Reflexive Listening Practice (The four Étude)

The Playground is where these principles become lived practice. It creates Joinment Spaces where people explore communication with play: painting as another sings, moving with another’s breath, speaking in gibberish, listening with color, rhythm, movement, and shared attention.

The Reflexive Music Études grew out of the practice of Reflexive Listening. Composed with Invisible Score notation, they develop perceptive attunement and different ways of listening, responding, and participating.

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The listening practice widens communication into a shared field of sensing. Gesture, rhythm, sound, movement, silence, color, touch, and presence continually enter new relations, like the elements of a kaleidoscope forming another composition with every turn. As attention shifts, another pattern comes forward, another connection becomes perceptible, and another possibility for joining appears.

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Reflexive Listening invites us into this polyphonic language of the senses: listening with our skin, our eyes, our movement, and discovering how different forms of perception can resonate with one another.

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Within this multisensory polyphony, we join rhythms already in motion and contribute our own variations. Different expressive lines remain distinct while becoming part of a shared composition. The composition keeps changing, while something between us remains available to notice, enter, follow, transform, and continue.

Communication becomes something we compose with one another and with the world: a living kaleidoscope of perception, continually rearranging what can be sensed, shared, and created.

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Reflexive Listening Étude: CRUMPLE IT (1988)
Reflexive Composer Étude: I PAINT = YOU SING (1996)
Reflexive Conductor Étude: PUSH THE BUTTON (1996)
Reflexive Producer Étude: WALK / DON’T WALK (1996)

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The four Études practice the movement between I – YOU – WE – WORLD with Reflexive Listening.