Traceable variables

Dec 31, 2022#muzik92

AI Translation

This post is translated from Chinese into English through AI.View Original

AI-generated summary

In John Butcher's solo, his ability to create variations is deeply felt. Variations occur on an improvised timeline, where one sound gradually transforms into another without fundamentally changing its essence. This is achieved through the manipulation of variables, erasing differences by creating numerous distinctions. The key is to maintain certain elements throughout all the sounds, such as a specific duration, texture, or frequency. Skilled players can make these transitions noticeable yet subtle, occasionally revealing them abruptly or hiding them swiftly. They can even create hierarchical structures for these elements, often unconsciously advancing during the production process. The adherence to certain elements can be referred to as rules, and their significance gradually emerges through this adherence. Noise, which lacks rule-based treatment, can still contain hidden rules. However, noise can also become part of the creation of variables and rules. Many works may appear as noise, but they contain active rules that contradict the meaningless nature of noise itself. Even if the volume is loud and difficult to listen to, it is still considered non-noise and seeks meaning. Conversely, in the creation of noise, it is possible to disconnect the variables from each other. This is more interesting but also more challenging, as the improviser needs a god-like perspective to consciously detach patterns from history, constantly break them in the present, and prevent the formation of new patterns. This continuous observation, contemplation, and disciplined perseverance inevitably lead to the formation of meaning on some level. Where are the loopholes to decipher this meaning?

In John Butcher's solo, I deeply felt his ability to create variables. The performance of variables on the improvisational timeline is a transformation from one sound to another, but fundamentally there is no difference from the initial sound. The so-called lack of difference in essence is because the variable operation has erased the distinction. The key to creating a large number of distinctions and erasing them fundamentally is to maintain certain elements in all sounds. These elements can be one thing or can switch during the production process, such as a length of time, a texture, a frequency. Different textures can be produced within a certain length of time, or similar textures can be produced in different lengths of time, and different frequencies can be produced from similar textures. Skillful players can make these transitions traceable, yet obscure, and even suddenly reveal themselves at a certain moment and then hide away quickly. They can even create a hierarchical structure for these elements, and this creative process sometimes happens unconsciously during production.

We can call the maintenance of certain elements "rules". Meaning usually emerges gradually through adherence to rules. Anything that is not treated as a rule is noise, even if it contains passive rules. However, noise can become part of the rules in the creation of variables. Many works appear in the form of noise, but the active rules that exist within them contradict the meaningless nature of noise. Even if the volume is loud and difficult to listen to, it is still non-noise and pursues meaning.

On the other hand, in the creation of noise, variables can also lose their connection. This is more interesting than directly reproducing noise, but it is also more difficult to achieve. In the flow of time, improvisers need to have a god-like perspective to consciously detach patterns from history, break them apart in the present moment, and be cautious of forming new patterns in the process. And this constant observation and contemplation, the practitioner-like perseverance, inevitably forms meaning on some level.

Where are the loopholes to deciphering such meaning?