From Artaud to Partch

Quote from Artaud's 'The Theater and Its Double' (p.95 of my Evergreen book edition)

"MUSICAL INSTRUMENTS: They will be treated as objects and as a part of the set.
Also, the need to act directly and profoundly upon the sensibility, through the organs invites research, from the point of view of sound, into qualities which present-day musical instruments do not possess and which require the revival of ancient and forgotten instruments or the invention of new ones. Research is also required , apart from music, into instruments and appliances which, based on special combinations or new alloys of metal, can attain a new range and compass, producing sounds or noises that are unbearably piercing."

Elsewhere Artaud talks about them being of human size and dimensions.
Partch must have found himself if pretty full agreement with this, except for the concentration on metal. Still many of his percussive instruments were more than capable of being piercing. If would have been interesting if the theater community would have picked up on his work before the music one. Probably the development would have been of little difference. In fact his work still exist as theater secondly even though he was on the forefront of those who took Artaud and ran with it. He still deserve more notice from this direction.

Beuys and Soleri (with a latter entrance of Partch)

Entrance to Arcosanti (in progress)

While I am sure both would object, there are some striking similarities between the first two above. Both of their visions are advancements in holism. Both have been labeled incorrectly “Utopian”, for neither present answers, only a process that at most seems to be a ‘first step’ that then require reflection before proceeding. Space is both their medium of utmost importance being the medium for social change.

Both place much importance of desirability over objectivity that is a marked differentiation to the work of Duchamp and Cage. These latter individuals can be looked upon as those who expanded the concept of “framing” and how that affects and defines their medium. This framing is so powerful, they illustrated that anarchy (in the form of randomness) could indeed be objectively encompassed within it .
At the time, there were those who objected to this anarchy and randomness being more a symptom of capitalism; its nature of having no goal and it lack of taking responsibility for the course it takes. This global economic meltdown might for us cause us to reflect on the process of the economic anarchy that has caused it. It is too shaky of ground to come to a conclusion on this alone.

Not only Beuys or Soleri, but many artists of which Harry Partch would quite rightfully
fit are/were more concerned with ‘working on what had been spoiled”. There is a recognition that the unsorted product of an underdeveloped or damaged might not be automatically of artistic worth. Intuition, real or simulated, likewise cannot be any guarantee and this is plausibly a more realistic criticism.

Instead a space for the myriad of forces that exist within the individual, what James Hillman refers to as the ‘Inner Commune’, is the space Beuys and Soleri, and Partch wish to celebrate and develop toward its fullness. All this work about space, and in the end, it is all directed toward inward.

Beuys- Grond

From an Interview with Tessa Dick

What was Philip K. Dick’s relationship to music?

TD: Phil loved music. His first job was as a clerk in a record store (Art Music). He loved classical music first, but in the 1960s he discovered rock and roll. At one time he played a triangle in an ensemble put together by the avant-garde composer Harry Partch.

Now wouldn't that had been nice to listen and see!