Electric Sculpture: BEBOP ‘79

Through experience I know that the more “automatic” I am, the more touching I am. -Robert Bresson

Music, at its most essential, has been described as a series of tension and release. Our cultures provide means of actualizing this in scale, harmony, rhythm: those of us in the West are inculcated with the major/minor keys, four-on-the-floor, polyphony dating back to liturgical chant. It’s this last one, preceding the epoch of “Western/Eastern” division, where there are unities to be found which may be indeed called universal: when we sing together, we feel mathematical perfection in our chests, the resonance of just intonation. It is a reminder of music as a physical phenomenon; we need not know anything about intervals, keys or intonation to appreciate its physicality. If we let ourselves be driven by this sensuality, and shape an external energy after our own automatic resonances, we may find there a path to sublimity.

bad air for the individual
pianosolo/dark pictures (from “what is bebop ‘79? where is?”), demonstrating a “traditional” piano voice
White Relief over White (Ellsworth Kelly, 2003)
on stage with said partner: Bebop ’79 Live! at Turn! Turn! Turn! (Portland, OR, July 17 2018)
a man escaped (1956)
a curious pie indeed: Sottsass’s furniture (1981), from the height of his Memphis period, was created with the intention of reconciling the domestic mise-en-scène with modernism, and thus too our ways of living. somehow, this never took off.
very lifeing, makes such art
a spectrum analyzer circa 1970 (wikimedia)

the modern technoprimitivism. http://lazerbea.ms