“I remember one day in Utah when I was in junior high school when we lived on the shore of Utah Lake, managing my Uncle Thornton’s celery farm. One day in the middle of winter, freezing cold, wind blowing up off of Utah lake, we went down to the shore of the lake and worked all day digging post holes, putting poles in the ground, lining them up perfectly, and then stringing barbed wire across them. And it was just, like, unbelievably cold, and unbelievably hard work, and [my Father] never stopped. And, also, he was very, very concerned about making the fence straight and lining it up.”
Young & Marian Zazeela interviewed by Ian Nagoski, 1995
Composition 1960 #9
The score
The performance instructions on the score's envelope
Young's Reminiscence #2
“My 'Composition 1960 #9' consists of a straight line drawn on a piece of paper. It is to be performed and comes with no instructions. The night I met Jackson Mac Low we went down to my apartment and he read some of his poems for us. Later, when he was going to go home, he said he'd write out directions to get to his place so we could come and visit him sometime. He happened to pick up 'Composition 1960 #9' and said, 'Can I write it here?' I said, 'No, wait, that's a piece. Don't write on that.' He said, 'Whadaya mean a piece? That's just a line.”
The audience is your instrument, play it in order to practically understand how we are generally instrumentalised.
Prepare the audience with concepts, questions, and movements as a way to explore the dissonance that exist between the individual narcissism that capitalism promotes and our social capacity, between how we conceive ourselves as free individuals with agency and the way that we are socially determined by capitalist relations, technology, and ideology.
Reflect on the I/We relation while defining social dissonance.
why does one use upper case and lower case? i use only lower case. then I say why? why does one punctuate i write everything without punctuation then i ask why does one use umlauts i won't be straight diacritical henceforth i will write zurich fülfills seclusion personal carryover and then i remember the old phrase from mathematics namely that it does not matter in which order i add respect multiply and now i write vole instead of love because love needs voles to love voles and finally now will giveup the or derofwordsamongthemselvesbywritingonlyonegiantwordorwhilemorewrotitsolandinorthographyisnaturallyunimportantandsenseigiveupinfavorofnonsenseandthustheitsheklmnoppqrsutabelgikemaminopetroleumplaguekakrrkrrrksrsstopitonobilamenteyakkaanteelinguekitonpausbacrocodilemmadiemadilemma (Here the typographer went stark raving mad and threatened a general strike should he be forced to set any more Kuhgewitter (Cowweather).)
Nam Paik June performing the score in 1962
The score
The performance instructions on the score's envelope
