Text excerpt : Page 52.

3.8 improvisation on score

Improvisation can come out of the unexpected. It is always triggered by something. As a method or tool in the arts, it often starts from a constraint, freely chosen. In this way musicians improvise on a melody or theme; actors improvise on an emotion, an idea; poets improvise on a form or a set of words.
In art, we can improvise on a score, on the creation of another artist. A score obeys certain rules, it activates a certain behaviour and is part of a certain domain, normally music. The score is already socially, culturally and historically embedded. It represents a particular moment in the mores of musical interpretation. By having the potential to generate different responses that become unique unrepeatable events, the score offers a field of possibilities to the artist that exceeds simple articulation or translation: the artist creates ‘a certain thing.’
Here, the score of Calendar, 1971 by the visual artist Allan Kaprow, was taken as the origin for the development of a new artistic response, Calendar Variations (2010-11). By enacting the score, already translated from the performance into the visual arts by Kaprow, different artists worked with its potential. By bringing the score into the visual arts, performance and interaction enter this domain.
The original score fades away, allowing for an immense field of possibilities to create unique outcomes. It opens the space for a myriad of cartographic and topographic maps of interpretations and creations, out of joint and individual interventions and performances, discussions and emotions. New 'scores' appear like small improvisatory jumps here and there, responding to the invitation of the original score and the different worlds surrounding art, practice and individuals.
These newly created objects, ‘scores’, have become accessible to others and thereby enlarged the game and the rules. Points of rupture have emerged on different layers by the enaction of different artists. Traces of transpositions appear that become possible between the domain of individual creativity and the domain of culture and its artefacts. At different points in the process, the same thing – a score – can acquire different identities.

Anne Douglas & Kathleen Coessens

By Kathleen Coessens and Anne Douglas.

with the collaboration and artwork of the artists of On the Edge research, Gray's School of Art, Robert Gordon's University:
Georgina Barney, Chris Fremantle, Reiko Goto., Fiona Hope, Janet McEwan, Chu Chu Yuan

A 68 page, full colour A6 soft back book, made to accompany the exhibition, 'Calendar Variations', held at the Woodend Barn Arts Centre Banchory, Scotland in 2011.

'This book offers a visual and verbal reflection on the process of artistic practice and the ephemeral traces left by these....
By Focusing indepth on a particular artistic project that is both social and aesthetic in nature, it is an attempt to articulate an artistic process as experience.'

Copies of this publication can be purchased at a cost of £8 (plus P&P if necc) Its on sale at the Woodend Barn Arts Centre or please contact me for other retail venues or to buy direct.