THE DOWSING POLES- New instrument member of the Meta-Slendro Ensemble

The Dowsing Poles This instrument grew out of a desire to have something like Tubular Bells to add to my ensemble of Meta-Slendro instruments. This tuning is anything but a conventional Slendro encompassing instruments using 12, 17 and 22 unequally spaced pitches in the octave informed by both traditional sources and recurrent sequence mathematics. 

In order to realize such a Tubular Bell instrument and after much experimentation, I decided to explore the possibilities of suspending the tubes in the middle instead of the conventional nodes used on all my other instruments. This produces a somewhat similar sound to the desired orchestral instrument but with even more pitch, making the use of small distances between some pitches in the tuning much more practical and realistic.

Mounting the bars in this fashion was extremely difficult as it a point of balance, but wanted the tubes to be vertical in order to take up less space and easier to play. The present method of tying elastic cord seems to work well but am still not cutting the cords quite yet in order to see how it works after at least a few weeks. Hence why they can still be seen for the time being. This instrument is also quite modular being usable in any or all of the three sections and it allows the tubes to be placed in any order of which is shown here. The sections themselves are also flexible in being placed in a chain of any configuration here conforming to the only flat section on the Anaphorian Embassy grounds. This instrument will get it premiere at the Now Now Festival this Thursday night at 107 Projects

Anaphoria: Creolization and Bricolage as opposed to Utopian Geography

In it amazing to find in reading ideas and expressions that fit so well with our own understanding Anaphoria as something besides a utopia and aptly describe what we are doing.

-->

Derek Walcott suggests that the fitting together of the fragmentary is characteristic of Antillean

art, which does not present a seamless or perfect unity of the fragmentary but results in a

multiplicity, reflected in the topographic image of the drifting archipelago of islands, broken

off from the mainland.

For other Caribbean theorists, bricolage has come to be seen as a cultural process that could also serve as a model for articulating identity in an increasingly globalized world. Such a perspective is reflected in Françoise Vergès’s definition of the relationship between bricolage and creolization:

Creolization is about bricolage drawing freely upon what is available, recreating with new content and in new forms a distinctive culture, a creation in a situation of domination and conflict. It is not about retentions but about reinterpretations. It is not about roots but about loss. It must be distinguished from cultural contact and multiculturalism because, at heart, it is a practice and ethics of borrowing and accepting to be transformed, affected by the other. In the current era of globalization, processes of creolization appear in zones of conflict and contact. They are the harbingers of an ongoing ethics of sharing the world.

Raphaël Confiant.......sees the Creole
person as cohabited by different gods or as a site where the pieces and parts of identity are
constantly mingling and disentangling, simultaneously embracing and excluding one another.
Confiant argues that this intermingled experience also applies to the domains of cuisine,
clothing, technology, and language. He reaffirms the view, previously articulated in the Eloge
de la Créolité,9 that a pluralistic identity prefigures globalization.10 Confiant’s description of
Creole bricolage seems to imply a utopian outcome in which the processes of colonization,
creolization, and globalization enable new forms of identity formation and processes of
communal enrichment through pacific intermixtures and aggregations.
While Confiant’s literary works offer more complex treatments of cultural fragmentation,
this affirmation is problematic because he ignores the possibilities for cultural impoverishment
as a result of the deliberate obliteration or unconscious repression of cultural fragments. 

 from

Colonization, Creolization, and Globalization: The Art and Ruses
of Bricolage
Knepper, Wendy.
Small Axe, Number 21 (Volume 10, Number 3), October 2006, pp.
70-86 (Article)
Published by Duke University Press