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search results: [[Paul + Hughes] + [MFA] + [Goddard] + [advisor + response]]: [translate: standard] :
author: Pam Hall.
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…] [I] feel pressed to note and name the “tone of voice” that runs through these pages. Paul, you have such a powerful (and yes, engaging, seductive, inspiring…) “positive” voice. I cannot tell you, as both your advisor, and as hopefully, a friend, how fine it is to share it and the energy that it carries…energy, which, yes, is also
And here I want to take a small stab at pulling out what I suspect might be an important thread of practice even though it might be obvious. This shift in your voice, (and I suspect in your eye)…this joy, this more active attitude, represents for me what I have meant all along when I share my little platitudes about “practising your joy” or rigorous play. As artists, almost everything we do depends on our “seeing”…our gaze, our perceptual “attitude” or stance. Our work in the world begins with how we “see” the world, yes? With how it excites us, makes us wonder, invites our curiosity, or interrogation, or awe, or even anger…So it seems to me that part of our “task” is one of making ourselves, keeping ourselves in a state of sharp-eyed-ness…raw receptiveness…“good looker”…yes, “see-er/seer.” This is part of practice…fundamental I think to the next step or layer…which leads us into “making” or “poking at” meaning. And, if this little “theory” might have some truth, then it makes a profound difference “where we look from”, i.e. our Point of View, our stance, or what I call the “attitude of the gaze”. And we
The gaze of “beginner’s mind”, of child enchanted, of pissed-off cynic, of broken heart, of deep despair, of wild, erotic heat, of heart in love, of brain on fire…are just a few that we might bring to the way we dance our work into the world. And just as I would argue for diverse vocabularies for expression, different strategies for different discourses, so would I argue for diverse “attitudes of gaze” or perceptual stances or POV’s[…
…]It really
…] can we become fluent enough, flexible enough, skilled enough to select our lens, to call up that stance or attitude most needed by the notions we are dancing with, or are we victimized by a single purpose POV forever, and cursed to frame a lifetime’s vision from within a single “attitude”?
…] there is a fundamental thing afoot here, Paul, a “quickening”, a new way of “seeing/looking”…and it is beginning to sing through you…Pay attention to it. Find out how to call it up when needed[…
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search results: [[Paul + Hughes] + [music + (John + Cage + Farley + {middle + C})]]: [translate: standard] :
author: Brandston, Ken. title: “The New Cage: The Experimental Revival from Cornish to Prague.” publication:
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…]and consider the following journal entry recently decoded from the private writings of self-styled wunderkind Hughes:
…]
Mentor and ethnomusicologist Dr. Michael Farley presented an intriguing posthumous analysis of Hughes’s musical mentalities:
“The Hughes boy…He was a different kind of young man. Please don’t take that the wrong way. He just thought too much. The kind of thinking a person does when they can’t sleep, but they also can’t stop listening. Not hearing; it’s not an issue of hearing. He couldn’t stop listening.
“He told me once that he’d figured out that that ringing in his ears was a ‘C.’ Took him a while, since he wasn’t the kind of technical musical student I usually get. I asked him to play middle C on a piano once in my Musics of the World class, but he couldn’t.
“His dad had tinnitus, too.
“But he said that that sound, that ringing, it was a ‘C,’ and I played it on the piano, and he just nodded his head.
“He had a theory, said it came to him one night when he couldn’t stop listening. He thought that maybe people were drawn to music that featured the note of their natural resonating frequencies. He told me he’d gone through dozens of songs that had touched him deeply at some level, and ‘C’ was a prominent tone in each of them. He was convinced that those songs literally resonated with his heart.
“There’s a thing called a seiche wave. It’s a wave that travels on the surface of a lake, or any landlocked water. Barely discernible. Sometimes it takes minutes, sometimes hours to oscillate completely. It’s the natural resonance of the earth.
“That boy got caught in a seiche wave. Maybe he heard a ‘C.’
“That’s why he disappeared.”
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search results: [[Paul + Hughes] + [personal + journal + 2004]]: [translate: standard] :
author: Paul Evan Hughes. untitled. publication: 12 February 2004.
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i am complicit in my own desolation.
no matter how brilliant they say you are, how sweet, charming, intelligent, no matter how innovative your work is or your theories are, no matter how all-around great they tell you you are, the cold, hard truth is that you fall asleep at night alone, and in the end, there will be no one to hold your hand and watch you die. there will always be someone prettier, more interesting, more spiritual, closer, bigger, better, faster, to fill the time with flesh and
