| Music |
| The improvisations may be chaotic and loud but at times inaudible, they may sound familiar and referential but also alien, induce bliss and be physically abusive |
| Our music can be understood as wobbly explorations that pass through minimalism, abstract expressionism, and postmodern pastiche |
| Its heritage can be traced back to the 60s and 70s, and resides in the music-making activities of several UK art schools; American Experimental music; European avant-garde art music; and developments in jazz |
| Today, it is a recognised musical practice with specialist practitioners, record labels, literature, fans, magazines, etc. |
| It is sometimes described, often by lazy people, as ‘music for musicians’ |
| Intent |
| Our approach does not treat this musical practice as a concert form |
| We think of it quite literally as ‘air conditioning’ and is allied to visual art in the sense that it can be attended to and/or perceptually discounted at will (music’s permeating qualities sometimes disrupt this) |
| ‘Audiences’ are not obliged to specifically listen, nor are audiences invited in the usual sense: we are attracted to locations that have the potential to offer this musical experience to receptive individuals |
| Part of our approach is to ‘play’ the performance space: we are attracted to spaces that have interesting acoustic qualities and significant cultural resonance |
| We perform in a spirit that is explorative, interactional, appreciative and respectful of the location (although it may not be immediately obvious) |