CARILLONS from Falconator Films on Vimeo.
The impetus for this performance piece (filmed by Bryce Myhre) came from the process of making the song “Voodka”. By breaking down the song’s many layers into looped sub-mixes on cassette tapes to be controlled separately, the arrangement became freed up temporally and also spatially (for the subject moving through the field of stereos) to be experienced in countless variations while retaining the coherence of the piece. This potential for multiplicity is one that for has always been latent in “Voodka”. The initial recording sessions for the song took place before the song had any structure or outline. Rather, we just recorded a bevy of sounds, textures, and instrumental layers bereft of inherent relation (other than key). Arrangement was done later in the editing process but I never lost the sense that the song could have been (and still can be) any number of ways.
Or, this from Deleuze and Guattari’s A Thousand Pleateaus, the best ever definition of an assemblage: “neither object nor subject; it is made of variously formed matters, and different dates and speeds. To attribute the book to a subject is to overlook this working of matters, and the exteriority of their relations. It is to fabricate a beneficent God to explain geological movements. In a book, as in all things, there are lines or articulation or segmentarity, strata, and territories; but it is also lines of flight, movements of deterritorialization and destratification. Comparative rates of flow on these lines produce phenomena of relative slowness and viscosity, or, on the contrary, of acceleration and rupture. All this, lines and measurable speeds, constitutes an assemblage”
