Pierre Boulez's "Structures" from 1952 was an attempt, as Boulez stated, "to eliminate from my vocabulary absolutely all trace of heritage." Thus, musical parameters were determined by external procedures, albeit much more restrictive than the NY School's unfixing of control. "Structures" though, as it announces in its title, obsesses with method and its resulting order in such a way as to suggest composition as "architecture": external procedures and musical production form an affair through which an outside and an inside meet. The outside exerting influence on the inside of musical material. To further eliminate all trace of heritage, I'll introduce the drum kit into Boulez's musical vocabulary-jamming with "Structures", improvising against the architectural order, my own addition will function as a shadow, a doubling up of information, so as to tease out the musical affair.

Brandon LaBelle

Working with sound - performance - and installation-art, Brandon LaBelle's work draws attention to sound as a social and spatial dynamic. Through performative usage of objects, found-sound, and electronics, the work underscores the "contextual" through an emphasis on and displacement of architecture and the aural. His work has been featured in the exhibitions: "Undercover: sound/art and social space", Museum of Contemporary Art, Roskilde Denmark (2003), "Pleasure of Language", Netherlands Media Institute (2002), "BitStreams", Whitney Museum (2001), "Amplitude of Chance", Kawasaki City Museum Japan (2001), and "Sound as Media", ICC Tokyo (2000). He is the co-editor of "Site of Sound: of Architecture and The Ear" and "Writing Aloud: The Sonics of Language", both published by Errant Bodies, and curator of "Social Music", a radio series commissioned by Kunstradio, Vienna. He recently exhibitid his installation "Learning from Seedbed", a reconsideration of the work of Vito Acconci, at the Standard Gallery, Chicago.

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