The Yuha Archive :: “SONICFOLIO SCORES” Episode 10:: Cirrus Dance— FIELD NOTES
SONICFOLIO SCORES was a collection of graphic scores jointly produced by The Yuha Archive (Toronto), and The Operating System Liminal Lab (New York). From August 2021- August 2022, eleven graphic scores were produced. Each graphic score endeavored to introduce new perspectives in musical notation and interpretation. The full archive can be found HERE
“Cirrus Dance” is the tenth installment of the SONICFOLIO SCORES Project supported by the Operating System & Liminal Lab. To stay up to date with the Yuha Archive SONICFOLIO Series, follow the project on Soundcloud or the Archive’s website. For the introduction to this series here on the OS’ Medium platform, click here.
The mind is not a sprout, nor a cup that accrues in volume.
Instead, the mind is an omniverse. Perhaps, we can call this omniverse the mind world.
Anything is possible in the mind world. With the mind world, a sea of multitudes exists. Dualism is where the mind world dances between real and imaginary conditions.
Say that you light a candle. When you blow the candle out, one realizes that the flame that once was, still continues to exist in the mind.
The flame in the mind even after it has long disappeared in the material world, could dance, or explode to become different shapes and species. The flame is the sky. The flame is a hole in a needle.
When you light the candle again, does the flame reincarnate itself in the real world? Or did the flame already exist in the absence of the mind?
In theory, is this where the mind finds its most natural state of being — a state known an omni-complexity? And where does this omni-complexity begin? Is the mind naturally cluttered in the omniverse?
I composed Cirrus Dance as a response to this prompt. Like an instruction painting, the words correspond to certain sounds, images, and textures that can only exist and exclusively within the omnipresent mind.
To me, this graphic is a work that exists purely in theory. To be specific, this is the music of omni-complexity.
Accompanying the graphic score is a theoretical concept of this omni-complexity music.
Stanford Cheung engages across a variety of creative hubs as a classical pianist, sonic artist, improvisor, and multi-disciplinary poet. From concerto performances with orchestras, poetry recitals, to electronic free-form improvisation for art installations, Cheung has collaborated internationally with a variety of artists and scholars, including Morgan Fisher, Steven J Fowler, Shahzad Ismaily and Nobuo Kubota. Cheung’s commissioned projects have been exhibited or forthcoming at the 43rd Rhubarb Festival (Buddies in Bad Times), Osaka University OCCA, Edinburgh University, Christchurch University, Banff Centre for the Arts, Orpheus Institute, Kitakyushu Centre for Contemporary Arts, Tokyo Poetry Journal, among others. Presently, Cheung is pursuing his Doctoral degree in music at McGill University where his research is dedicated to the Japanese composer Ryuichi Sakamoto. He runs a multimodal soundscape project called The Yuha Archive.
You can find him here: https://stanfordcheung.com/
The Yuha Archive: archiveyuha.com
