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Contents
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KOFI AGAWU
African Art Music and the Challenge of Postcolonial Composition
PAUL ZILUNGISELE TEMBE
China’s Effective Anti-Corruption Campaign
DILIP M. MENON
Changing Theory: Thinking Concepts from the Global South
BEN WATSON
Talking about music
Theme AI in Africa
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An (Other) Intelligence
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Umshini Uyakhuluma (The Machine Speaks) – Africa and the AI Revolution: Exploring the Rapid Development of Artificial Intelligence on the Continent.
OLORI LOLADE SIYONBOLA
A Brief History of Artificial Intelligence in Africa
CHRIS EMEZUE & IYANUOLUWA SHODE
AI and African Languages: Empowering Cultures and Communities
NOLAN OSWALD DENNIS
Toward Misrecognition. | Project notes for a haunting-ting
SLINDILE MTHEMBU
AI and documenting black women's lived experiences: Creating future awareness through AI-generated sonics and interpretive movement for the future of freeing suffering caused on black bodies.
ALEXANDRA STANG
Artificially Correct? How to combat bias and inequality in language use with AI
BAKARY DIARRASSOUBA
Bambara: The Jeli (Griot) Project
ROY BLUMENTHAL
Artificial Intelligence and the Arcane Art of the Prompt
AI GENERATED
"AI on Artificial Intelligence in Africa" and "Exploring its impact on Art and Creativity"
JULIA SCHNEIDER
AI in a biased world
MBANGISO MABASO
Bana Ba Dinaledi: Telling African Stories using Generative AI Art.
ALEX TSADO & BETTY WAIREGI
African AI today
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Using Artificial Intelligence to expand coverage of African content on Wikipedia
DARRYL ACCONE
Welcome to The End of Beauty: AI Rips the Soul Out of Chess
VULANE MTHEMBU & ChatGPT
Hello ChatGPT - A conversation with OpenAI's Assistant
DIMITRI VOUDOURIS
Evolution of Sιήκ
STEFANIE KASTNER
Beyond the fact that most robots are white: Challenges of AI in Africa
MARTIJN PANTLIN
Some notes from herri’s full stack web developer on the AI phenomenon
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4 Universal Truths and selected Camo
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Four Portals
TIISETSO CLIFFORD MPHUTHI
Litema
NESA FRÖHLICH
Agapanthus artificialis: Biodiversität im digitalen Raum. Vierteilige Serie, Johannesburg 2022.
STEVEN J FOWLER
2 AI collaborations and 9 asemic scribbles
PATRICIA ANN REPAR
Integrating Healing Arts and Health Care
SHERRY MILNER
Fetus & Host
borborygmus
JANNIKE BERGH
BCUC = BANTU CONTINUA UHURU CONSCIOUSNESS
GWEN ANSELL
Jill Richards: Try, try, try...
VULANE MTHEMBU & HEIKKI SOINI
Nguni Machina remixed
AFRICAN NOISE FOUNDATION
Perennial fashion – noise (After Adorno).
RAJAT NEOGY
Do Magazines Culture?
NDUMISO MDAYI
Biko and the Hegelian dialectic
LEHLOHONOLO MAKHELE
The Big Other
frictions
KHAHLISO MATELA
At Virtue’s Zone
DIANA FERRUS
In memory of “Lily” who will never be nameless again
VUYOKAZI NGEMNTU
Six Poems from the Shadows
SIHLE NTULI
3 Durban Poems
SIBONELO SOLWAZI KA NDLOVU
I’m Writing You A Letter You Will Never read
OMOSEYE BOLAJI
People of the Townships episode 3
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SIMON GIKANDI
Introducing Pelong Ya Ka (excerpt)
UNATHI SLASHA
"TO WALK IS TO SEE": Looking Inside the Heart - Sophonia Machabe Mofokeng’s Pelong ya Ka
VANGILE GANTSHO
Ilifa lothando – a Review of Ilifa by Athambile Masola
ZIZIPHO BAM
Barbara Boswell found in The Art of Waiting for Tales
WAMUWI MBAO
Hauntings: the public appearance of what is hidden
CHARL-PIERRE NAUDÉ
Dekonstruksie as gebundelde terrorisme
VUYOKAZI NGEMNTU
Ibuzwa Kwabaphambili - A Review
MPHUTLANE WA BOFELO
Taking radical optimism beyond hope - Amakomiti: Grassroots Democracy in South Africa’s Shack Settlements
PATRIC TARIQ MELLET
WHITE MISCHIEF – Our past (again) filtered through the lens of coloniality: Andrew Smith’s First People – The lost history of the Khoisan
CHANTAL WILLIE-PETERSEN
BHEKI MSELEKU: an infinite source of knowledge to draw from
JEAN MEIRING
SULKE VRIENDE IS SKAARS - a clarion call for the importance of the old and out-of-fashion
GEORGE KING
Kristian Blak String Quartets Neoquartet
ekaya
PAKAMA NCUME
A Conversation with Mantombi Matotiyana 9 April 2019
KYLE SHEPHERD
An Auto-Ethnographic Reflection on Process
PAULA FOURIE
Ghoema
DENIS-CONSTANT MARTIN
The Art of Cape Town Singing: Anwar Gambeno (1949-2022)
ESTHER MARIE PAUW
Something in Return, Act II: The Blavet-Varèse project
STEPHANUS MULLER
Afrikosmos: the keyboard as a Turing machine
MKHULU MNGOMEZULU
Ubizo and Mental Illness: A Personal Reflection
off the record
FRANK MEINTJIES
James Matthews: dissident writer
SABATA-MPHO MOKAE
Platfontein, a place the !Xun and Khwe call home
NEO LEKGOTLA LAGA RAMOUPI
A Culture of Black Consciousness on Robben Island, 1970 - 1980
NELSON MALDONADO-TORRES
Outline of Ten Theses on Coloniality and Decoloniality*
ARYAN KAGANOF
An interview with Don Laka: Monday 10 February 2003
JONATHAN EATO
Recording and Listening to Jazz and Improvised Music in South Africa
MARKO PHIRI
Bulawayo’s movement of Jah People
STEVEN BROWN
Anger and me
feedback
MUSA NGQUNGWANA
15 May 2020
ARYAN KAGANOF / PONE MASHIANGWAKO
Tuesday 21 July 2020, Monday 27 July, 2020
MARIA HELLSTRÖM REIMER
Monday 26 July 2021
SHANNON LANDERS
22 December 2022
FACEBOOK FEEDBACK
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CHRIS ALBERTYN
Lost, unknown and forgotten: 24 classic South African 78rpm discs from 1951-1965.
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Reflections on Transformation at Stellenbosch University
MARK WIGLEY
Discursive versus Immersive: The Museum is the Massage
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    #08
  • ekaya

ESTHER MARIE PAUW

Something in Return, Act II: The Blavet-Varèse project

Esther Marie Pauw
with
Garth Erasmus
Aragorn Eloff
Pierre-Henri Wicomb
Meryl van Noie
Jacques van Zyl

When a recording of a score-based classical composition is made by a musician, the recording is the product of a composer’s score, realised into sound by the musician. The recording is potentially available to listeners who are usually interested in hearing an accurate performance of the composer’s script. However, when the same recording becomes a sonic impulse for a new composition, aspects of product, process and context are rearranged into a longer-term process of creation and reception. Various factors influence decisions about and outcomes of the new product, and several questions arise. Questions may reflect curiosity about the contexts that inaugurate such a project and the material processes that realise the new sonic work. Questions may also explore ideological notions that underscore projects that include sonic impulse and sonic response. By presenting five new sonic creations in audio and by reflecting on processes involved, Esther Marie Pauw, Garth Erasmus, Pierre-Henri Wicomb, Aragorn Eloff, Meryl van Noie and Jacques van Zyl exhibit the Blavet-Varèse project.

Esther Marie Pauw: In 2020 I made home recordings of unaccompanied solo flute pieces that I have played in concert and busking scenarios, with repertoire from the 18th, 20th and 21st centuries. Included amongst these were the Gigue, and Rondeau by Michel Blavet (composed 1744, Broekmans&Van Poppel edition) and Density 21.5 by Edgard Varèse (composed 1936, revised 1946, Colfranc edition).

ESTHER-PAUW-1
ESTHER-PAUW-2

Although I delighted in documenting these pieces that sit familiarly under my fingers through training and decades of exploration as a classical flautist, I was also, at the time, part of an improvisatory duo exchange with Garth Erasmus. Our exchange relied on music-making as impulse and response. In our exchange spanning six weeks during pandemic lockdown and distance work, I picked up my flute every few days and (on impulse) improvised briefly on a motif after which I sent a recording of my playing to Garth. Garth played along with my recording in his own time and place, recorded our combined music-making and sent me the new piece as ‘something in return’, which also became our project title. I also made Garth a recording of the Blavet piece, standing at a window in warm afternoon sunshine, hearing garden birds outside.

Extract from Blavet, Gigue, Pauw (flute)

Blavet@zahn [MP@GE #24 05-07-20] by Garth Erasmus

When Garth made a response to my playing of Blavet by unsettling the tonality of Blavet with microtonal inflections on the zahn, and by disturbing the controlled emission of my sonic delivery through surging waves of proximity and distance, I was intrigued by the capacity of sonic response to signal ideas from a new environment, in a different place, different time, and in a different sonic creator’s voice, with individual aesthetic and political sensing. Inspired by the new piece that had emerged, I became curious as to how different approaches and media could work with the Blavet material as impulse to create responses. I asked Aragorn Eloff and Pierre-Henri Wicomb to respond to the Blavet recording. I used the phrase ‘infecting Blavet’ in writing to them to indicate sonic invading, replacing and collaging-over to the extent that my flute sounds could be obliterated or morphed into something new. However, the brief to Eloff and Wicomb was extended as an open invitation for any sonic response to Blavet.

Blavet for dual granular synthesisers and chaotic analogue circuitry by Aragorn Eloff

BLABLABLABLABLAVET by Pierre-Henri Wicomb

Portrait of Edgard Varèse, 1930, by Man Ray (Emmanuel Radnitzky), from the Collection of the Centre Pompidou, Paris.

Concurrent with the Blavet project, I launched a similar project from the Varèse recording I had made. I approached Meryl van Noie and Jacques van Zyl to work with the Varèse piece as impulse. My suggestion included mention of the phrase ‘affecting Varèse’, with ‘affecting’ to indicate sonic impacting, changing or adapting. Again, however, the brief was open, and launched as a sonic impulse awaiting a sonic response.

Extract from Varèse, Density 21.5, Pauw (flute)

Evoking Varèse by Meryl van Noie

21.5 – Zeroth mesostic by Jacques van Zyl

In this discussion, a reflection on the originating circumstances of this project led to contributions in sound and writing by participating sonic artists. Material processes that had been used to realise new compositions were presented and insights on the ideas that underscored creative work were articulated. I was intrigued by the varied ways in which each response piece approached tensions that were inherent to the brief, namely problems of adapting something new from, alongside, and through, already-existing work.

To my understanding, Erasmus approached the tension of adaptation as an opening into making ‘decolonial’ music that decentres classical music’s adherence to notions of ‘mastery’ and spiritual control upheld in colonial settings.

Wicomb worked through the tension of creating innovatively despite the hovering ghost of ‘a complete recording’ by responding playfully with iterations of ‘bla-bla-bla […]’, taking the first few notes of the Blavet Gigue as a cue to processes of adaptation.

For Van Zyl, the preservation of ‘something’ remained, articulated as further questions, perhaps directing listener attention less to preservation and more to tensions of control and unpredictability that emerge amidst human-machine device pairing.

Van Noie created polyphony out of a solo line to draw attention to sound as a vehicle that relates to past, present and future. In the spirit of Pauline Oliveros, Van Noie’s reflection ended by evoking ‘deep listening’, thereby privileging listening habits that access ‘ideas, feelings and memories’ with an openness to ‘environment’.

Eloff found sonic processes of breaking down and re-combining, using chaotic systems, to be lucrative procedures—thus opening classical music’s apparent insularities from the inside-out. Eloff’s reference to [Lucier’s] ‘sitting in a room’ potentially situates Blavet for dual granular synthesisers and chaotic analogue circuitry as reactive outcome of performance, but also as trace of ongoing processes of flux as ‘the room sits within an ever-differing world’ where listener habits morph continually and critically.

As an initiator of the project, it is my final position in the role of listener, and not as player, that also catches my attention.

Much like Alvin Lucier’s 1969 composition titled, I am sitting in a room, a process piece in which his recording of his speaking voice was put through numerous phases of play-back and re-recording to arrive at a new piece (that sounded singular tones apparently emitting from the walls of his room), the recordings of my ‘flautist voice’ morphed into new pieces, in various responses made by Erasmus, Eloff, Wicomb, Van Noie and Van Zyl.

Like Lucier, who is recording an evident stutter in his speaking voice, and for whom listening directions perhaps transform from inwards (hearing his own stutter) to listening outwards (to the sounds emitting from his environment), my listening potentially becomes directed outwards, away from my flute-familiar sounds, to hearing other creative voices’ sounds. Listening habits of openness, porousness and sonic curiosity come into play. My listening, outwards, becomes sensitive to the articulations by surrounding creative voices who operate in sonic environments that include aesthetic-cultural and socio-political emancipatory practices amidst ecologies of flux. Listening outwards may thus be transformed from ‘hungry listening’ (Dylan Robinson, 2020) that listens from within the familiar and listens with an intent to control, to ‘listening from below’ (Brandon LaBelle, 2018) that listens from the margins to find systems of dominance renegotiated and borders unsettled.

The Blavet-Varèse impulse and response project grew out of the surprise and delight that emerged from an improvisatory duo exchange project with Garth Erasmus. Our initial collection of 24 pieces was published on an online curation by Greg de Cuir, Jnr., under his discursive topic, Radical Acts of Care, Act IV. Now, looking back, and reminding myself that the Blavet-Varèse project had emanated from notions also of radical care, conditions of communality that enable creation were called into existence.

Something in Return, Act II: The Blavet-Varèse project is an article compilation that lends an ear to processes of sonic migration, adaptation, reinvention and reimagination. The exhibition presents and celebrates the release of new work by five contemporary composers. The curation invites critical reader reflection and sonic curiosity.

Michel Blavet
Flute music scores and recordings

Michel Blavet: Gigue en Rondeau, and Rondeau for solo flute. Composed in 1744, France. Published: Amsterdam: Broekmans & Van Poppel. Flute: Esther Marie Pauw. Recording: EM Pauw, using a Zoom Handy6 recording device, Stellenbosch, 2020.

 

https://api.herri.org.za/wp-content/uploads/2022/12/Y.Sources_Complete-recording-Blavet-Gigue-and-Rondeau-Pauw-flute-unedited02.mp3

Complete recording, Blavet, Gigue and Rondeau, Pauw (flute, unedited)

 

 

 

Edgard Varèse: Density 21.5 for solo flute. Composed in 1936, revised in 1946, USA. Published: New York: Colfranc Music Publishing. Flute: Esther Marie Pauw. Recording: EM Pauw, using a Zoom Handy6 recording device, Stellenbosch, 2020.

 

https://api.herri.org.za/wp-content/uploads/2022/12/X.Sources_Complete-recording-Varese-Density-21.5-Pauw-flute-unedited02.mp3

Complete recording, Varèse, Density 21.5, Pauw (flute, unedited)

Sources referenced

Bonnet, Francois. 2016. The Order of Sounds: A Sonorous Archipelago. Cambridge, MA: MIT Press.

LaBelle, Brandon. 2018. Sonic Agency: Sound and Emergent Forms of Resistance. London: Goldsmiths Press.

Oliveros, Pauline. 2005. Deep Listening: A Composer’s Sound Practice. New York: iUniverse Inc. (p xxv).

Robinson, Dylan. 2020. Hungry Listening: Resonant Theory for Indigenous Sound Studies. Minneapolis: University of Minnesota Press.

Varèse, Edgard and Choi Wen-chung. 1966. The Liberation of Sound, Perspectives of New Music, 5:1 pp.11-19.

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