You Nakai will be part of Unexpected Territories,
a ten-day festival on David Tudor's music in Berlin from July 1-10,
participating in a round table, a lecture workshop on Island Eye Island Ear,
as well as a performance of Monobirds.
You Nakai is presenting a paper titled "Archival Weatherings"
as part of the group presentation
ARCHIVING POST-1960s MUSICS: FOUR EXPERIENCES OF ENGAGEMENT
at the conference of American Musical Instrument Society in Calgary.
You Nakai's chapter on "Material Bias" is included in the anthology
Material Cultures of Music Notation: New Perspectives on Musical Inscription
just published from Routledge.
You Nakai is going to be part of a zoomusic concert happening over the weekend.
This will present the results of a virtual residency that No Collective has been doing at the University of Virginia.
Details are here.
We are having our first meeting on April 21 (thu)
from 16:00 at room 1221 of building 18 at the Komaba campus of the University of Tokyo.
Please join if you are interested.
We conduct research on various fields of interest which extend from and merge in issues of performance and side effects.
We create various forms of performances, while also searching ways to frame various phenomena as performance.
We publish what we discovered, made, or conceived, through various channels and platforms across the world.
You makes music(ians), dance(rs), haunted musical mansions, nursery rhymes, and other forms of performances as a member of No Collective, and publishes experimental children’s books written by children and other literary oddities as a member of Already Not Yet.
In addition to his artistic activity, You also conducts research on various topics related to performance, and has been engaged in an extensive study of David Tudor’s music, the results of which have been recently compiled into Reminded by the Instruments: David Tudor’s Music (Oxford University Press, 2021).
You currently works as associate professor at the University of Tokyo with a joint appointment at the Graduate School of Arts and Sciences (Culture and Representation Course) and the Art Center of the University of Tokyo (ACUT).
WHEN：April 30, 2022 A: 9:00 EST / B: 21:00 EST
To end the virtual residency at the University of Virginia, You Nakai/No Collective, Tokyo Gen'on Project, and UVA composers are organizing a concert of zoomusic. Given the time difference, we are doing two concerts, one in the evening time in Japan (morning in Virginia), and the other in the morning time of Japan (evening in Virginia). The two concerts will be set up like a diptych of sorts so it might be interesting to attend them both.
For more details on the virtual residency go here.
WHEN：May 17, 2022
A chapter You Nakai wrote on "Material Bias" will be included in a new anthology titled Material Cultures of Music Notation: New Perspectives on Musical Inscription edited by Floris Schuiling and Emily Payne.
For more details on material bias go here.
WHEN：June 8-11, 2022
You Nakai is joining a group presentation titled ARCHIVING POST-1960s MUSICS: FOUR EXPERIENCES OF ENGAGEMENT at the conference of American Musical Instrument Society.
WHEN：July 1-10, 2022
You Nakai will be part of a ten-day festival on David Tudor's music in Berlin. He will participate in a round table, a lecture workshop on Island Eye Island Ear, a performance of Monobirds, etc.
WHEN：October 1, 2022
You Nakai will give a keynote at a conference on the figure of "Performer-Composer" at the Orpheus Institute.
A chapter You Nakai wrote on the multifaceted relationship between David Tudor and India will be included in a new anthology titled Subcontinental Synthesis: Electronic Music at the National Institute of Design, India 1969–1972 edited by Paul Purgas.
WHEN：December 19, 2022
WHERE：ZOOM／Tokyo, Suginami Public Hall
You Nakai will be curating a concert of zoomusic as part of the "Critic's Selection" series by Tokyo Gen'on Project. We are planning to stage a double concert that happens online and offline simultaneously. For the offline version, taking place in Tokyo, I imagine it will be a bit like visiting a TV studio or a film set while they are shooting a program or a movie addressed primarily to people watching it on screen. So please make your choice and select which version you wish to experience.
We are also putting out a call for zoomusic so please submit whatever ideas you may have!
An archeology of the occult notion of influence which people use to explain things that cannot be explained rationally. From influentia to influencers, via influenza and DUI. [COURSE]Learn more
A genealogical examination of the now-prevalent notion of performance, with a focus on the various forms of empiricism revolving around the lineage of pragmatism. [COURSE]Learn more
A series of pedagogical exercises to make music that can only be performed and experienced over zoom, partially to overcome the reluctance of teaching experimental music during COVID-19. [COURSE]Learn more
Exploring personal habits as a network of unconscious choreography set on each individual, and using mutual reflection between participants to discover dance by way of subtraction. [COURSE]Learn more
Long term collaborative project based in Hokkaido, the northern island of Japan, to explore the realizability of David Tudor's unrealized project Island Eye Island Ear along with the side effects of such an exploration.Learn more
An effort to publish the documentation of 9 Evenings (1966), using the manuscript of a book that was planned yet abandoned in the aftermath of the event, while also reflecting on the passing of time since then to conceive a documentation twice removed.Learn more
Various projects concerning David Tudor are in development, including a festival of Tudor's music in Berlin (July 2022), plans for setting a David Tudor Lab in Istanbul, etc.Learn more
Extending the idea of bias in analog electronics to make a circuit function properly, materials for realizing a performance are theorized from the negative standpoint of constraint.Learn more
Performing the role of "the vanishing mediator" who bridges across time and language difference between composers in Virginia and performers in Tokyo to remote-compose a zoomusical concert.Learn more
You Nakai is currently working on a translation of Investigative Aesthetics by Eyal Weizman and Matthew Fuller, as well as other publications related to Forensic Architecture.Learn more
This is a book on what a musician named David Tudor did, along with how and why he did them. And it is also sometimes about what he might have been thinking when he did certain things. The way I go about doing this is by connecting many materials that Tudor left behind as if they were pieces of a giant puzzle. So the important thing is that whole picture emerges from within that process, as a by-product or a side effect almost, and that’s why it feels like a bit of a cheat to give away a quick overview to people who have not read it. The most exciting things, at least as far as I’m concerned, are in the specific processes of solving one puzzle after another, and not so much in the philosophy or theory that might show up in the end. In that sense, maybe it’s a bit like a performance, which might be quite fitting for a book on Tudor.
I wrote a new essay titled “Sounding the Peripheries” for the catalog of the exhibition Teasing Chaos: David Tudor at the Museum der Moderne Salzburg. Through a detailed analysis of Soundings: Ocean Diary (1994), Tudor’s contribution to Ocean, his last collaborative project with John Cage and Merce Cunningham, the essay probes into one particular topic which I had deliberately left on the periphery of my argument in Reminded by the Instruments: the personal and artistic relationship between Tudor and Cage. Tudor’s idiosyncratic take on Cage’s approach to music is revealed, and a series of puzzling evidence documenting their long-time friendship is presented for others to solve.
The first concert of zoomusic by my students at the University of Tokyo.
In December 1969, David Tudor made a series of recordings at the Electronic Music Studio at the National Institute of Design in Ahmedabad, India, using Moog Synthesizers that he himself had brought from the United States and installed there. Ten years later, on March 1, 1979, Tudor used one of these recordings, which he now called Monobird, as the primary source track for a recording session at the New York discotheque Xenon.
This album, released by TOPOS, includes two 33rpm vinyl records of these works and an essay by You Nakai, When David Tudor Went Disco, that provides an in-depth study of Tudor’s performance at Xenon and its relation to Monobird.
Selected as BEST OF 2021 by soundohm
I presented a talk as part of the Archives Public Programs of National Institute of Design in Ahmedabad, India. The series examines the activities of Experiments in Art & Technology in India in the 1960s and 70s.
My session focused on one particular recording David Tudor made during his stay at NID in late 1969 using the Moog Synthesizer he had installed in India’s first electronic music studio. Although Tudor personally disliked the Moog, after circumstances pushed him to perform with the instrument, he recorded what he did and subsequently used the same recording as a sound source in various performances across the 1970s. Analysis of recordings, photographs, diagrams, schematics, and recollections, revealed the unexpected trajectory of this recording he called Monobird, offering a thought or two about putting the archive to good use.
I wrote a new essay for the recent issue of the online journal ECHO, dedicated to the topic of feedback. It traces David Tudor’s use of feedback in relatively broad strokes, especially in relation to his collaboration with Gordon Mumma, focusing on the period between Bandoneon ! and Island Eye Island Ear, and connecting the argument to my own works with No Collective.
The second concert of zoomusic by my students at the University of Tokyo
We had our first launch-up conference of Side Project on February 13, 2022. I gave a talk on Island Eye Island Ear. Unfortunately, the whole thing was in Japanese due to budget constraints, but here's a video if you want to try.
I was invited to discuss Reminded by the Instruments by RISME, a study group on electronic music within the Italian Musicological Society. I mostly answered questions and talked about things I wrote about and things I did not.
A chapter I wrote on "Material Bias" is included in the anthology
Material Cultures of Music Notation: New Perspectives on Musical Inscription
published from Routledge.
Two lengthy and very insightful reviews of Reminded by the Instruments have appeared recently.
One was written by Ezra J. Teboul in English and is published in the Computer Music Journal (MIT Press);
The other was written by Jozef Cseres in Czech and is published in the online journal His Voice (Part I and II).