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Logic of Experimentation ORPHEUS Logic of Experimentation offers several innovative and ground- ORPHEUS breaking perspectives on music performance, music ontology, research methodologies, and ethics of performance. It proposes new modes of thinking and exposing past musical works to contemporary audiences, arguing for a new kind of performer, emancipated from authoritative texts and traditions, whose creativity is propelled by intensive research and inventive imagination. Moving beyond the work concept, this book presents a new image of musical works, based upon the notions of strata, assemblage, and diagram, advancing innovative practice-based Logic of methodologies that integrate archival and musicological research into the creative process leading to a performance. This volume appropriates concepts for music performance from post-structural philosophy, psychoanalytical theory, science and technology studies, epistemology, and semiotics, showing how transdisciplinarity is central to artistic research. An indispensable contribution to artistic research in music, Experimentation Logic of Experimentation is compelling reading for music performers, composers, musicologists, philosophers, and artistic researchers alike. Rethinking Music Performance Paulo de Assis is an experimental performer, pianist, and artistic researcher with transdisciplinary interests in composition, philosophy, psychoanalytical theory, and through Artistic Research epistemology. A research fellow at the Orpheus Institute, Ghent, he was the Principal Logic of Investigator of the EU project “Experimentation versus Interpretation: Exploring New Paths in Music Performance in the Twenty-first Century,” is the Chair of the international conference series Deleuze and Artistic Research (DARE), and is the editor of the book series Artistic Research (Rowman & Littlefield International). E “This is an outstanding book in every way. It demarcates a new field—that of artistic xperimentation research as an experimental activity—and then provides an original theoretical framework within which to relate the field to music. All the chapters address issues INSTITUTE that transcend music and are of great import for aesthetics, ethics, epistemology, ontology, psychoanalytic theory, and cultural theory.” ―Ronald Bogue, University of Georgia, US “Reading Logic of Experimentation is an intellectual adventure. The reader comes away with a much more flexible and more powerful context for engaging in performance as scholarship, corporeality, and the manifestation of energy.” ―Neely Bruce, Wesleyan University, US IN ISBN 9789462701380 S TIT U T 9 789462 701380 > E SERIES Paulo de Assis Cover LOE blurbs.indd 1 12/10/18 12:13 Logic of Experimentation: Rethinking Music Performance through Artistic Research LOGIC OF EXPERIMENTATION: RETHINKING MUSIC PERFORMANCE THROUGH ARTISTIC RESEARCH Paulo de Assis Leuven University Press Table of Contents 11 Preface: A Transdisciplinary Conjuncture 19 Introduction: Experimentation versus Interpretation Part 1. Assemblage Theory for Music 41 Chapter 1: Virtual Works—Actual Things Rasch — The limits of music philosophy and the role of artistic research — Music ontologies: some problems — Beyond transcendence: approaching a Deleuzian ontology — Virtual works, actual things: towards a new image of musical work — Strata — Rasch25: . vers la nuit 71 Chapter 2: Assemblage, Strata, Diagram Musical works as assemblages — Agencement, logic of assemblage, assemblage theory — Intermezzo: a note on translation — From structure to assemblage — Strata — Diagram — Logic of assemblage Part 2: Experimental Systems in Music 107 Chapter 3: Experimental Systems and Artistic Research An epistemology for artistic research? — A methodology for artistic research — Hans-Jörg Rheinberger’s experimental systems — Thought collective and ensembles of experimental systems: MusicExperiment21 — Series of experiments and modules of research 123 Chapter 4: Epistemic Complexity in Music Performance Complexity and epistemic complexity — Epistemic complexity in biology — Epistemic complexity in technology — Epistemic complexity in music — Experimentation in music performance: how to make the future? 5 Table of Contents Part 3. Beyond Interpretation: Bodies-in-Action 137 Chapter 5: Transduction and the Body as a Transducer Transduction in music performance: relaying flows of intensities; — Gilbert Simondon’s various definitions of transduction — Discharge (potentiality); — Passage (time and temporality); — Energy (thermodynamics): potential, scales, entropy — Information theory: structural germs and singularities (structuration) — Haecceity: from haecceitas (Duns Scotus) to eccéité (Simondon) to heccéité (Deleuze and Guattari) to micro- haecceity — Topology: in-formation — Corporeality: somatic transduction — Permanent transduction: being-in-the-world and fluctuatio animi; 11. Conclusion 159 Chapter 6; Rasch26: The Somatheme The somatheme — Roland Barthes at the piano: musica practica — The impact of Julia Kristeva: phenotext and genotext — New musical concepts: geno-song, pheno-song, somatheme — Intermezzo: fourteen somathemes — The impact of Jacques Lacan: signifier and jouissance — Lacan’s desire — Situating the somatheme within Lacan’s graphs of desire — Conclusion: artistic research and transdisciplinarity Part 4. A New Ethics of Performance 189 Chapter 7: The Emancipated Performer: Musical Renderings and Power Relations Music performance and power relations — The dominant image of work and the problem of interpretation — The tacit authorities: Deleuze’s “Postscript on the Societies of Control” — Nietzsche’s three modes of relation to history: monumental, antiquarian, critical — A new image of work — The emancipated performer 201 Chapter 8. at the borders of time that surround our presence . What is the contemporary? — Agamben’s contemporary: Barthes reading Nietzsche — Nietzsche’s untimely: lost in translation — . at the border of time that surrounds our presence . — Artistic research as the carrier of the contemporary 6 Table of Contents Appendices 217 Appendix 1: Beyond Urtext: A Dynamic Conception of Musical Editing On notation and time — The urtext era — Urtext editions: an epistemological obstacle — Critical editing of music and different types of editions — Music editing and performance practice: a dynamic conception 225 Appendix 2: The Conditions of Creation and the Haecceity of Musical Material: Philosophical-Aesthetic Convergences between Helmut Lachenmann and Gilles Deleuze Helmut Lachenmann and Gilles Deleuze: an unconnected connection — Helmut Lachenmann: toward an aesthetico- structural methodology — Helmut Lachenmann’s three “theses” on composing — Gilles Deleuze’s diagnostic function of art, capture of forces, and body without organs: first convergences with Helmut Lachenmann — Helmut Lachenmann’s four conditions of the musical material — Gilles Deleuze’s opinion, corporeity, fold, and latitude: further convergences with Helmut Lachenmann — The conditions of creation and the haecceity of musical material: a philosophical-aesthetic Erewhon 245 Acknowledgements 249 Index 7 I am an experimenter in the sense that I write in order to change myself and in order not to think the same thing as before. Michel Foucault, 1978 Experimentation on oneself . is our only identity, our single chance for all the combinations which inhabit us. Gilles Deleuze, 1977 Preface A Transdisciplinary Conjuncture This book was primarily composed in the second half of 2017 and during January 2018, in the final months of the five-year research programme Experimentation versus Interpretation: Exploring New Paths in Music Performance in the Twenty- First Century (in short, MusicExperiment21), of which it is the last and final outcome. As one of MusicExperiment21’s outputs among many others, this book focuses on the musical- and performance-related conceptual achievements of the project. Thus, it is not about the project. It is not its summary, nor is it intended as its theoretical explanation, justification, or foundation. It collects the most relevant conceptual inventions I have made in the last five years, which have a certain autonomy and independence from the various performances, compositions, and installations created, as well as from the other essays and articles generated within the project, which also included texts written by other team members. All those other outputs, which expose the concrete practice of MusicExperiment21, and most of its artistic realisations, are available on diverse media and multimedia formats, such as CD, DVD, LP, and on the web platform Research Catalogue. They exist in a different space of inscription and representation, often conveying fewer conceptual and more sensuous aspects of the project. They are accessible online at www.musicexperiment21.eu, where the interested reader will find connections to and resonances with the ideas presented in this volume. Significantly, the concepts presented here would not have been articulated without the specific set-up of persons, institutions, and new configurations of systems of knowledge production that created the conditions for the five years of work that finally led to their formulation. Thus, to write about this book, its context, situatedness, and rationale, is to write about MusicExperiment21. This programme, funded by the European Research Council, hosted at the Orpheus Institute, Ghent, Belgium, and led by myself, developed foundational work in relation to the use of diverse notions of experimentation in music, aim- ing to advance
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