Not one can pass away

(2015): For 2 object operators, tape & video

Duration: 8:00

Performances:
Scapegoat
Kompact, Zurich (9th May 2016)

Distractfold Ensemble
Ess, Chicago (8th April 2016)

Distractfold Ensemble,
Spectrum NYC, New York (5th April 2016)

Distractfold Ensemble, DF#33,
Swedenborg Hall, London (8th December 2015)

For every thing exists & not one sigh nor smile nor tear,

One hair nor particle of dust, not one can pass away.

Jerusalem, The Emanation of the Giant Albion

The cut worm forgives the plow.

Proverbs of Hell, The Marriage of Heaven and Hell

 


 

Programme Note:

Not one can pass away is the first of three works for performers, tape and video that explore the occult and esoteric history of London. This first work is inspired by the life and work of William Blake.

If the doors of perception were cleansed every thing would appear to man as it is, infinite.

I used Blake’s life as a map, tracing lines and echoes from Blake’s London to the present day:
  1. William Blake House / Soho: I recorded in and around William Blake House, the tower block that stands on the location of the house in which Blake was born;
  2. Golden Square / Soho: I spent hours wandering Soho, where Blake spent the first half of his life, but was always drawn back to Golden Square;
  3. St James’s Piccadilly was where Blake was baptised in 1757. I used contact mics to record the creaks and rhythms of the pews and wooden floors, the prayer room and the clock room;
  4. Hercules Buildings / Lambeth: I visited the site of Blake’s home from 1790-1800;
  5. Savoy Buildings Lane / Fountain Court / Strand: this is Blake’s last home, where he died in 1827;
  6. Bunhill Fields: I recorded the ambience at Blake’s grave, which is located in the dissenter’s plot at Bunhill Fields;
  7. In addition, I visited Blake’s cottage in Felpham.
Not one can pass away was premiered on the 8th December at Swedenborg Hall, Bloomsbury, London. The location was selected due to Blake’s early interest in Swedenborg, which he later forcefully critiqued in The Marriage of Heaven and Hell.
Thank you to St James’s Piccadilly for access.