Ok, so, the name: “counter)induction” sometimes confuses people, and that’s understandable. It’s a negative, it’s an abstract, and it doesn’t seem to have much to do with music, or sound, or making art. It’s logic, though, is a logic of creation. Counterinduction as a term is coined by philosopher and ‘scientific anarchist’ Paul Feyerabend; counterinduction is the opposite of induction, it is not doing something that is illogical; rather it is doing the opposite of what is logical. It is not an ill-advised choice, it is the choice that most strongly stands against all advisements.
Counterinduction articulates an idea that has been a foundational part of c)i’s approach since its inception. We work by small means for large effect; our pianos are forte, silences loud— by this focusing of our action, we will have an impact asymmetrical to its scale.
So this series of little essays is an inversion of c)i’s tradition of stealthy performances and almost pathological avoidance of hype; over the next week I’ll be posting about c)i’s upcoming performance on 11 Feb at Scorca Hall at the National Opera Center. The show features three of c)i’s performer-members, two composer- members (including me), a composer from Asheville, North Carolina, Alan Theisen, as well as two masterpieces, Stravinsky’s “The Soldier’s Tale”, and the Duo Capriccioso of Mario Davidovsky, c)i’s dear friend.
This will be a game of trios playing a game of pairs, an essay on what it is to “play together”, the enacting of ensemble-being, of a coming-together that moves what is about to be to what just was. 3×2, 2×3.
I hope to see you there, and look for more here soon!