An open-access publisher fabricated and run by members of No Collective, dedicated to consummating the age to come by making available unprecedented texts that question and/or traverse the boundaries of art, theory, fiction, and other curiosities, primarily via the medium of language. Please enjoy.
"Works After Weather captures the spirit of Covito’s music and communicates it to a readership that most likely has not seen her work performed. In fact, most of the book consists of translations of her prose scores (musical scores written in prose rather than musical notation), which will hopefully encourage more performances of the work. […] The composer proves to be rigorously articulate about the conceptual nature of her work and her role as a composer […] the precision of her ideas and the experience of performing her work reveals that she has mastered the compositional techniques developed in [Charlotte] Moorman’s era — a simultaneous emphasis on action and sound — and given them space to mature. As a rising star in the radical musical traditions […] Covito continues the necessary investigation of the conditions of art”
"A RISING STAR IN THE RADICAL MUSIC TRADITIONS" - TDR
Argentinian composer and choreographer Ellen C. Covito has been gaining world wide recognition in the recent years for her "Composed Improvisation" and "Improvised Composition" series, which deconstruct the stale dichotomy of Composition and Improvisation with rigorous humor. Her works are being taught in various conservatories and workshops. Ellen C. Covito: Works After Weather brings together for the first time all of her major works, along with essays by Lindsey Drury, Shinichi Takashima, and You Nakai that analyze Covito's idiosyncratic approach in depth, and an exclusive interview with the artist herself conducted by Kay Festa. Edited and compiled by No Collective, the group that has organized five concerts of Covito's music and dance in New York, Tokyo, and Berlin(with Panoply Performance Laboratory and Ensemble for Experimental Music and Theatre), this publication presents a comprehensive overview on the incredible output of one of the most radical and productive artists working today.
Ellen C. Covito was born in Buenos Aires in the year which saw the birth of the first female president in the world, and grew up playing music amidst the political turmoil (the notorious “dirty war”) that took over Argentina shortly afterwards. While studying environmental sciences in college, Covito turned to music once again (for the third time in her life), and began composing as well as improvising, as a continuation of her interest in the mechanism underlying theories of ecology and feminism. Covito’s early works consisted in attempts to apply theoretical structures and ideas surrounding environmental problems to music, which soon led her to explore the lineage of Twentieth century experimental music from a distinct perspective. Covito realized that the fundamental issues of music were formally no different from those of ecology (or of feminism, for that matter): the endless process of setting and erasing dichotomies, of differentiating what belongs to one side (“us”) and not to the other (“them”), and of effacing even that difference so that “we” could have more and more. A mechanism that obviously resonates with the political violence that surrounded her childhood. Covito’s recent works specifically attack the problematic (too easily dismissed but actually not so easily dismissible) dichotomy between composition and improvisation. She does this by introducing distance between the performer and what is performed, while removing the distance between the act of composition and performance.
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