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En estos tiempos de hipercomunicación bastaría la invitación de enviar a un amigo cualquiera de los textos que consideres interesantes algo redundante: demasiada comunicación, demasiados textos y , en general, demasiado de todo.
Es posible que estemos de acuerdo... pero cuando encuentras algo interesante en cualquier sitio, la red, la calle, tu casa, o un lugar escondido y remoto, compartirlo no sólo es un acto (acción, hecho) de amistad o altruismo, también es una manera de ahorrar tiempo a los demás (y de que te lo ahorren a ti (si eres afortunado) a costa del tiempo que tu has podido derrochar (emplear) y el gustazo de mostrar que estuviste ahí (o donde fuera ) un poco antes (el tiempo ya no es más el que era).
Comparte con tus conocidos aquello que encuentras, es evolución.
Roaratorio: An Irish Circus on Finnegans Wake By John Cage
10-06-08 Dr Grey  

 

Roaratorio, Cage's 1979 composition, is a work of staggering complexity. To put it simply, it involves several elements all working together at once to create a soundscape of Finnegans Wake. Basically, there are three simultaneous elements:

by Dr Grey

Roaratorio

Roaratorio
An Irish Circus on Finnegans Wake
By John Cage
(1979)

Download (.torrent)
Size: 86mb
Format: mp3, VBR

From the modern word:

(1) John Cage reading lines from the text, selected so as to form the mesostic "JAMESJOYCE" over and over again. (A mesostic is when several horizontal lines of poetry are written, one on top of the other, and a word is spelled vertically through a strategic placement of letters.) The actual excerpts from the Wake were selected by a process that combined arbitrary rules with elements of artistic preferece, creating a unique overview of the entire novel. The "libretto" is not read straightforwardly, but is alternately spoken, sung, hissed, shouted, muttered, whispered….

(2) A barrage of sound effects, all inspired from the text, many recorded in Ireland and other geographical locations mentioned in the novel. This adds up to literally hundreds of sound effects: thunder, explosions, breaking glass, birds, bells…! Limited to a manageable amount through chance operations, the effects were then keyed into the work at the places where they appeared in the Wake itself.

(3) Irish traditional music, played at various times at various intensities: jigs, reels, airs and songs, forming an ambient presence like music drifting from a Dublin pub into a busy street.

The overall effect of the compostion is quite striking and certainly unique. The elements are not intended to work harmoniously, nor are they intended to relate to each other; but they are all linked to the master plan of the novel itself, conspicuous by its very absence. Hence the term "An Irish Circus," which brings us by a commodius vicus of recirculation to the idea of cycles, or rather several competing cycles each with their own center of attention — a circus to reflect our environment itself.

So how does it all sound?

Ok, bear with me now. You are standing still, with a pastoral scene behind you (a waterfall, laughing children, a couple of ducks) and a very busy street in front of you. Occasionally a door opens up and you hear snatches of music or conversation; or a few buskers pass by playing the fiddle; and once in awhile something really weird happens somewhere irritatingly just out of sight. And — this is important — all the time, there is this old pensioner standing next to you, rocking back and forth, sing-speaking to himself in phrases of strangely familiar nonsense. Sometimes he is loud and insistent, sometimes you can barely hear him, and once in a great while he ducks into a pub for a quick pint and leaves you the hell alone.

Needless to say, this is not for everybody! But, to be quite honest, it sort of grows on you after awhile — it reminds me of being in Dublin. Well…almost. Maybe paralytic drunk in Dublin, with a head full of poisonous mushrooms that some Scotsman just off the boat from Amsterdam passed off as genuine fairy toadstools guaranteed to make you see Queen Maeve, Cuchulainn, and the ghost of Molly What's-Her-Name and her cartload of leprechauns, but now you're just sick and insanely baffled, not to mention maybe a bit paranoid, and he's laughing his ass off in some pub counting your Yankee dollars. Come to think of it, probably the same pub that's supplying that old pensioner with his certainly bottomless pints. But then again, that could just be me. Charles Cave, my friend and fellow Joycean, remarked that Roaratorio would be the perfect background music for a Joycean art exhibition; which is probably true, if you didn't mind scaring off half your visitors. Another friend, a non-Joycean, thinks it would be the perfect tool to drive a roommate to near-suicidal states of hostile confusion. Regardless of what you think of this wheeling Babelogue, however, you are not soon likely to forget it!

Two interesting notes: It does include Matt Malloy of the Chieftains, and it may be the only piece of "respectable" music to actually score a fart.

Continue Reading.. Excerpts from the liner notes from the Mode Compact Disc, written by John Cage

Roaratorio: An Irish Circus on Finnegans Wake

1. Part One (to Line 220) (26:46)
2. Part Two (to Line 406) (16:14)
3. Part Three (to Line 594) (14:17)
4. Part Four (to End) (3:13)

Performers:
John Cage, Voice
Joe Heaney, Singer
Seamus Ennis, Uillean pipes
Paddy Glackin, Fiddle
Matt Malloy, Flute
Peadher Mercier, Mell Mercier, Bodhran

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