{"id":798,"date":"2013-04-22T05:04:00","date_gmt":"2013-04-22T14:04:00","guid":{"rendered":"http:\/\/www.realchange.org\/taoish\/?p=798"},"modified":"2013-05-07T06:11:54","modified_gmt":"2013-05-07T15:11:54","slug":"flow","status":"publish","type":"post","link":"https:\/\/www.realchange.org\/taoish\/flow\/","title":{"rendered":"Flow"},"content":{"rendered":"<p>I seem to be on a music kick lately, for no particular reason, except that it suits this website super well.<\/p>\n<p>Richard Carrick, who teaches musical composition at NYU and Columbia, has written &#8220;<a href=\"http:\/\/www.richardcarrick.com\/flowcycle.html\" title=\"Flow cycle\">The Flow Cycle For Strings<\/a>,&#8221; an hour long piece performed by his &#8220;Either\/Or&#8221; ensemble. According to his website, it &#8220;is influenced by Islamic Mosaics, Gnawa music of Morocco, Albert Camus&#8217; L&#8217;\u00c9tranger, and the Flow concept of Mihaly Cs\u00edkszentmih\u00e1lyi.&#8221;<\/p>\n<p>Cs\u00edkszentmih\u00e1lyi &#8212; you can be sure I copied and pasted that name &#8212; wrote a popular book called &#8220;<a href=\"http:\/\/www.powells.com\/biblio\/62-9780061339202-0\" title=\"flow book\">Flow: The Psychology of Optimal Experience<\/a>&#8221; in 1990 (and several followups since). It&#8217;s basically a secularized version of Daoism, if you ask me. We&#8217;ll talk about Flow another day, but basically Mihaly defines it as complete immersion in an activity, with loss of all self-consciousness and a merging of action and awareness.<\/p>\n<p>(Cs\u00edkszentmih\u00e1lyi&#8217;s classic is not to be confused with <a href=\"http:\/\/www.amazon.com\/Flow-Cultural-Menstruation-Elissa-Stein\/dp\/B0045JK6CY\/ref=sr_1_5?s=books&#038;ie=UTF8&#038;qid=1366478337&#038;sr=1-5&#038;keywords=flow\" title=\"other flow\">Elissa Stein and Susan Kim&#8217;s book &#8220;Flow<\/a>,&#8221; but I think the difference would be apparent pretty quickly.)<\/p>\n<p>Carrick has <a href=\"opinionator.blogs.nytimes.com\/2013\/04\/19\/the-music-of-flow\/\" title=\"nyt flow\">an interesting article in The New York Times today<\/a> describing flow and how he applied it to this project. <\/p>\n<p>What&#8217;s it sound like, you ask?  Well I am completely unschooled in music, so these are just gut level impressions of an ignorant (but avid) rock fan.<\/p>\n<p>On the NYT website there&#8217;s a 2&#8217;50&#8221; excerpt of the final piece of the Flow Cycle, &#8220;a cause du soleil.&#8221; To my ear it sounds like Central European folk melodies with a &#8220;dissonant modern composition&#8221; filter applied. Quiet start, sudden startling discord, then a fast section like Camper Van Beethoven on bad drugs. (Not the first time that has happened.)<\/p>\n<p>Carrick has two other excerpts on YouTube.  Esther Noh plays <a href=\"https:\/\/www.youtube.com\/watch?v=OZb6AI3IBJk\" title=\"esther noh\">a 5 minute excerpt of the piece &#8220;in flow&#8221;<\/a> which alternates long spare, sinuous bent notes with fast, show-offy clanky sections.  There seems to be a clear influence from the Father of Lie&#8217;s fiddle solo in &#8220;The Devil Went Down To Georgia&#8221; by the Charlie Daniels band, but I could be wrong about that.  And John Pickford Richards plays <a href=\"https:\/\/www.youtube.com\/watch?v=TB1DsQxa-jc\" title=\"the other song\">four minutes of &#8220;Shadow Flow<\/a>,&#8221; in which the Devil keeps playing fiddle but more slowly and &#8212; ironically &#8212; with less focus.<\/p>\n<p>Carrick is a highly respected composer with connections to impeccable institutions (various Ivies, the New York Philharmonic), so don&#8217;t let my unschooled opinions dissuade you from checking this out.  Or at least, read <a href=\"http:\/\/opinionator.blogs.nytimes.com\/2013\/04\/19\/the-music-of-flow\/?hp\"> his article<\/a> which is fascinating.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>I seem to be on a music kick lately, for no particular reason, except that<\/p>\n","protected":false},"author":1,"featured_media":799,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[49],"tags":[335,333,334,332,338,56,57,337,9,336,51,52],"_links":{"self":[{"href":"https:\/\/www.realchange.org\/taoish\/wp-json\/wp\/v2\/posts\/798"}],"collection":[{"href":"https:\/\/www.realchange.org\/taoish\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.realchange.org\/taoish\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.realchange.org\/taoish\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.realchange.org\/taoish\/wp-json\/wp\/v2\/comments?post=798"}],"version-history":[{"count":5,"href":"https:\/\/www.realchange.org\/taoish\/wp-json\/wp\/v2\/posts\/798\/revisions"}],"predecessor-version":[{"id":817,"href":"https:\/\/www.realchange.org\/taoish\/wp-json\/wp\/v2\/posts\/798\/revisions\/817"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.realchange.org\/taoish\/wp-json\/wp\/v2\/media\/799"}],"wp:attachment":[{"href":"https:\/\/www.realchange.org\/taoish\/wp-json\/wp\/v2\/media?parent=798"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.realchange.org\/taoish\/wp-json\/wp\/v2\/categories?post=798"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.realchange.org\/taoish\/wp-json\/wp\/v2\/tags?post=798"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}