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Commentaries on Bob Cobbing - The Argotist Online

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At the end of which I took over the slide projector; and Jennifer d<strong>on</strong>ned a white mask, which<br />

stared softly glaring atop her black clothing, and moved to the texts, which are striking thick<br />

vertical rather than horiz<strong>on</strong>tal black streaks and written text fragments struck in am<strong>on</strong>g the<br />

streaks, which I have seen but do not have a name for—and to <strong>Bob</strong>’s sound realisati<strong>on</strong> of the texts<br />

and her movement which he performed with a various and disparate series of whistles, close up to<br />

the projecti<strong>on</strong> cloth, her hands fluttering through the black and white (the lights were right down<br />

so nothing much could be seen away from the images) to birdlike—if you’re not a bird—sounds;<br />

and she disappeared behind the screen and came back draped in and covered by a white cloth so<br />

that she became a part of the fluttering projecti<strong>on</strong> screen as <strong>Bob</strong>’s sounding became less and less<br />

apparently representati<strong>on</strong>al, more and more as fragmentary and staccato as his texts... and moving<br />

the cloth away from herself and back she, or the space she created in the whitenesses by doing so,<br />

reappeared. She’s a great mover. I wish I could do it. See me <strong>on</strong> my zimmer frame in my late<br />

seventies.<br />

So that’s it. I may not have gained any c<strong>on</strong>verts with such a descripti<strong>on</strong>, perhaps c<strong>on</strong>firmed a few<br />

doubts; but for the enthusiasts I think a bit of new ground was broken.<br />

For those who might be persuaded to come to the workshop—next <strong>on</strong>e Saturday 3.30 p m Victoria<br />

pub at Morningt<strong>on</strong> Crescent—most of the basics were worked out at the last workshop,<br />

particularly the idea of having the score/text projected... not a new idea for any of us but<br />

something we hadn’t d<strong>on</strong>e for a while. We had quite a l<strong>on</strong>g discussi<strong>on</strong> about the effect of how <strong>on</strong>e<br />

“held” the text—in your hand as <strong>Bob</strong> likes, <strong>on</strong> the floor as I like or <strong>on</strong> a music stand—up<strong>on</strong> the<br />

manner of interpretati<strong>on</strong>. <strong>The</strong> idea of moving in the image developed, some of you will remember,<br />

at our brief interventi<strong>on</strong>s in cris cheek’s c<strong>on</strong>tributi<strong>on</strong> to the Third Sub Voicive Colloquium last<br />

January. Enough already. Time to top up the compost heap.

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