Call & Responce at Veolia LTD. ES CHP Heat and Power Plant, Lewisham 2011
“If relational aesthetics and open source were always commercial, can the musical score provide a way of thinking through different relationships between creativity and code?” This is the question framed in the introduction of Simon Yuill’s All Problems of Notation Will Be Solved by the Masses, in which Yuill shows how collaboration through improvisation might bring us to a new type of knowledge production. The live actions of coders and musicians create outcomes that cannot necessarily be anticipated, and error and failure become key educational tools in the entire ontology of code, notational devices, language, social contracts, and transduction. Code born from contingency.
Code of Contingency explores whether sound — as a learning device – has the potential to open up new pedagogical frameworks. Taking its cue from the improvisational ethics of Cornelius Cardew, the dissipative systems theory of Isabelle Stengers, and the critical thinking pedagogy developed by Paul Freire, the show investigates process-oriented, anti-anticipatory learning through (and when) people engage with sound. Here, collaboration between object and viewer, teacher and student, performer and attendees are key for developing a pedagogical dialogue. As such, code does not play the role of a set of rules or parameters to guide the viewer’s interpretation, rather, it is a notational device used to make sense of knowledge production out of the show. Bearing this in mind, each artist has derived a workshop to enable this new form of knowledge production concerning: power relations, localized environmental impact, community and performance, public and private space and sound verses signal.










