There was a moment when he knew he had to make a decision.

He had left London that February evening on the ****** Velo Train to the South West. As the two hour journey got underway darkness had descended quickly; it was soon only his reflected face he could see in the window. He’d been rehearsing most of the afternoon so it was only now he could take out the manuscript book, its pages full of working notes on the piece he was to play the following afternoon. His I-Mind implant could have stored these but he chose to circumvent this thought-transcribing technology; there was still the physical trace on the cream-coloured paper with his mother’s propelling pencil that forever conjured up his journey from the teenage composer to the jazz musician he now was. This thought surrounded him with a certain warmth on this Friday evening train full of those returning to their country homes and distant families.

It was a difficulty he had sensed from the moment he perceived a distant gap in the flow of information streaming onto the mind page

At the outset the Mind Notation project had seemed harmless, playful in fact. He allowed himself to enter into the early experiments because he knew and trusted the research team. He got paid handsomely for his time, and later for his performance work.  It was a valuable complement to his ill-paid day-to-day work as a jazz pianist constantly touring the clubs, making occasional festival appearances with is quintet, hawking his recordings around small labels, and always ‘being available’. Mind Notation was something quite outside that traditional scene. In short periods it would have a relentless intensity about it, but it was hard to dismiss because he soon realised he had been hard-wired to different persona. Over a period of several years he was now dealing with four separate I-Mind folders, four distinct musical identities.

Tomorrow he would pull out the latest manifestation of a composer whose creative mind he had known for 10 years, playing the experimental edge of his music whilst still at college. There had been others since, but J was different, and so consistent. J never interfered; there were never decisive interventions, only an explicit confidence in his ability to interpret J’s music. There had been occasional discussion, but always loose; over coffee, a walk to a restaurant; never in the lab or at rehearsals.

In performance (and particularly when J was present) J’s own mind-thought was so rich, so wide-ranging it could have been drug-induced. Every musical inference was surrounded by such intensity and power he had had to learn to ride on it as he imagined a surfer would ride on a powerful wave. She was always there - embedded in everything J seemed to think about, everything J projected. He wondered how J could live with what seemed to him to be an obsession. Perhaps this was love, and so what he played was love like a wilderness river flowing endlessly across the mind-page.

J seemed careful when he was with her. J tried hard not to let his attentiveness, this gaze of love, allow others to enter the public folders of his I-Mind space (so full of images of her and the sounds of her light, entrancing voice). But he knew, he knew when he glanced at them together in darkened concert halls, her hand on J’s left arm stroking, gently stroking, that J’s most brilliant and affecting music flowed from this source.

He could feel the pattern of his breathing change, he shifted himself in his chair, the keyboard swam under his gaze, he was playing fast and light, playing arpeggios like falling water, a waterfall of notes, cascades of extended tonalities falling into the darkness beyond his left hand, but there it was, in twenty seconds he would have to*

It had begun quite accidentally with a lab experiment. J had for some years been researching the telematics of composing and performing by encapsulating the physical musical score onto a computer screen. The ‘moist media’ of telematics offered the performer different views of a composition, and not just the end result but the journey taken to obtain that result. From there to an interest in neuroscience had been a small step. J persuaded him to visit the lab to experience playing a duet with his own brain waves.

Wearing a sensor cap he had allowed his brainwaves to be transmitted through a BCMI to a synthesiser – as he played the piano. After a few hours he realised he could control the resultant sounds. In fact, he could control them very well. He had played with computer interaction before, but there was always a preparatory stage, hours of designing and programming, then the inevitable critical feedback of the recording or glitch in performance. He soon realised he had no patience for it and so relied on a programmer, a sonic artist as assistant, as collaborator when circumstances required it.

When J’s colleagues developed an ‘app’ for the I-Mind it meant he could receive J’s instant thoughts, but thoughts translated into virtual ‘active’ music notation, a notation that flowed across the screen of his inner eye. It was astonishing; more astonishing because J didn’t have to be physically there for it to happen: he could record I-Mind files of his thought compositions.

The reference pre-score at the top of the mind page was gradually enlarging to a point where pitches were just visible and this gap, a gap with no stave, a gap of silence, a gap with no action, a gap with repeat signs was probably 30 seconds away

In the early days (was it really just 10 years ago?) the music was delivered to him embedded in a network of experiences, locations, spiritual and philosophical ideas. J had found ways to extend the idea of the notated score to allow the performer to explore the very thoughts and techniques that made each piece – usually complete hidden from the performer. He would assemble groups of miniatures lasting no more than a couple of minutes each, each miniature carrying, as J had once told him, ‘one thought and one thought only’.  But this description only referred to the musical material because each piece was loaded with a web of associations. From the outset the music employed scales and tonalities so far away from the conventions of jazz that when he played and then extended the pieces it seemed like he was visiting a different universe; though surprisingly he had little trouble working these new and different patterns of pitches into his fingers. It was uncanny the ‘fit’.

Along with the music there was always rich, often startling images she conjured up for J’s compositions. At the beginning of their association J initiated these. He had been long been seeking ways to integrate the visual image with musical discourse. After toying with the idea of devising his own images for music he conceived the notion of computer animation of textile layers. J had discovered and then encouraged the work and vision of a young woman on the brink of what was to become recognised as a major talent. When he could he supported her artistically, revelling in the keenness of her observation of the natural world and her ability to complement what J conceived. He became her lover and she his muse; he remodelled his life and his work around her, her life and her work.

When performing the most complex of music it always seemed to him that the relative time of music and the clock time of reality met in strange conjunctions of stasis. Quite suddenly clock time became suspended and musical time enveloped reality. He found he could be thinking something quite differently from what he was playing.

Further projects followed, and as they did he realised a change had begun to occur in J’s creative rationale. He seemed to adopt different personae. Outwardly he was J. Inside his musical thought he began to invent other composers, musical avatars, complete minds with different musical and personal histories that he imagined making new work.

J had manipulated him into working on a new project that had appeared to be by a composer completely unknown to him. L was Canadian, a composer who had conceived a score that adhered to the DOGME movie production manifesto, but translated into music. The composition, the visuals, the text, the technological environment and the performance had to be conceived in realtime and in one location. A live performance meant a live ‘making’, and this meant he became involved in all aspects of the production. It became a popular and celebrated festival event with each production captured in its entirety and presented in multi-dimensional strands on the web. The viewer / listener became an editor able to move between the simultaneous creative activity, weaving his or her own ‘cut’ like some art house computer game. L never appeared in person at these ‘remakings’, but via a computer link. It was only after half a dozen performances that the thought entered his mind that L was possibly not a 24-year-old woman from Toronto complete with a lively Facebook persona.

Then, with the I-Mind, he woke up to the fact that J had already prepared musical scenarios that could take immediate advantage of this technology. A BBC Promenade Concert commission for a work for piano and orchestra provided an opportunity. J somehow persuaded Tom Service the Proms supremo to programme this new work as a collaborative composition by a team created specially for the premiere. J hid inside this team and devised a fresh persona. He also hid his new I-Mind technology from public view. The orchestra was to be self-directed but featured section leaders who, as established colleagues of J’s had already experienced his work and, sworn to secrecy, agreed to the I-Mind implant.

After the premiere there were rumours about how the extraordinary synchronicities in the play of musical sections had been achieved and there was much critical debate. J immediately withdrew the score to the BBC’s consternation. A minion in the contracts department had a most uncomfortable meeting with Mr Service and the Controller of Radio 3.

With the end of this phrase he would hit the gap  . . . what was he to do? Simply lift his hands from the keyboard? Wait for some sign from the I-Mind system to intervene? His audience might applaud thinking the piece finished? Would the immersive visuals with its  18.1 Surround Sound continue on the five screens or simply disappear?

His hands left the keyboard. The screens went white except for the two repeats signs in red facing one another. Then in the blank bar letter-by-letter this short text appeared . . .


Here Silence gathers
thoughts of you

Letters shall never
spell your grace

No melody could
describe your face

No rhythm dance
the way you move

Only Silence can
express my love

ever yours ever
yours ever yours


He then realised what the date was . . . and slowly let his hands fall to his lap.

It’s nearly two in the morning and the place is finally quiet. I can’t do early mornings like I reckon he does. Even a half-past nine start is difficult for me. So it has be this way round. I called Mum tonight and she was her wonderful, always supportive self, but I hear through the ‘you’ve done so well to get on this course’ stuff and imagine her at her desk working late with a pile of papers waiting to be considered for Chemistry Now, the journal she edits. I love her study and one day I shall have one myself, but with a piano and scores and recordings on floor to ceiling shelves . . . and poetry and art books. I have to have these he said when, as my tutorial came to a close, he apologised for not being able to lend me a book of poems he’d thought of. He had so many books and scores piled on the floor, his bed and on his table. He must have filled his car with them. And we talked about the necessity of reading and how words can form music. Pilar, she’s from Tel Haviv, was with me and I could tell she questioned this poetry business – he won’t meet with any of us on our own, all this fall out from the Michel Brewer business I suppose.

This idea that music is a poetic art seems exactly right to me. Nobody had ever pointed this out before. He said, ask yourself what books and scores would be on the shelves of a composer you love. Go on, choose a composer and imagine. Another fruitless exercise, whispered Pilar, who has been my shadow all week. I thought of Messiaen whose music has finally got to me – it was hearing that piece La Columbe. He asked Joanna MacGregor to play it for us. I was knocked sideways by this music, and what’s more it’s been there in my head ever since. I just wanted to get my hands on it. Those final two chords . . . So, thinking of Messiaen’s library I thought of the titles of his music that I’d come across. Field Guides to birds of course, lots of theology, Shakespeare (his father translated the Bard), the poetry and plays of the symbolists (I learnt this week that he’d been given the score of Debussy’s Pelleas and Melisande for his twelfth birthday) . . . Yes, that library thing was a good exercise, a mind-expanding exercise. When I think of my books and the scores I own I’m ashamed . . . the last book I read? I tried to read something edifying on my Kindle on the train down, but gave up and read Will Self instead. I don’t know when I last read a score other than my own.

I discovered he was a poet. There’s an eBook collection mentioned on his website. Words for Music. Rather sweet to have a relative (wife / sister?)  as a collaborator. I downloaded it from Amazon and thought her poems were very straight and to the point. No mystery or abstraction, just plain words that sounded well together. His poetry mind you was a little different. Softer, gentler like he is.  In class he doesn’t say much, but if you question him on his own you inevitably get more than the answer you expect.  

There was this poem he’d set for chamber choir. It reads like captions for a series of photographs. It’s about a landscape, a walk in a winter landscape, a kind of secular stations of the cross, and it seems so very intimate, specially the last stanza.

Having climbed over
The plantation wall
Your freckled face
Pale with the touch
Of cold fingers
In the damp silence
Listening to each other breathe
The mist returns

He’s living in one of the estate houses, the last one in a row of six. It’s empty but for one bedroom which he’s turned into a study. I suppose he uses the kitchen and there’s probably a bedroom where he keeps his cases and clothes. In his study there is just a bed, a large table with a portable drawing board, a chair, a radio/CD, his guitar and there’s a notice board. He got out a couple of folding chairs for Pilar and I and pulled them up to the table.

Pilar said later his table and notice board were like a map of himself. It contained all these things that speak about who he is, this composer who is not in the textbooks and you can’t buy on CD. He didn’t give us the 4-page CV we got from our previous tutor. There was his blue, spiral-bound notebook, with its daily chord, a bunch of letters, books of course, pens and pencils, sheets of graph and manuscript paper filled with writing and drawings and music in different inks. There was a CD of the Hindemith Viola Sonatas and a box set of George Benjamin’s latest opera and some miniature scores – mostly Bach. A small vase of flowers was perilously placed at a corner . . . and pinned to his notice board, a blue origami bird.

But it was the photographs that fascinated me, some in small frames, others on his notice board, the board resting on the table and against the wall. There were black and white photos of small children, a mix of boys and girls, colour shots of seascapes and landscapes, a curious group of what appeared to be marks in the sand. There was a tiny white-washed cottage, and several of the same young woman. She is quite compelling to look at. She wears glasses, has very curly hair and a nice figure. She looks quiet and gentle too. In one photo she’s standing on a pebbly beach in a dress and black footless tights – I have a feeling it’s Aldeburgh. There’s a portrait too, a very close-up. She’s wearing a blue scarf round her hair. She has freckles, so then I knew she was probably the person in the poem . . .

I’ve thought of Joel a little this week, usually when I finally get to bed.  I shut my eyes and think of him kissing me after we’d been out to lunch before he left for Canada. We’d experimented a little, being intimate that is, but for me I’m not ready for all that just now; nice to be close to someone though, someone who struggles with being in a group as I do. I prefer the company of one, and for here Pilar will do, although she’s keen on the Norwegian, Jesper.

Today it was all about Pitch. To our surprise the session started with a really tough analysis of a duo by Elliott Carter, who taught here in the 1960s. He had brought all these sketches, from the Paul Sacher Archive, pages of them, all these rows and abstracts and workings out, then different attempts to write to the same section. You know, I’d never seen a composer’s workings out before. My teacher at uni had no time for what she called the value of process (what he calls poiesis). It was the finished piece that mattered, how you got there was irrelevant and entirely your business and no one else’s. So I had plenty of criticism but no help with process. It seems like this pre-composition, the preparing to compose is just so necessary, so important. Music is not, he said, radio in the head. You can’t just turn it on at will. You have to go out and find it, detect it, piece it together. It’s there, and you’ll know it when you find it.

So it’s really difficult now sitting here with the beginnings of a composition in front of me not to think about what was revealed today, and want to try it myself. And here was a composer who was willing to share what he did, what he knew others did, and was able to show us how it mattered. Those sheets on his desk – I realise now they were his pre-composition, part of the process, this building up of knowledge about the music you were going to write, only you had to find it first.

The analysis he put together of Carter’s Fantasy Duo was like nothing I’d experienced before because it was not sitting back and taking it, it was doing it. It became ours, and if you weren’t on your toes you’d look such a fool. Everything was done at breakneck speed. We had to sing all the material as it appeared on the board. He got us to pre-empt Carter’s own workings, speculate on how a passage might be formed. I realised that a piece could just go so many different ways, and Carter would, almost by a process of elimination choose one, stick to it, and then, as the process moved on, reject it! Then, the guys from the Composers Ensemble played it, and because we’d been so involved for nearly an hour in all this pre-composition, the experience of listening was like eating newly-baked bread.  There was a taste to it.

After the break we had to make our own duos for flute and clarinet with a four note series derived from the divisions of a tritone. It wasn’t so much a theme but a series of pitch objects and we relentlessly brainstormed its possibilities. We did all the usual things, but it was when we started to look beyond inversion and transposition. There is all this stuff from mathematical and symbolic formulas that I could see at last how compelling such working out, such investigation could be . . . and we’re only dealing with pitch! I loved the story he told about Alexander Goehr and his landlady’s piano, all this insistence on the internalizing of things, on the power of patterns (and unpatterns), and the benefit and value of musical memory, which he reckoned so many of us had already denied by only using computer systems to compose.

Keep the pen moving on the page, he said; don’t let your thoughts come to a standstill. If there isn’t a note there may be a word or even an object, a sketch, but do something. The time for dreaming or contemplation is when you are walking, washing up, cleaning the house, gardening. Walk the garden, go look at the river, and let the mind play. But at your desk you should work, and work means writing even though what you do may end in the bin. You will have something to show for all that thought and invention, that intense listening and imagining.

I threw the backpack down
shattering the 13$ jug of wine
I lifted it and saw all my precious lifeblood
oozing out the bottom.
pouting down
two blocks like a child before
pouring the clot of broken
glass is the street.
bad relationship.
put my fist into a metal
sign, ripping up my arm
dropped my wallet losing
100$ to the gods of failure,
dropped a bag of beer causing
one to rupture and spray all over the apartment.
when I find a piano I clang
on the keys til everybody has
a migraine, myself included.
it's a light form of
sadomasochism.
I do the same thing with
women,
and they prove to be better
players.
slipping around in sheets
with somebody else
a sultry look on your
face like a saxophone solo.
light a cigarette and immediately
break it
drop my new phone in a cup
of wine
rip somebody's door of its
hinges.
meditation is foreplay of life
you gotta lick the ****
be the last one with
your shirt off
last one to the finish line
the last to fall asleep
the first to wake on
the 76th hangover this year
so far
so long
too bad
who cares
eat my ***** while I
shove a ******* in my ***
like the queen of France on
a ******.
you can lead a camel to
water but the **** thing
still can't play an
oboe for ****.
satan sold me a *** music
box
so if you see him tell
him I got pictures his wife
******* my **** in tumblr

Capture me underneath the sunset.
Straw hat in hand, smile genuine.
Painted across my cheeks.
Paint me deep,
BLUE.
A darker hue.
Anything but bleak.
I became obsolete when I began to think
that this picture could never be painted.
My visualization became tainted.
But whenever I'm the artist my image
has the potential to be beautiful.
But my beauty bounces off the walls of a cubicle.
I need a creative collaborator.

he snarled at me
accusation embedded into each word
I thought I knew you
I thought I could trust you
but you're nothing like I thought
how can you bear to live with yourself
how can you not feel sick
- collaborator!
he expelled that last word
as if he would be the one to *****
you gave in
while the rest of us struggled on
you gave in
we thought you were with us
but all along you had betrayed us
you betrayed yourself
you didn't write that alone
you had a partner
didn't you!
didn't you!

I paused
not sure how to respond
it was true
I couldn't deny it
I had stopped working alone
I had
- collaborated
I had fallen in step with another writer
and it had felt
great

This is going to be kind of like a journal entry. I never keep a journal,
but I feel like doing it, so I'm going to do it. It's like, the first step in a
long line of many, mini steps. Almost ready. I feel like I should stretch
out before I start. Ballistic. You know, like a fighter or something.
Okay. Here I go.

Right now I'm stuck in this little bubble. I got put here by some trouble
just a few years ago. Man, it was ****** up ****, like the most ****** up I've ever been in. Life, as they say, got the best of me. **** came first, then beer all day er'day, spending my living living with some ****** up ***** who's bad with money. We matched 'cause I'm ****** up. I ****** up, 'cause I shut up. First time lifestyle collaborator, so it was like, man what-am-uh-gonna-say? I feel love and I've been conditioned to just ride that **** with pride on your ****. Don't tell me I don't know what I want man. I've got my head on straight. Don't hate. Haters can't appreciate romance, bro. Come back when you learn that, yo. I don't blame the drugs, so I kept 'em when we left together, but
in different directions. Live-in gone. Foundation rot. Suspension shot.
****! **** **** ****! I hit ground with my teeth. Instead of asking
for help when it was needed I took help that kept me breathing
till I could ***** my head on almost too many terrible months in
the future which I never thought I would see in fruition, and I admit
in volition that (cough) (cough) I almost lost myself totally, ******* stripped of the holy one and only. One and only.

We've. Received. Bad vibes.

So now there's nearly nothing to my name unless you count the
meter it retains. But I've got flies in my pocket that I sprinkle
for pepper in my popcorn bag. There's no space for me here but
there's vacancy in the matrix. And I see the signs lit up. Being
singular not enough? I'd rather be rich and ubiquitous than poor
and bored while I whittle the days away, feeding my head with
whatever's left from original message I received. I've opened that **** and I tried it on for 23, pressed to impress but it wasn't me.
Listen when I say it, 'cause I'm serious, now that my name is
worthless what could it hurt to burn some synapses and knight
myself? After all I don't count on being rescued from this hell.
What's my name? Anything will do. But it's got to be very memorable
and cool. How should I glow when I get outta this cocoon? Take
it to the Max. Normal won't do, 'cause it's gotta be catchy for the
TV and YouTube. I won't be a copycat, no, never. It's just gonna be the
me that I've eternally received only under my belt, tight to the
extreme.

Like. The lost. Before.

My unseen, poetic collaborator, talent extraordinaire.

She writes of the homeless man we pass on the street,
to which I add a word, a line or two, for who among us has never once wondered, there but for the grace of god, go you or I....


a tin cup, a beat up guitar
memories, all sepia colored,
little of his older life,
the few days left,
close by, not far,
the remains of the day,
he calls them,
his ha ha, happily ever after.

once he thought maybe after
the next song, he'll belong,
for his melody sung
in the key of despair,
but the refrain, sung with flair,
après la guerre,
ever hopeful, ever after

no passerby fails to stop,
penny or dollar, each produces,
his voice, so sad, seduces
each fearful of the sound,
but comforted by his
last words, that stick
to them, ever after.

yet, he's happy, he has a voice,
cold concrete beneath his extremities
reminds him of his lost choices,
a life begun, flowing with expectancies,
soon expected to conclude, yet,
he does not complain of life's inequities.

no matter what the tune,
no matter what the key,
no matter what the rhythm,
no matter what the beat,
his every song always ends
with words of no mean feat.

He sings:

**tho bad luck, poor choices
have brought me to
a life upon the ground,
yet I wake each morn,
kiss my stony bed,
for I am happy for,
just to be alive,
always happy, ever after.

Sometimes it seems to me that your ultimate goal is to see me broken.
You sit in your chair and twiddle my hearts strings between your fingers.
You strum my chords until the melody becomes too similar to your own.
Then you knot each of my hearts  strings up individually,
Leaving me strung.
Only so you can start all over.
You learn me just to forget me.
Lead me just to leave me.
I'm a game that you love to play.
But only when you haven't smiled a genuine smile for a while.
I make you happy and nervous at the same time.
Cause everyone knows that a sweet hello births the most bitter goodbye.
So when it feels too real, it's too easy for you to run.
In the meantime you just walk the line.
You reside on the equator of my past and future.
And my resistance only assists your thrive.
You are the factor which brings life to my smile.
You are the crease in between my cheek and the corner of my mouth.
Every breathe I take while with you amplifies my high.
I hate you, but I love how you make me feel.
But only sometimes.
You are a wound that will never heal completely.
Marking me imperfectly beautiful. You are my creative collaborator.
Forever infected by your loves venom.
Therefore I bleed thee.
But, we don't relate anymore.
Our pitters don't patter on beat anymore.
Our paths don't meet anymore.
It seems like your hearts not even in reach anymore.
I figure to leave is the only way to settle the score.
But you've packed my bags and you opended the door.

At least you have a shred of a conscience, but you don't know what you've become.
You think you are my friend.  
When do we go out?  
It's too late for the drink you suddenly asked me about.
People may lie, but feelings never lie still, and when they can't be expressed
people move: eyes twitch, faster, quicker, chasing someone down who has no business knowing
anything about this
Your collaborator doesn't feel guilty, though.  
He's only afraid of being caught, ensnared
Really, he should have thought about it first
No one is supposed to be told when you are fired, so you are not supposed to
arrange for the new guy to come in and check out his new digs when you are being fired
when you are in the hell room, with the devil men, the stupid little vicious savages,
who can't make eye contact with me as they wrinkle their nose like an elephant skin and say
"it's not a good fit."  I laugh now.  
Not a good fit.  I'm sure, because they're all too small.
And I'd never let them try to fit themselves into me anyway.
Pond **** is not a good lover, or even a slimey frog.
Alas, the damsel, she doesn't want to pay for her sins so the energy
the unexpressed emotion, makes her scurry
the little princess, who has done the nasty deeds, scurries
Around and around, making herself look silly
and guilty, so guilty.

I am a deeply flawed collaborator
Looking back at the past
In old photographs
I catch a glimpse of
Someone I once loved
And my stomach churns
With an acidic burn
That crawls up my gut

She is a smiling memory
In cliché haunting me
Not dead but not who
She used to be
Fourteen years ago

I wrote her poetry
To express what she meant to me
But she had to leave
To join the military

In one of those silly vows
We promised to be together
If we were still single
When we were thirty or forty
She has probably forgotten that

The white navy hat
The uniform of black
If I could go back
I would not

But to be honest
The loves we lose
Will probably always
Haunt us
But it sure makes
For good poems