Desiring-Machines is concerned with the following strata: the conductor/performer relationship, difference-repetition (obscured-repetition), non-identity structure, structurally-based composition, physicality, rhizomes, continuous multiplicity, temporality, the Score, abstract machines, destabilized form, fractalization, circuit interrupter and the destabilizer/separator (conductor as the abstract-machine), anti-hierarchy or heterarchy, the in-between as the ‘surroundable’ channel/field of the relation/interval, deterritorialization, part-whole similarity, contingency, in-built potentiality, ...
The work takes its title from a concept developed by Deleuze & Guattari which affects the piece structurally. The piece can be assembled in multiple ways and has multiple ‘solutions’, i.e. the instrumentation, the actual sounds, and the order of events is unique for each performance. This forms a critique of the concept of fixity which underscores the conventional music score, and which Desiring-Machines (and its partial-objects) strive to eliminate or at least leave behind by exploring non-fixity. This fixity foundation of the conventional music score can be described, in the most basic terms, as horizontal and vertical fixity. The ‘horizontal’ being the linear logic that asserts that events are organised from left to right, so that we always know what follows what, and the ‘vertical’ being what constitutes those events at each moment. Here, such thinking is abandoned. Therefore, the piece does not present itself as a single instance. Each performance is merely an open window onto that ever incomplete ‘whole-less’ activity which is the only identity of Desiring-Machines.
“In desiring-machines everything functions at the same time, but amid hiatuses and ruptures, breakdowns and failures, stalling and short circuits, distances and fragmentations, within a sum that never succeeds in bringing its various parts together so as to form a whole.”
(Deleuze & Guattari, Anti-Oedipus)
Desiring-Machines was written for 2 conductors and 24 soloists. It can be performed and assembled in various open-ended ways: each part and any combination of parts can be performed as a piece (with or without conductor(s)), resulting in a postfix title: partial-object 0.xxxx. Thus, the piece is in fact a multipiece, consisting of 24 solos, 276 duos, 2024 trios, 10626 quartets, 42504 quintets, 134596 sextets, ..., 2704156 duodectets, etc.
Click-tracks for partial-objects of the Desiring-Machines:
The pieces can be performed with or without conductor(s), in the "without" case there is an option of using click-tracks. They can be downloaded here below:
(NB. any instance of Desiring-Machines has open duration, if extended duration is needed these click-tracks can be looped)
Desiring-Machines: partial-objects 0.1667
quartets: (oboe quartet), (string quartet)
Desiring-Machines: parital-objects 0.0417
(solos: flute, trombone, etc.)
Desiring-Machines: parital-objects 0.0833
(duos: trombone-cello, violin-oboe, etc.) --- LINK