of one's being. Listening, to me,
is organic in that it generates response whether perceived or not. It offers
opportunity for growth.
One
needs only look at Rodriquez's face to see the transcendental state. At times,
I thought I almost saw bliss on his face and thought, "This is who he
is." The glow was with him after the performance ended. Rodriquez's face
animates and is transformed, as are his voice, his sound, the stage and
audience. He uses extraordinary control as sound grows and his mouth elongates
to accommodate the sacredness of breath. It is breath that gives life and it is
the breath of life that reaches out to the dead, calling for their communion.
Words fail to describe the frequency of his pitches, the squeaks and creaks,
ushering through, beckoning, gathering souls.
"Communication
in ritual is communication of a truth which is believed to be 'beyond'
communication.46 It is noteworthy that "rituals always contain a surplus
meaning. That is, we would not regard an action, even repeated actions, as a
ritual if its significance failed to go beyond its instrumental content.
"'"Rodriguez concludes his performance with the same repeated
syllabic call of "cree ta cree ta shuh shuh" used in the beginning of
his vocals. "Ritual performances, by virtue of being rituals, inevitably
leave room for psychoanalytic speculation both at the level of action
(repetition and compulsion are often puzzling) and at the level of the content
(rituals always contain a surplus meaning). """He fades the call
to a whisper and then to a chant of long notes that meld to music as he stands
transfixed until he kneels at the alter holding his sacred instruments, ending
in what feels like a loud silent prayer.
The
cultural context of ritual was an excellent vehicle for the creative content
and use of Rodriquez's talent. "The paradox in all ritual is that the
mystery which is beyond communication can be kept alive only in communication.
When we cease to communicate with our gods, they cease to exit.”49 While Rodriquez was the primary performer
seen on stage, he was not alone. His being transcended time and space. The
stage was transcended to an unseen plane, an unseen stage, where the spirits of
the dead commune. And, commune they did. As Rodriquez told the audience before
the performance began, "We are taught in our society to treat death as
bad" and that in his culture, death is represented with "more of a
jovial image... knowing death is always there." My classmates were clearly
moved. Even if they did not understand the performance, they knew they were in
the presence of a master and that they had borne witness to something greater
than the sum of its parts. "It is important to remember that music is a
universal activity that emerged with 'culture' as a defining characteristic of
human communities."50
Sound
is a significant player in these performances, notably so in Morphos, Always
for the First Time and El Dia de los Muertos. "These examples
show how music is a form of resistance beyond an objectified reading of
political lyrics through emphasizing the structure of listening, in which
meaning is mutually produced in different contests."51 The Deep Narratives
Video Band clearly and obscurely tries to speak to and engage in dialogue with
the audience, at times becoming one with the mediums being used, converging and
then juxtaposing sound with image. This was done numerous times and numerous
ways, converging with voice and image and then breaking free of each other,
showing the inter-relatedness of experience, concentric circles if you will.
The sax becomes voice. Voice becomes sound. Sound becomes voice to images on
the video wall- the deep melodic tones of Carei Thomas are an instrument, not
just of voice but of
traveling
sound. Regarding sonic squatting, Balliger writes, "how subordinate groups
have used music as a weapon which is able to penetrate walls and minds...sound
has remained a potent weapon, a force that disturbs through the fact that it is
unhinged from the visual or the knowable and symbolically acts on the
imagination, infiltrating and destabilizing power."52
Rodriquez's
performance brings home the power of sound; the importance of sound; the union
of sound. In that, we all are connected. Young souls and old souls know the
need, the natural form of expression through sound. Similarly, a woman wailing
in grief hits a universal well and hurts even more when the sound is not
released. If we look at, hear, the universal expressions of sound, it is very
easy to identify with the emotions expressed. A cry. A wail. A laugh. A tone. A
pitch. A series of notes. A drum beat. It is those sounds outside of the
so-called norm, like all other expressions of human behavior that can make us
uncomfortable. Sausage making. Delving into and exploring the complexities of
who we are, which are many things and experiences. So, too, with the
performances we have been privileged to audience. Before his performance,
Rodriquez commented on collaborative processes and said, "The key is to
listen... That is where creation of sound is formed." David Means noted
that temporal music and aural art "are so deeply imbedded in time"
that it "should be completely removed from time." That is the purpose
of many meditative and ritualistic chants. "Joel Streicker describes the
use of sound as “…resistance and a 'non-spatial way to reclaim space."53
All of
the performances in the Strange Attractors VII Festival involve a
reclamation of space, be it spiritual, personal, or political space.
"Islam expresses grave reservations about art in general because all art
potentially involves us in multiplicity (extension in time and space) rather
than in the unity (tawhia) by which Islam defines its entire spiritual
project."54 To me. Always for the First Time and the stage itself
challenged assumptions about the advances of civilization when it severs the
relationships of people from their human condition. No matter how much our
technology becomes intertwined in our world, it cannot remove nature from our
heads, our being. Witness the head filled with leaves displayed on center stage
reflecting the leaves shown on the video wall- Technology does, however, create
barriers, destruction, and alienation, confusion over what is real, and a
disenfranchisement from self. The performers take ownership of that technology
in a way that generates this conversation with the audience and tries to
develop "an understanding of music and noise as social forces, fully
involved in the 'dialogic process' of social life and as such, an important
site of control-and resistance."55 In the words of Thomas, "I want to
touch you."
Nursery
rhymes and tribal beats converge at the end of the first act in Always for
the First Time into a cacophony of sound. Music literally becomes a human
wail. The birdman tries to maintain his balance and position amidst the
confusion, chaos and intrusion of unnatural creation.
The
video wall itself assumes a cadence. "The ultimate goal is to create new
contexts in which many different art forms can be experienced, evaluated, and
appreciated."56 Thomas states, "Your mind has been bent" as the
performance asks the audience to resist, be free, rise above and be part of the
non-game. "There is only one protection against one dominant person or
corporation or government controlling the context: The audience must expect and
demand a rich and involved voice in the composition of the process."57
Balliger suggests, "that music draws its power from the fact
that it is both ordinary and mystical.... (where) everyone can participate in
and create their own bit of magic outside the loop of production and
consumption. This is why it is so dangerous."58 Edwin Schlossberg writes
of the importance of opportunities "for the audience members to improve
their ability to appreciate one another as well as the works presented. . .
This lack of awareness about the audience has consequences for our society that
are worrisome and could be dangerous. There is a hunger for community and if it
is not encouraged to grow, some demonic leader could capitalize on the sense of
a anomic and alienation that isolation causes."59 Witness the current
state of affairs in the United States and the lame song about freedom offered
by Paul McCartney at a benefit for victims of the attack in New York City.
In Always
for the First Time the audience is asked to stretch as the birdman
stretches, as media images pulsating with sound are transformed. '"People's music as it grows, develops
social consciousness and becomes the social voice for the people."60
Words, uttered by Thomas, ask people to stretch as individuals by stretching
their perceptions, understandings, roles, etc., to break free and rise up.
"Music is neither transcendental nor trivial, but inhabits a site where
hegemonic processes are contested."61 The audience is asked to question
their perceptions of reality through the convergence of what may appear to be
disparate images and sound. Balliger points out that, "Music is a threat
to hegemonic forms of discourse and social relations because it offers the
greatest potential to create new forms of communication and create 'pleasure in
being instead of having'" and theorizes about the articulation of
"resistance in the broadest possible sense-beyond political ideology to a
total transformation of values and lived behavior."62 The audience is
asked to stretch their understanding and perceptions from the more obvious
segue of images to the less obvious. "Struggle for order must be based on
the belief that relationships are created by symbols of change as well as by
symbols of permanence."63 "In fact, resistance is necessarily a
creative, imaginative process and arguments that purport to have 'the one
answer' are increasingly suspect.'164 These experimental performances explore
new combinations, new patterns of expression that challenge their audience to
think outside of the box, outside of the grid. "Each gesture toward
exploration is met with a response and a transformation."65
I have
enjoyed all of the performances in this class. Always For the First Time engaged
my intellect, delighted the synapses in my brain, and appealed to my
appreciation for great music, poetry, and sound. Morphos appealed to my
love of the theater and philosophical inquiry. Hymnal and Snake Lady
Sheds Her Skin! engage the audience in discussions about human rights,
particularly for women. Johnny Rodriquez, in El Dia de los Muertos,
offered himself on a platter, in this case a stage, for the audience to digest
and absorb. He was outstanding. He was the instrument and the player. I was
especially moved by the words he spoke at the end of his performance,
"This was for you, as well." His performance resonated in my core and
appealed to my love of Native American music, ritual, and chants. I left with a
deep sense of gratitude.
1 p.
220, Symbols in Society by Hugh Dalziel Duncan, Oxford University Press,
1968
2 p.23. Sounds of Resistance Essay by
Robin Balliger, SOUNDING OFF! Music as
Subversion/Resistance/Revolution, Edited by Ron Sakolsky and Fred
Wei-Han Ho
3 p.
223, Symbols in Society by Hugh Dalziel Duncan, Oxford University Press,
1968
4
p.223, Symbols in Society by Hugh Dalziel Duncan, Oxford University
Press, 1968
5
p.224, Symbols in Society by Hugh Dalziel Duncan, Oxford University
Press, 1968
6
-p.244. Symbols in Society by Hugh DDalziel Duncan, Oxford University
Press, 1968
7 p.
29, INTERACTIVE EXCELLENCE, by Edwin Schlossberg, July 1998
8 p.6, INTERACTIVE EXCELLENCE, by Edwin
Schlossberg, July 1998
9 p. 53-54, INTERACTIVE EXCELLENCE, by
Edwin Schlossberg, July 1998
10
p.72, INTERACTIVE EXCELLENCE, by Edwin Schlossberg, July 1998
11 p.5-6, INTERACTIVE EXCELLENCE, by
Edwin Schlossberg, July 1998
12 Royal Hartigan Interview "Playing
Other People's Music”, p.336, SOUNDING OFF! Music as
Subversion/Resistance/Revolution. Edited by Ron Sakolsky and Fred Wei-Han
Ho
13 p.
66-67, INTERACTIVE EXCELLENCE, by Edwin Schlossberg, July 1998
14 Sounds of Resistance Essay by Robin
Balliger, p. 17, SOUNDING OFF! Music as
Subversion/Resistance/Revolution. Edited by Ron Sakolsky and Fred
Wei-Han Ho
15 p. 24, INTERACTIVE EXCELLENCE, by
Edwin Schlossberg, July 1998
16 p.16, INTERACTIVE EXCELLENCE, by
Edwin Schlossberg, July 1998
17 p.98, INTERACTIVE EXCELLENCE, by
Edwin Schlossberg, July 1998
18 p. 13, A Tear Is an Intellectual Thing.
The Meanings of Emotion by Jerome Neu, Published 2000 by Oxford
University
Press
19 p.
90-91, INTERACTIVE EXCELLENCE, by Edwin Schlossberg, July 1998
20 p. 11, A Tear Is an Intellectual Thing.
The Meanings of Emotion by Jerome Neu, Published 2000 by Oxford
University
Press
21 p. 98, INTERACTIVE EXCELLENCE, by
Edwin Schlossberg, July 1998
22 p. 68-69, INTERACTIVE EXCELLENCE, by
Edwin Schlossberg, July 1998
23 p. 125, Symbols in Society by Hugh
Dalziel Duncan, Oxford University Press, 1968
24 p.
10, INTERACTIVE EXCELLENCE, by Edwin Schlossberg, July 1998
25 p.223. Symbols in Society by Hugh
Dalziel Duncan, Oxford University Press, 1968
26 p. 24, INTERACTIVE EXCELLENCE, by
Edwin Schlossberg, July 1998
27 p.20-21, INTERACTIVE EXCELLENCE, by
Edwin Schlossberg, July 1998
28 p. 75, INTERACTIVE EXCELLENCE, by
Edwin Schlossberg, July 1998
29
p-31, INTERACTIVE EXCELLENCE, by Edwin Schlossberg, July 1998
30 p. 42, Matriarchal Music Making
Essay by Batya Weinbaum, SOUNDING OFF! Music as
Subversion/Resistance/Revolution. Edited by Ron Sakolsky and Fred Wei-Han
Ho
31 p. 15, Sounds of Resistance Essay by
Robin Balliger, SOUNDING OFF! Music as
Subversion/Resistance/Revolution, Edited by Ron Sakolsky and Fred
Wei-Han Ho
32 p-201, Symbols in Society by Hugh
Dalziel Duncan, Oxford University Press, 1968
33 P.17 INTERACTIVE EXCELLENCE, by Edwin
Schlossberg, July 1998
34 p.227, Symbols in Society by Hugh
Dalziel Duncan, Oxford University Press, 1968
35 p.
130, Symbols in Society by Hugh Dalziel Duncan, Oxford University Press,
1968
36 p.
11, INTERACTIVE EXCELLENCE, by Edwin Schlossberg, July 1998
37 p.
52-53, INTERACTIVE EXCELLENCE, by Edwin Schlossberg, July 1998
38 p. 31, The Utopian Blues Essay by
Haikim Bey, SOUNDING OFF! Music as
Subversion/Resistance/Revolution, Edited by Ron Sakolsky and Fred
Wei-Han Ho
39 p.30. The Utopian Blues Essay by
Haikim Bey, SOUNDING OFF! Music as
Subversion/Resistance/Revolution. Edited by Ron Sakolsky and Fred
Wei-Han Ho
40 p.
12. “A Tear Is an Intellectual Thing”, in The Meanings of Emotion by Jerome
Neu. Published 2000 by Oxford University Press
41
p.215. Symbols in Society by Hugh Dalziel Duncan. Oxford University
Press. 1968
42 p. 139, Symbols in Society by Hugh
Dalziel Duncan, Oxford University Press, 1968
43 p. 190. Symbols in Society by Hugh
Dalziel Duncan. Oxford University Press. 1968
44 p.
20, Sounds of Resistance Essay by Robin Balliger, SOUNDING OFF! Music
as
Subversion/Resistance/Revolution. Edited by Ron Sakolsky and Fred
Wei-Han Ho
45 p.218, Symbols in Society by Hugh
Dalziel Duncan, Oxford University Press, 1968
46 p. 134, Symbols in Society by Hugh
Dalziel Duncan, Oxford University Press, 1968
47 p.250 A Tear Is an Intellectual Thing.
The Meanings of Emotion by Jerome Neu
48 p.250, A Tear Is an Intellectual Thing.
The Meanings of Emotion by Jerome Neu
49 p. 134. Symbols in Society by Hugh
Dalziel Duncan. Oxford University Press, 1968
50
p.25. Sounds of Resistance Essay by Robin Balliger, SOUNDING OFF!
Music as
Subversion/Resistance/Revolution. Edited by Ron Sakolsky and Fred
Wei-Han Ho
51 p.
17, Sounds of Resistance Essay by Robin Balliger, SOUNDING OFF! Music
as
Subversion/Resistance/Revolution, Edited by Ron Sakolsky and Fred
Wei-Han Ho
52
p.23. Sounds of Resistance Essay by Robin Balliger, SOUNDING OFF!
Music as
Subversion/Resistance/Revolution. Edited by Ron Sakolsky and Fred
Wei-Han Ho
53
p.24. Sounds of Resistance Essay by Robin Balliger, SOUNDING OFF!
Music as
Subversion/Resistance/Revolution, Edited by Ron Sakolsky and Fred
Wei-Han Ho
54 p.
29, The Utopian Blues Essay by Haikim Bey, SOUNDING OFF! Music as
Subversion/Resistance/Revolution.
Edited
by Ron Sakolsky and Fred Wei-Han Ho
55 p. 13, Sounds of Resistance Essay by
Robin Balliger, SOUNDING OFF! Music as
Subversion/Resistance/Revolution. Edited by Ron Sakolsky and Fred
Wei-Han
56
p.65, INTERACTIVE EXCELLENCE, by Edwin Schlossberg, July 1998
57
p.95-96, INTERACTIVE EXCELLENCE, by Edwin Schlossberg, July 1998
58
p.25. Sounds of Resistance Essay by Robin Balliger, SOUNDING OFF!
Music as
Subversion/Resistance/Revolution.
Edited by Ron
Sakolsky and Fred Wei-Han Ho
59 p.
18-19, INTERACTIVE EXCELLENCE, by Edwin Schlossberg, July 1998
60
p.323, Paalam Uncle Sam: Musika & Musicians for Pece Interview by
Tripp Mikich, SOUNDING OFF: Music as Subversion/Resistance/Revolution.
Edited by Ron Sakolsky and Fred Wei-Han Ho
61 p.
14, Sounds of Resistance Essay by Robin Balliger. SOUNDING OFF! Music
as
Subversion/Resistance/Revolution. Edited by Ron Sakolsky and Fred Wei-Han
Ho
62 p,
21, Sounds of Resistance Essay by Robin Balliger, SOUNDING OFF! Music
as
Subversion/Resistance/Revolution. Edited by Ron Sakolsky and Fred
Wei-Han Ho
63 p.
135.Svmbols in Society by Hugh Dalziel Duncan. Oxford University Press.
1968
64
p.25. Sounds of Resistance Essay by Robin Balliger, SOUNDING OFF!
Music as
Subversion/Resistance/Revolution. Edited by Ron Sakolsky and Fred
Wei-Han Ho
65 p.
59, INTERACTIVE EXCELLENCE, by Edwin Schlossberg, July 1998
Return to
Nobles Archives Page