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George Floyd in memoriam' I felt heartbroken. No sound of music, just breath. And the almost inappropriate wish to connect in front of the void — in the sense of an absolute absence of what could be. All three protagonists — the police, the witnesses and Floyd — interact in orchestral groups. But more and more the idea of redemption proved tricky. As in Aristotelian drama, purification comes after unimaginable horrors and the pouring of swine blood over our heads. What if the horror never stops? What if any sense of catharsis were turned upside down and all melodies and harmonies went in retrograde, rendering redemptive calculations obsolete? Is the use of an audio file that has been heard by millions online an exposure and instrumentalization of the witnesses and their reaction to the obscenity of the scene? Are the audience and the ensemble also exploited by being confronted with words that one hardly dares to say? Do my means of artistic expression have to be restricted to their legal challengeability, or is it more about respect, my inner motivation and the way of speaking to the other person? Catharsis is at the same time anticipated and lost. Appeasement kicks in before the drama. In the end, it is the same as in the beginning, like on a wheel of eternal return. Just as we like to veil ourselves in utter sadness and escape from the view of others, the sound of the cymbal covers what we may feel as the unspeakable gist of the scene. It is time to question the Aristotelian, possibly flawed catharsis rendering and its abundance of cynicism in the justification of the blood of others. More information on Charles Uzor and his work can be found here. This is a work about time: about our individual finiteness and about the ecological crisis. The protagonist is a river — a symbol for transience and endangered continuity. In a video by Morena Barra, the performer Winnie Huang communicates with the life-worlds of the river. This work is part of a larger project to join the arts to wider movements of multispecies justice that take up the moral, political, and legal claims of animals, plants, rivers, forests, and ecosystems, as bound up with the fate and well-being of humans. Calling the Ancestral River The River is a sentient elemental being of enormous creative power made up of multiple life-worlds. The river is neurologically ancient in us — it is part of our sensorium, our cultural DNA, shaping how we imagine concepts of time and energy. It is a complex ecosystem of beings: plants, animals, birds, insects, waters, winds, air, rocks, earth and more. The digital instrument allows the scored gestural actions to be translated into fine-tuned transformations of sound just like performing on an acoustic instrument. The ancient Greek Philosopher Herakleitos said something we can all feel in our bones: one can never step into the same river twice. The river embodies the transience of life, an impermanent current in which any moment can only be lived once. We see the randomness and the brevity of our time as the river restores or reminds us of our human size, tiny within the universe. This composition was written at a time of ppm CO2 in the New Calendar. Global temperatures have risen approximately 1. There is a vertigo in the movement of time: an unravelling forwards, backwards and upside down of displaced patterns. Runaway time, dilated time, wasted, sliced-up, knotted, damaged time…. Article accessed 20 Jan Article accessed 19 August The Unborn watch us Coiled within us are our ancestors and the as-yet-unborn. Breathing in and out, listening, the musician at the river weaves a musical figure that passes across violin strings, rock and water. The violin bow is rocking back and forth, in grief or ecstasy, un-consoled or compassionate. An emerging song is like an inner quickening that moment when a mother first feels their baby moving within. Can we surrender to a de-centering of the human to expand into the vibrancy of a multispecies kin-making? Multispecies knots Breathing — touching — listening. That is the basis for a communication with the elemental sentiency of water and rock. We see the performer take up a Chinese calligraphy brush and make marks on a rock with water. The human being rubs up against the consciousness of the river. How can one say that?! Sea and Fog. Am I just establishing inventories? Where am I? Shifting the Silence. New York: Nightboat Books. A hum keeps the connection and the current alive. We can venerate the beauty of the visible face of nature and attune to its invisible spirit. That is a form of prayer in which the sublime power of place fills us with wonder. We pass by and glance at offerings of flowers and fruit, made to the river. Rising, high up above the trees, we see the Pilatus. More information on Liza Lim and her work can be found here. Deep listening: New Music. On Lucerne Festival Forward Lucerne Festival Forward — A look back. Concert programme. Program notes. The cycle ends with us as best witnesses. We dream with rivers. We can conceive philosophies of time and time relations because we have encountered real rivers. Water and rocks — resistance creates music! Runaway time, dilated time, wasted, sliced-up, knotted, damaged time… 4. What do we bear witness to? Where are the silences? The world is the living river, the mountain, the sky, the many creatures including us. In grief and in wonder we demand a multispecies justice for our kin, for the river. Lucerne Festival Contemporary Orchestra. Article Mach mit! Forward Festival. Podcast Deep listening: New Music. Deep Listening: New Music. Article Music of the river Forward Festival.