Compositional Contexts for Undoing Colonialism

When you ask someone to tune your guitar, you affirm a triadic hierarchical relation between you, the person you asked, and a pre-existing socially acceptable standard for being “in tune”. It's a moment of pseudo-participation and micro-colonialism—neither you nor your friend makes a difference to the standard. But introduce a fourth element into this interaction by imagining a not-yet-existing standard to tune to, a desire for a not-existing system, and something starts to happen. This offers critical resistance to the otherwise affirmative maintenance of the current system. It's a beginning of composition to undo neocolonialism. Social construction meets joyful non-adjustment. The workshop invites three phases of participating: 1. introduction of xenharmonic (other-tuning) praxis and a half century of resisting imperialist tonal hegemony; 2. a performance of “Safety Nets II” for 17-piece, microtonal one-person band that invites listeners to create connections between the oddness ofthe music and the defiance of the poem; 3. creating the School for Designing a Society by enacting an instance of it — an “art lube” with the distributed instruments of the one-person band — attempting an anticommunicative environment in which jail is resisted and we care each other into composerhood.
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School for Designing a Society