Visual Arts Catalog

1- The Collective Response (collages/drawings)
2- Women's Psychology (collages/drawings)
3-Heavenly Accord (collages/drawings,etc.)
4-Dyna-Grams and Art Transplants (collages/drawings,etc)
5- Astral Bodies (tempera on gloss paper)
6- Sunrise/Moonrise (watercolors)
7- with watercolor (watercolor/ pencil)
8- Logik (collages/drawings,etc)
9- Buddha Log (maps, photos, cutlery and instructions)
10-Der Gockler (photo journal)
11-Acceleration of Perceived Hues With Regard to Amatory Blush. (photos, mixed media)
12-A Metabolic Primer - Imponderable Bodies. (illustrated handwritten text)
13-Per Omnia Occulum Occulorum (collages)
14-Pan American Limbo (boxed geomantic instructions)
15-Lovely Forces and Materials Exchange (drawings)
16-Configuring the Animal Body & Other Collages
17-Carbon Love (boxed set of carbon actions)
18-Turn Left at Infinity (collages/drawings)
19-22- DRWGS
23-Lioba Laughs All Day Long (illustrated book)
24- The Ideal Curve (drawings)
25-An Archetextual Digest - A Map Of the World In Sixty-four Parts.
26-Porosity (illustrations for the text)
27-The Philosophy Of Disappointment (illustrations for the text) 28- Unassembled: Lost Assemblages, Unfound Objects, Not-Ready-Yets: The Wittenburg Mosaic (organ keys bound in red, yellow and white thread) b) Jars (bottles filled with pollen, assorted toys, honey and ballet slippers) c) Semi-Opaque Mosaic (glass embedded in epoxy matrix embedded in cement squares) d) ElectraShield (disassembled leaded glass) e) LamP (installation of suspended industrial lamps) f) Nonocordium (piano wire installation stretched diagonally across large space) g) Square D (painted breaker box) h) De lay! (broken mandolin with gold stars) i) Kitty-Katcher (painted wood swing) j) Blue Horse (rocking horse with eye mask) k) Realignment (osteopathic table embedded with broken glass) l) Queen of Pieces / King of Parts (costume jewelry and hub caps in silk) m) Deluxury(toys, photos, socks, etc.) n) Adjusting the Zodiac (telescope with aluminum mobile) o) GALAXY Z (carbon, metal, gouache) p) EarHERE (sonic indications for everyday objects)

MONOPRINTS:

29- a) Untitled Yellow b) Untitled Pink  c) Untitled Horse d) Large Green Girl
e) Christine (strawberry)  f) Untitled Phantom g) Mrs Quick h) Untitled Perch   i) Stuart Sherman Throughout The World j) A Third Of November  k) Nadir Navigator l) Lauzert-dessert


30- COMPACTED PAINTINGS ON PAPER

1. a)R-s  b) Evening Aquinnah c) Little Bird d) Heart Sutra e)Selves Portrait   f) Catskill  g )One Fish, Two Fish  h )Emerald Flower  i) Green Girl  j) New Blue k) Summer Night l) Summer Evening m) Spectral Motion n) Leftover Moon  o) Pressure, Suspension & Permeability p) Alphabetical Succussion  q) Color Chart for Labyrinth  r) Multiplied By Six In Order To Become Music  s) Prism t) Stream Studies 1-4  u) The Life of Bees 1-13  v) Double Double
   

31-Eighteen Forms Of Extension As Nineteen Drawings on Paper:
a) Set b) Oxidate c) color wheel  d) 3 PINS e) blue Wave  f) Divided Umber  g) #2 h) Untitled (Buds) i) tightening/loosening  j) set2   k) Ecliptic   l) Blue wave2
m) Left   n) Edge x 3 x 3   o) How We Spin 1-3  p) Stretch Left  q) Line

ASSORTED:
32-The Appearance Of The Angle As Distinguished From That Of the Ray
33-Smaller (a-z)
34-Faster, Without Accelerating (pencil/benzine)
35-Walking Through The Heavens (collage with copper)
36- Four Cosmo-emblemata (encaustics)

37- ASSEMBLAGES

1. Angel Bound (wire box, glass pharmaceutical dispenser, steam valve, aluminum ring, bent spoon, miniature photo reproduction).
2. Anima Planet (painted wood, aluminum and steel).
3. Anterior Chamber / Posterior Chamber (wood with plastic blocks, aluminum, copper, lead, silver, tin, steam valve, exposed photo paper).
4. Vaporizer (iron, copper tubing, glass pharmacy dispenser).
5. Saturn Recollection (gyroscope, magnifying lenses, mirrors).
6. Circulation 8 (wood, glass, lead, gold foil, paper).
7. Queen-step (plastic on lithograph).
8. Wedding Dance  (painted wood, steel pulley, photo negatives).

9. 9.Circulation 2 (painted aluminum, foam, marbles, mirrors).
   

10. 10.White Music (painted wood, plastic, aluminum, linoleum).
    

11. 11. Ab Ovo  (glass in corked glass alembic)
    

12. 12.Milk Of Venus (copper, beeswax).
    

13. 13.Three Sisters [lost] (magnetized steel, glass, pole bushings).
    

14. 14. LM (Oil and checkers on plywood)
    

15. 15. 82 x 5 Divided By... (dried yarrow stalks, watercolor and cotton).
    

16. 16. Copper Stoppages (painted wood copper foil, paper).
    

17. 17. Fluidity Kit (aluminum, copper, tin, glass dispenser).
    

18. 18. Saturn Crossover (electrical tape, painted wood, brass).
    

19. 19. Compression Chamber (steel vise, aluminum, wood, brass).
    

20. 20.To Robert Fludd (painted steel cage, leaded glass, copper).
    

21. Wedding Loom (looming needles, hreaded wooden spools, steel compass, graphite and felt)
22.Systolic - Isis (leather, hammered copper, paper)
23. Systolic - Osiris (leather box, steam valves, painted paper and ink)
24. STOP at > Cook  (varnished copper wire, plastic spool, kitchen timer, painted blocks)
25. A Circus For Basil Valentine Part 1: Heart-Charge (painted wood, gold foil, glass jar Part 2: geometric forms in glass case, misc. ceramic debris)
26. IKON-o-KIT (paper, brass, photo negative, lead, dried plant buds)
27. Novena (wood candle holder, wax, rosary beads, elastic garter) 
28. Grace Under Mars -Bell Housing (painted steel housing, aluminum)
29. Melusina Oxidized (painted photo, aluminum cylinder, elastic coil)
30. A Finger Alphabet (chalk and pastel on slate board, copper)
31.Vestal Blossom (aluminum, brass, tree limb)
32. Hydrogen Portrait (copper sheet, steel on wood)
33. Low Space System (copper, steel cylinders, painted wood)
34. The Transformation of Money (assorted coins, inscribed aluminum plates)  
35. Horse (clay, glass, gold foil, woven reed)
36. Ten to One As Four to Seven (painted clock, ink)
37. Planetary 2sq (oil, ceramic plates, carbon, plywood)
38. Planetary Chamber (painted aluminum, glass on mirrored glass)
39. As Happy As An Electret Gets (gourd, aluminum, cardboard)
40. Vo-Vo (bicycle seat, wire, sunglasses)
41. Planer Mobile (aluminum, gyroscope)
42. Systems-mobile (aluminum, glass, gyroscope, lead)
43. Color Theory Apparatus (altered spinning top on metal stand)
44. Metal Bendy (ad hoc assemblage)
45. Disemboweled Spirit - (geomantically configured shoes, maps, toys)

46. 46.Galaxy (oil, and milk on plywood) [blue and yellow rings]
    

38 - LARGE MONOPRINTS:
a) Torso
b) Madonna
c) Bud
d) Leaf
e) Cobalt Violet Forming
f) Of The Character Of A Red Called Red Lead
g) Procuring Red Sulfur
h) Sunrise S
i) Boy
j) Calcination Of Luna and Sol


ASSORTED LARGE COLLAGES:
39-Ghost Solo with Reclining Nude
40-One Lit Port Of Georgia O
41-Trout Negative Through Big Red
42-Nût's Belly
43-apple/2
44-Vagina In The form Of A Galaxy
45-Venus Processor with Extractum
46-July and bird filling mug with its own droppings
47-(horizontal) galaxy 7
48-(Pianist) No Hands
49-vertical port (green)
50-Angels In Noonday Sun
51- Funnel With Vega
52-Pianist, No Head
53-easter Head
54-Æther Imag0 (chalk)
55- (with) GIRL (with) Spores
56-Standing For The Right Eye Unseen
57- Crossed XX ++ (carbon on rice paper)                                   
58-Subjective Halo Between Light and the Living
Surface (gouache and pencil)
59-Light Journal (egg white, lemon juice,holy water, milk and spittle)

60-Visible Dreams, Invisible Actions
61- a)-m) Twelve +One Meridians (pastel on paper)
62-a)-l) Tropic Of Madonna (12 collages)
63- a)-q) Eighteen Plant Studies
63-Aurum Lemniscato (collage)
64-gold Flow forma (collage)
65-silver Flow forma (collage)
66-Argentum Lemniscato (collage)
67 Facing down (pastel)
68-This Magic Moment (oil)
69-eyeondusseldorf (latex on paper)
70-angled by fingertip to dowse horse head by crab orbit at two

71-Copper Process ( Curvature; Easy Pieces; Step and Angle; Lover-girl)
72-Crystallization (blood, copper sulfate, oil)
73-Two Day O
74-Luciferry (oil and transparency)
75- Wave Calculus
76-Aether Organization
77- Double Whirl
78-Star-map Flag
79-Oh Oh OOO
80-Fallopiana
81- Ray & Two Friends
82- West Village Octagon
83- Saturn (+ Funnel) Conjunct Vega
84- Red Sunday (enamel on newsprint)
85- Arc By Angle
86- Constellation - Duchamp Ascending
87- The Re-done Homers
88- Motion Face
89- A / Ph, M
90-Tone Row with Zero and Yellow
91- Sleep
92-Sleep 2
93-Bud's Two Suns with Rays
94-Silver Girls
95- The Golden Charges 1-18
96-Landscape Of The Metals
97-The Sky Must Be Crazy
98-Elemental House

99-Urine = Sky Substance (Atlas Of Astral Geography) 
100-Red Throughout the Year (booklet)
101-Moon Atop New Sun
102-Italiac W (colored words on calendar)
103-See-Through (large black negative)
104- Erasing Culture (illustrated text)
105-T-GRAPH (aqua tint on Bähr's Polar Hand Chart)
106- Star Map (trace paper over graphs)
107- Color Assumption Given Over To Disappearance (assorted drawings)
108- a)-f) drawn-overs (painted photos)
109-Homunculi (human skeleton with applied cut-out photos of body parts)
110-Divining Rod (copper rods in geomantic configuration)
111- emanation (S>7>>7xx/33/-3//7S)
112- Buddha Urinating
113- Strange Black Object Over Right Eye
114- Honey-girl
115- Honey-Lead-Blood
116- S- part 2
117- Are Gases Like Angels?
118-yellow Orbit (wax, iron oxide and pencil)
119-It Seems To Be A Pike (tempera on paper)
120-BYZANYIUM (tempera and gold leaf on paper)
121-light goes to the 10,000 things
122- Stag (tempera on paper)
123- GOLD<>FISH (tempera and gouache on paper)
124- Cherries (tempera on paper)
125-SNOW<>FISH (tempera and raw egg yolk on paper)
126- from the back with tail wagging (tempera)
127- Plane (tempera on paper)
128-LUCKY FISH (black negative film transparency)
129- Untitled Crow (tempera on paper)
130- SwimFish (pts 1&2 upper/lower tempera and carbon on paper)
131- Fruits of a Circle and a Circle (tempera)
132- 137- Untitled Iron Oxide/Manganese Oxide (on paper)
138-Untitled Fog (gouache and pastel on darkened paper)
139- Ulm a Go Go (gouache on darkened paper)
140- Manchester Park (gouache on darkened paper)
141- Smithson Park (tempera, carbon)
142- enters into body giving off its effects (pencil, egg)
143- A Short History of Unexamined Will (monoprint)
144- AirPort1 (tempera on gloss poster paper)
145- AirPort2 (tempera on gloss poster paper)
146-Sandy Hook, New Jersey (tempera and origami paper)
147- Right 30 degrees (tempera, pencil on paper)
148- =Moon (mixed emulsion on paper)

MONOPRINTS with MIXED MEDIA:
149- (Combustio Adare Milano)
150- Carbo vegetablis (ghost)
151- D'Oro Laminato
152- Silica Motion
153- The Black Raven Damage
154- Cotyledon (whorl)
155- Helleborus elemental
156- Somare/Semenza
157- cotyledon-2-whorl
158- visita interiora terrae
159-Orange lemniscate
160-Terce Lemniscato
161- Levico-Vetriolo (cotolydon)
162- Ascenciona Calyx (Ghost)
163-Carbo Calle (fossil)
164- The Green Lion Tract
165- From Their Mouths Flows A Golden Juice
166- The Rose Offers the Bee Its Honey
167- Iliaster, breath-like, vaporous
168- Fungi de Panna Rota
169- Biodynamic Matrix
170- VITRIOL
171- Here A Body Has Two Heads
172- In This Bath Our Body Does Not Get Wet
173- The Two Sulfurs
174- Calcination Is the First Step
175- Here Stands Sun and Moon
176- (Cobalt Violet Joining) Urpflanze
177- Combustio Adere 2

LARGE PAINTINGS -oil, latex and carbon on paper:
178- the overtaking of Venus and the far planet
179-This Is My Boat and I've Come Back For You
180- Refract O and X
181- Dividing Warmth
182- Adam Caedmon
183- Skull
184- Bud
185- Gold Charge Onto Itself
186- Pleroma
187- August and the Bottom of Love
188- Ether Chamber/Heart
189- Alembic and bud
190- hieroglyph
191- Erasing Erebus for a Different Dark
192- Yellow Man
193- Flower/blue
194- Flower/leaf/red
195- Leaf and Double                                                                               
196- Cape Hatteras-Green/Yellow Hexagons
197- Bud &Calyx
198- Hanged Man
199- leaf/double2
200- Saturn
201- Old Sun
202- Remarks on the winter zodiac
203- Light Ether between Plant and Sky
204- Boy Eyeing Bass
205- Retina By Ghost Between
206- Hermes Once, Twice
207- Minnows /Obsession
208- Blue Orbits

209- Germination
210- Sympathy / Antipathy (with zodiac)
211- Lachesis [serpent secretion]
212- Wet Bass with Nine Senses
213- Crossing Bodies
214-yellow jugglers [Form Becomes Form]
215- Blue Men
216-Spelling Blue
217- Old Moon Angel
218- Coming to Calyx
219- Peeked, She
220- Beach Party
221- Hdsn Rvr Fshs
222- Untitled - Yellow Motion [Farina collection]
223- Vanishing Twins
224- Falling Salts
225- Untitled Fish
226- Solar Angel
227- Mr Blake's Universe
228- Meteoreisen
229- Calyx Yellow
230- Sulphur, 2 Charges
231- Sulphur In Albedo
232- Thought Sulfur, Sense Sulfur, Active Sulfur
233- Orbit Love
244- El viento es un caballo
255- Madam Blavatsky's Room

NEW WORKS  & VIDEO PROJECTIONS (2008-present))

256- Gallery of Negative Spaces [fold-out booklet]

257-Expo of Invisible Art [boxed exhibition]

258- Happy Holidays: A fun look at celebrating

259- The Queen of Bees

260- Synesthesia in the Words of Budh & Ray

261- Without a Full Deck

262- pollen under her feet

263- sun under ground

264- unveiled as it is untouched

265- Psychometry and Total Recall

266- Dealt to the Left Hand

267- Smaragdina Reverberation Play Set

268- Think Asian

269- Collected Billboard Mantras and Displays

270- jumpalahiriland

271- Appearance and Devotion: Structural Splendor In Figurative Fashion

272- OUROBOROS

273- Fiction and the Errors of Life

274- The Serenity Repository Project for Unwanted Art

                              

                         ____________________________________________________________

Sound Arts Catalog

                                                   score excerpt for Music for Unaccompanied Feedback

Toy Piece for Real Piano

The Road to Freedom

Program Sonatas

Romance

3Pieces

A whish

Lifting Hands

Divestimento

Investigation of a Blank Piano

That Funny Dream

Ripe and Rumble

A Teacupful of Tonality

Last Sleep

Serenade

Cranberry Isle

Nocturne

Tracer and Reverse

Tracer, No Reverse

Tracer and Rever

Music for "The Sea Gives Up Its Dead"

Organ Preludes

Ray Coupling

Ray Coupling 2, 3 and 4

Tyndall Effect 

Kea Tawana Sails A New Ark

Antiphonal 

TrianGles & Texts

Mantra For the Corners of the Mouth

20 Two's with 1 Three

88 Things

56 Things

28 Things

BUZZ

40 Diagonal Songs

Circle Out, Bound

12 Short Erotic Pieces for Soprano

Tyndall Effect 2

as in with which (the chargeable)

7 Breaths and An Interruption

A Speakers Future

Sirens Treading In the Wake of the Moon

Rounds

A Phenomenal Alphabet

Aria

A Violinist's Future

She Spreads Her Eyes

The Coming of May

Erasures For Orchestra

Wu-men Kuan

Tone Row with a Zero

Constellation

Pan-American Limbo

Feb 10th

6 Hands

Psychic Waltz

Anti-climax

Bell Centering

Mantrartnam

Zircone by Donatello

Nigel Goes to Reykjavik

Quarter Moon Hocket

Gases & Subtleties

#2 Pulse

18 Sounds

All Rights Unreserved

Land of the Free

The Greatest Cymbal

Assorted Spouting Techniques

Drum Set

burdock s thistle s whistle s

Somnambulism for Double Bass

On the Death of a Mathematician

First, There

3 Marimbas

Dances and Emanations

Six or Seven Dances

C waltz

Dances In the Form of A Head

Fin-Far Afar

1/8 of 82

Seconds in June

12 Electronic Preludes

A Teacupful of Tonality

Love Throws Caution

M to Luminosity

Prowerlux and LuminositySamba

The Shooting Spheres

Rewind

Water Dance

Alain De Lille

West From Lou

of Noon

First From Flux

A Mantis Carol

What's Sad that Cannot

Conversation and Dance with 2 Tall Girls

Lobsters Waltz

Kommerz Mit Kurt

Of the Character of a Tracery Called Edge White

Music for the Lost Film

Dance In the Form of Yet Another Head

Music from the Breath of Tara

On the Origin of Gravel and Stone

More About Meteors

Of the Character of a Lead Called Red Lead

The Family Ladder

July and Into the Body of Birds

The Heart of Hearing

Heat Studies (soundtrack)

Magnetic Variance Transition

Vertical Scores

Movement and the Rest

Appearance

Five Natural Things

Bending E

About: Gradual

A Cement for Venus and Mars

B Before

The Saints Have a Time During Which They May Exist

On Warmth and Dissolution

Voluntaries On a Cadence of Conlon Nancarrow

The Electric Ocean of U P

Big Bright Things (an Electronica holiday)

One Breath Bardo (with Charlie Mendoza)

Maps for Dreaming (with Chris Lane and Joakim Lartey)

A Little Danger Music

Exercises In Dangerous Delights

Thinking With the Lights Out

Up In the Air... Stars Below You

A Larger Look At Less

The Briefing

Surfacing

By Chance And Appointment

M >M

Polyphony

A Valentine for Pierre Schaeffer

Spheres

Origin of Music

Outstanding!

Otherwise It's Not a Melody

A Unified Field of Attention

82

Variations on a Cadence of Conlon Nancarrrow

Diminishing Chord

The Cow That Sees With Her Ears

T-O-M-A-T-I-S

The Voice In The Box In The Valise

The Deleted Words to the Just-Maybe Preludes

AGAIN: Music from fEEdbAck

Dowsing Music (the other side of chance)

Duet for a Reader

Remembering the Present Tense [soundtrack]

Symphonic Musics with Ad Lib Drum Tracks

Descants

Music to The Geographical Outtakes from Lawrence of Arabia

Symphony For Non-Players

Music for Unaccompanied Feedback

A Body of Drops and Winds (available at amazon.com)

In This Bath We Don’t Get Wet (available at amazon.com)

Sendai 11-3-11 14:46 JST

__________________________________________________

Aalpha Magazine
Interview with Andrew Franck

AM: To begin with, many of your works are physically almost transparent, as though the sculptural elements of the music are the only thing that hasn’t been removed.

AF: Yes, the transparence you're referring to is a way for me to apply more and more concentration within the act of listening.

AM: Then are your works the result of a concentrated effort asking others to concentrate, to stimulate that kind of awareness.

AF: In a manner of speaking. Listening is intending the ability to be available to what can get heard. Even needs to be heard, I might add. More and more, in a world of much noise, intending what gets heard is crucial in that we are always composing our listening. But, no, I make no effort to prod anyone to that place although I believe beautiful, unusual sounds or surprising or nearly inaudible elements can capture the attention, perk up the interested ear.

AM: Composing our listening?

AF: Yes. Look, there is no such thing as silence. Silence is a metaphor for the state we allow ourselves when we deem nothing needs to get heard. There is no silence. In an anechoic chamber (an acoustically soundproof environment) you hear the low tone rush of your circulation; you also hear the high pitch frequency of your nervous system. In the dark quiet on a lake, water receives noises from air bubbles below causing the softest pops on the surface, almost like lips opening first thing in the morning. Even in the dead of winter you can hear the cold if you pay deep attention to changes around you. It sounds preposterous but then what we're talking about is listening. What does composing the listening mean? Well selectivity for one; what we allow to enter the threshold of our attention. To that effect, we are mostly always composing our listening. You cannot do otherwise. Simply walking down the street there is a foreground and background to the world of sounds, and these can intentionally be switched. Most of us discriminate sounds into interesting and uninteresting, soothing or dangerous. Many of this is valuable for safety's sake but much of this is simply our running stream of half-heard listening. Altogether, this is the piece or composition of our life in the making.

AM: Do you think music is mostly subjective because of that?

AF: Not at all. Or I should say, not only. But I prefer to leave subjective and objective in terms of music out of the picture. There was a book out--I believe the title was "Musical Hallucinations Among the Deaf"-- I think that title about sums it up, although hallucinations is probably not the best word for this kind of phenomenon.

AM: This brings up the nature of sound. Any ideas?

AF: Sound is extremely physical. I mean, of course, the apprehending of sound. The senses are very physical in their apprehension of the physical world. Bone to bone to membrane to neurons, sound can't be understood without understanding the whole ear. The ear is a microcosm for transducing external life, living in relationship to the entire skeletal system, allowing bone and air to meet, allowing outer and inner life to mingle. It is all very beautifully talked about in Alfred Tomatis' book, "The Ear and Language". The nature of sound physically brings our inner life to meet sensation. Sensation made conscious brings our attention into the field of intent. The rest is transparent.

The nature of sound is woven within the elemental field of expression in which we live. Additionally, we are constantly organizing ourselves into a kind of unified field of attention. Attention is one of the more beautiful forms of consciousness. By attention we marry the outside and inside of experience.

AM: What would be the "outside of experience"?

AF: The not-yet heard. The not-yet perceived.

AM: And the "inside of experience"?

AF:The already-heard, the listened to. When these two, the outer and inner of experience are joined the attention is forming. You see, attention is metamorphosis, it is life coming to meet itself, and in doing so grows more complex creating a tracery of consciousness from outside in as well as inside out. A unified field of attention I would call it. In Plato's "Philebus"  we hear that all things that are said to exist consist of a One and a Many and contain in themselves the connate principles of Limit and Limitlessness. This simple statement can stop most speculative chatter. It's about the unified field of attention; within and without experience there is a perennial conjoining, life meeting its horizon and capitulating to where it never could've gone before.

AM: As a composer did you directly study with anyone who had a lasting influence on you?

AF: In the early seventies I worked with Philip Corner who loved sound events and ritual. Philip invited me to join with him and others to form Sounds Out of Silent Spaces. Sounds Out of Silent Spaces grew into an ensemble which would create a new performance every month down at Elaine Summer's Experimental Intermedia loft. What I studied with Philip was basically care and attention. He really took care to let a compositional process unfold. He let things happen; there was a lot of interactive composing, group interweave and on-the-spot surprises.

Over time, the activities took on so much beauty; we cared about each other's musicality.  One didn't push the ego down the collective performance's throat. Every once in a while, someone new would visit and join in. Either they were intrigued by the process and would gently enter, subtly altering the material, or else they might be so in their own world. In the event of the latter, most everyone else would stop and without criticism just listen, waiting for that person to finish their personal musical expression. It might be a rant of some sort; it was OK. For the ensemble, it was an act of compassion, attention to what pulls things apart or begs to be noticed. I think we all grew the wiser for it.

Once I invited a friend, an artist, to come. The ritual involved preparing sesame seeds by toasting them in order to make what would become a honey-sweetened confection. Some of us had woodwind instruments, others bells, others had nothing, no instruments, just voices. We slowly walked around a huge cooking kettle playing or vocalizing extended drones, which were punctuated by high-pitched bells. About twelve performers were there along with fifty guests. After about an hour the guests joined in starting walking around, started helping prepare the sweetened seed mixture. Someone brought a bag with dozens of silk scarves inside. They handed them out. In slow motion everyone started making these wonderful long ribbon-like gestures with silk. It was growing dark; candles were lit. Afterwards, the seeds and honey and dried fruits were done, slightly burnt. Smiles flowed. No one objected. Everyone handed each other dessert and gave long low breaths of thanks. Later, my artist friend said that after she let go of the thought that she was at a performance, let go of what to expect, she felt as if she were entering what she called "heaven". This is what studying music is all about. Care, attention and the relationship to experience that lets our higher existence unfold. Especially how we perceive our making of existence unfold. I thank Philip and all those for that.

AM: But what about the individual composer's need to create, especially in their image and likeness and their ideas?

AF: You know there's nothing inappropriate with that, to create something beautiful, awesome, or terrifying... and create it alone. To invent. I still find myself composing or what looks like composing music for dance or small groups. Music is not limited to ideas, not bound to understanding. That's the good part. So, more than anything is possible. Music has elasticity whether coming from a single source or a collective soul.

Basically, expressing how you intend your attention is the concern. Whatever happens will, even if in small ways, change every time. That can be very surprising

Music is less and less being written. Notated, that is. World music, rock, much modern music (avant-garde is practically pejorative at this point) doesn't need to be written. Music can come from the moment given. A bit like game planning. And sometimes that is the composition: the game plan. Or improvisation, which is usually to a large extent governed by context, but lets the musician travel throughout the context. And then, much music is simply recorded, the recording being the artifact.

AM: When did you first meet John Cage?

AF: Well, I spoke to Cage back in 1972. On the phone actually. I was preparing to give a performance and wanted to include his Variation IV on the program. I discovered the Peters Editions score of his work, the published score for the piece; it consisted of specifics about instrumentation, instructions and several sheets of transparencies on acetate. Peters was charging a ridiculous amount of money, the equivalent of fifty dollars today. I was appalled. I was also quite young so I made it a point to talk to the composer myself, voicing my complaints about the price of his score; how did he expect musicians (usually with no money) interested in performing new works when simply the scores themselves were beyond their reach? Cage was very gracious to me. We had a long conversation about economy, community involvement, libraries acquiring scores for loan, music in New York, etc. I found his voice to be so different than I expected. It was high-pitched and gentle, very gentle. I was disarmed from the beginning. By the end, I thanked him and hung up with Philip Corner's phone number. Cage effectively introduced us.

AM: Any other meetings?

AF: Oh, sure. I met him at quite a few of Charlotte Mormon's Avant-Garde Festivals. At Experimental Intermedia as well. Even on the street. We'd speak and chuckle. He was always happy to talk about what he was working on, hear about what others were working on. I saw him at the Museum of Modern Art's Summergarden music series in the outdoor sculpture garden, a few days before he passed away. He looked very frail, as if he were ready to leave. His music that night was perfect in the outdoors, especially with the sounds of the city. I was reminded of something he wrote: the very practice of music is a celebration that we own nothing. His is death, I felt, was such a celebration.

AM: Now before the mid-nineties you wrote much music with melody, tone patterns etc. along with experimental music. You worked with very conventional sounds as well as with unconventional sounds, like the synthesizer, in recognizable harmonic forms, sometimes for film, sometimes for dance.

AF: Yes, I had a long involvement with my "Dances and Emanations". These began as a series of pieces for synthesizer that experimented with timbre as form, really experimenting with timbre, then using timbre to unfold melodic content. Gradually, the timbre changes became important enough to the substance of the work that shifting resonance became the piece. Oftentimes, there might be some world-music elements or microtonality as references, but the closely shifting tone color was the heart of the piece. Timbre isn't usually used that exclusively to create form, to my knowledge. At any rate, between the many pieces and influences I felt that I was exploring a land of pure music adventure. Many of the "Dances" were used by various choreographers over the years. The kinds of pieces Dances and Emanations are to my mind, a way to apprehend how there is movement within the sound that is inseparable from the heard sound. Well, at least the dancers were often delighted.

AM: What influences were you referring to?

AF: Oh, Lou Harrison,  Harry Partch, Iannis Xenaki, Bretagne music, Hawaiian slide steel guitar. Some composers I always love to listen to are Mauchaut, De Lassus, Domenico Scarlatti, Cantaloube. And especially Morton Feldman. I listen to a single Feldman work for days on end. I enjoy the film scores of Bernard Hermann and John Barry. The use of tonal reverberations from unusual acoustic spaces fascinates me as well.

AM: For example?

AF: Well, sounds in a large bathroom in their own way reverberate like a mini cathedral. Max Neuhaus did some pieces in a swimming pool that come to mind. Also apartment staircases make for unusual reverb. You can hum in them and sometimes the delay and sustain allows you to make chords. My own Tyndall Effect is based on this. Getting back to influences, I should say they exist everywhere, at all times. A childhood memory, or the way someone bows a cello can be an influence. Foods and smells are influences. Kurt Schwitters collage work was especially an influence for me. Paul Nougé once said that we cannot escape music. Well, we cannot escape influences either. It's also healthy to be a bit disinterested in influences, to be open to surprises when expression isn't a motive in itself. Extra artistic elements coalesce and we include them. Surprise! I suspect a work by Robert Wilson is like this in its formative stages. It gives us the opportunity to get artistic with attention to life, to so-called random-thoughts, accidents, reverie and serendipity.

Once a friend of mine had a gall stone problem. Now, I'd previously heard that another friend had successfully passed these kind of stones by using small amounts of olive oil and lemon mixture then gradually increasing the quantity. I mentioned this to the distressed friend. I was surprised a couple of weeks later when the friend called and said they were really feeling worse and could I come over and take them to the doctor's. When I arrived I noticed some olive oil in a tumbler. She said that she had five full tumblers of those the day before and the day before that but could stomach it no longer. Of course, I was shocked. Her idea of a small and gradual increase was different from most ideas, most common sense. I'm not sure, but I think that was supposed to be an example of not enough disinterest in influences.

AM: Would you say something about your composing, your scores?

AF: I trust the syncretic effect of sensing and memory. Words, music, pictures all figure in the landscape of what music is all about. The idea of pure music is a lovely thought. The purest music I've ever heard is probably La Mont Young's, "The Turtle His Dreams and Journeys" and Alvin Lucien's "Music On A Long Thin Wire." These are beautiful works, very pure in the sense of intent. They are also experiments of a sort. Every composition that figures to explore boundaries is an experiment. If visual art or poetry comes into play I don't believe extra-musical elements detract or spoil the process. I saw a bulletin once announcing a conference entitled, "Initiative Toward Creating the Free Tone." What attracted my attention originally was a photograph of a cathedral relief from France of an angel and shepherds. The visual drew me further into the concept... and the concept is extraordinary. Imagine that: the free tone and an initiative toward creating it!

I think a score can be anything. It serves to focus you, remind you either loosely what to play or rigorously to denote the utmost of an intended performance. At times, I've programmed the computer to retain improvisational parameters then used its random access memory to be the score.

AM: You went to Manhattan School of Music briefly. What do you remember about the conservatory?

AF: The two things that stand out in my mind are first, being fascinated by percussion. I went in there as a pianist and left with a passion to bang on things. I hung out with a lot of percussionists. The other thing was that I became friends with a number of wonderful musicians. The composer-cellist Arthur Russell for one. We were both long-hairs experimenting in a rather conservative forum. From time to time one could get to perform one's own works in front of the whole scholastic body. Arthur asked me to perform a work of his with him for two pianos. The work was conceived around counting one's heartbeats through a stethoscope strapped tightly onto the chest. Very few sounds, lots of silence, long, very long in duration. Well, the reception wasn't all that gracious to say the least. Afterwards, however, Elias Tannenbaum, who nursed in the school's fledgling electronic music program, came up to us and said, "You know, you two, you really wax mystical." Arthur and I were delighted. I believe we both left the place soon afterwards.

AM: Karlheinz Stockhausen among others has spoken on the future of music and sound and the shift toward a cosmic music. Any thoughts on the future of music?

AF: The future of music? Hmm. I remember the composer and bandleader Sun Ra who, with his ensemble, recorded an album entitled "Its After the End of the World." Well, that notion expressed in the title is a very freeing notion when thinking about the future of anything.

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Performance  Art Catalog

A Canon of Luminous Forms

A Child Grows to Galaxy On Fire

A Closer Look At Less

A Darkness Backlit By Black

A Harp From Mars

a hundred visions

A Luminous Day's Night

A Privately Public Moment

A Sphere Is Born

A Tone Inside the Bones

A-V-E

Absolute Silence Absolute Sound

activated in the presence of new carbon

Adam-Kadmon

afterlife in the present

all (AT) once

An Aural Architecture

an average number of ingredients

Angels Are Not Others

angels present by form and design

Angina Means to Release

Antonin Artaud Enters Heaven

Archetexture

As the Beehive So the Love

Blue by Green

Breath and Gasp

BUDBUDBUDBUDBUD

Buddhi Reassembles

Buddhi shadow puppets

burthswhl

but for silence

butoh offering

Butoh's Busy V-Day

Butohmaniap173

Catching Grace

Changing the World

Chronicle of Dissolution

Circle Out, bound

Conceiving the Imponderable Moment After the Midnight Hour of Existence

Contents

Cosmic, Lemniscatory, Limitless

created carbon

dagger moth

dance

dance folded over

Dances for a Summer Afternoon

darkness descending a staircase

directly splendid

Dissecting an Onion

dream-word forever

Dûmo Love Songs

Eighty-eight 88 Things

Elephant Seed Canon

equinox

Erasing Cultural Nostalgia: The Outside of Longing

Esoteric Albumin and Free Will

excerpt and edit

Experience of Fingers and Alphabet

“exultation / anguish”

Feeding Bells to the River

first spring second fount third pool fourth well

Fish Dance

For a Constellation Yet To Swim

for three performers

form in whichever setting

Four Flights

From Drop to Sphere to Snowflake By Silence, Liquid and Love

from stillness here

from the Last Days

Glass On Wall

Hand Dance For Torso and Thighs

HEAVEN / KU

Hermes-cadence

Hocketing Rant On “Fuck”

Homage to Pythagoras

How Did Rudolph Steiner Think? How Did He Dream?

How To Curate the Skin

Hydrogen Portrait

I Look Into Your Eyes While You're Next To Me

Imageless Mandala

imagine it to be Christ

In the Tracks of the Leopard

In This Bath Our Bodies Don’t Get Wet

Increasing the I while disappearing the "me"

Inner Limb — Heading Out

in-tone, orange, ahh 

Kulturgeist: Dreams of Culture, Nightmares of the Day

let in the wild

Lilium superbum

L-Sound Dome / Dance

Love is the Crossing of Two Different Winds

Machine In Unfinished State

maitreya

Mantras For the Corners of the Mouth

Metaphysical Ballet

My Father

My Head’s Inflamed With You

My Smile With the Soul of the World

Noh White Rabbit

Old Poems For Sale

One Line Turning

Ound Round Buddhi Round BuddhiR

Our Dinner with Merce

painting the desert

Passing the Head

Portrait of the Artist Without A Face

)Purification

reductive lens

Round Dance

Sendai 11-3-11 14:46 JST

Seven Breaths & An Interruption

Silhouette

Sirens Treading In the Wake of the Moon

Six Bodhisattva Waltzes

Six Images of the Divine Fire

Small Pure-Happiness Smile

smooth parallel scream

Snow Day

Snow Falling

Solenoid

Solo

Space Ladder

Sphere Again

St John's Butoh

St John’s Fire

surrender make noise

take me, take me!

Taken to Temperament

Takuhatsu

Tantra Conduction

Technique to Love

The Angel of Appetite

the art of placement

The Beggars of Bengal

The Buddha of Prolonged Kissing

The Dawn of Flavor

The Liberation of Colored Shadows

the meaning of sleep

The Munificent Surfaces of Odilon Redon

The Onion Eaters

the quieter, the more to hear

The Second Coming

The Serpent Garden

Theory of Colors

thus all the buddhas taught

To Wish Upon a Star

Transparency

Twice

twilight rings

undressing for the next future

Universe of Negative Spaces

vertically ascending eye

Waking UP

waves of dimness, drops beyond dew

wind garden

Wind Up Wound Down

Wonders INSIDE An Empty Stomach