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“The Maze” encourages the performers to collaboratively interact with all the traditionally and graphically notated materials in a manner that problematizes separatist notions of “improvisation” and “composition,” cultivating a sonic universe in which such a binary never existed in the first place.

Love to problematize separatist notions :rolleyes:

Incidentally, I had the privilege of seeing Douglas Ewart with Irreversible Entanglements at the Walker in Mpls last night. He really elevated the set.  

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I get it - composition vs improv has been thought of as separate disciplines, you do one or the other, and/or you bring one to the other. Roscoe "problematizes" them by asking that the players don't think in those binary terms, to improvise the composition while composing the improvisation, not either/or, both and, or more accuately, just "one thing".

If you look at "problematizing separatist notions" as simply "shaking it up" then maybe that's a more "earthbound" way to look at it. But not nearly as descriptive and actual. Actually doing things with a purpose...you figure that out on a granular level if you really want to do it yourself, "Impressions" are not going to get you to doing it!

It's a maybe inartful phrase (but maybe it is quite artful!), but that's what he means - realigning the mindset of "what are we doing with this"...and quite relevant to Sorey's own work.

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