フ リ ー フ ォ ー ル

[ F r e e F a l l / Q u e d a L i v r e ]

S o u n d t r a c k

{ K o a n D a n c e C o m p a n y }

O t a c í l i o M e l g a ç o

[duration 42:40] all rights reserved

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The artist Otacílio Melgaço has two official curators in the virtual world. A curator (from Latin: ´curare´, meaning ´to take care´) is a manager or overseer. Traditionally, keeper of a cultural heritage institution (e.g., gallery, museum, library or, as the present case: sound archive) is a content specialist charged with an institution's collections and, highlighting the context in force here, involved with the interpretation of personal (heritage) material. Both, Mr. Paz and Mr. Campbell, are, therefore, reviewers of the Melgacian works. To learn more about their missions, tasks, assignments and responsibilities by means of valuable informations regarding the compositional process, the performative rhizomes and other special features, just click the following link: otaciliomelgaco.wixsite.com/preamblebypsp
(O.M.Team; P r e l u d e)

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"'And those who were seen dancing were thought to be insane by those who could not hear the music.' No longer. Now everyone can hear The Music.

In addition to making references to his multifaceted compositional and performative history, Mr. Melgaço dismantles paradigms quite crystallized (until today) in what is conventionally/pasteurizedly a 'soundtrack for ballet'. His motto - sans limites. If a parallel is possible, I would cite the conceptual perspective of the alliance betwixt John Milton Cage Jr. and Mercier Philip Cunningham.

Breaks up a elementary and, I believe, banal interdependence between 'cadential pulse' and 'bodily buoyage'. For Otacílio, often the rhythmicity is brought into the uterus of the music, becoming more autonomous (and this libertarian factor generates a more entrenched complicity amongst) organismic sonorities and choreographic movements.

By the way, the 'フリーフォール 4 Movements' are auratic representations of the 4 elements (Earth/Terra, Water/Água, Fire/Fogo and Air/Ar). Without gravity, the universe would be without thermal energy and composed only of equally spaced particles. On Earth, gives weight to physical objects and causes the tides. Gravity has an infinite range, and it cannot be absorbed, transformed, or shielded against. P-h-y-s-i-c-a-l-l-y.
But a-r-t-i-s-t-i-c-a-l-l-y? Here we are (the Koan Dance Company and each of us) in a growing and gradual process of metamorphosis, depuration, ascension ... heading to a m-e-t-a-p-h-o-r-i-c-a-l annulment of the gravity attraction while a f-i-g-u-r-a-t-i-v-e liberation of 'the dictatorship of gravitational pull' in relation to the sound corpus and the body of the dancer.

It would then be akin to supposing a kind of multidirectional (free) flight? Friedrich Nietzsche wrote 'He who would learn to fly one day must first learn to stand and walk and run and climb and dance; one cannot fly into flying.'

Now, ladies and gentlemen, you can hear the reverberating Melgacian ludomotricity.
Now you can dance into flying!" (Pablo S. Paz; Argentinean musicologist)

"Examples of objects in free fall include:
A spacecraft (in space) with propulsion off (e.g. in a continuous orbit, or on a suborbital trajectory (ballistics) going up for some minutes, and then down).
An object dropped at the top of a drop tube.
An object thrown upward or a person jumping off the ground at low speed (i.e. as long as air resistance is negligible in comparison to weight).

If gravity is the only influence acting, then the acceleration is always downward and has the same magnitude for all bodies, commonly denoted g. Since all objects fall at the same rate in the absence of other forces, objects and people will experience weightlessness in these situations.

Technically, an object is in free fall even when moving upwards or instantaneously at rest at the top of its motion. Just like in the Rūmī words: 'Dance, when you're broken open. Dance, if you've torn the bandage off. Dance in the middle of the fighting. Dance in your blood. Dance when you're perfectly free.' So I define (both were born paradoxically & simultaneously independent & interconnected) the Soundtrack & the Spectacle: a body (sonic, human...) falling up. Freely." (Caio Campbell; Anglo-Brazilian semiologist and musician)

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I - otaciliomelgaco.wix.com/koanciadedanca

II - In Newtonian physics, free fall is any motion of a body where its weight is the only force acting upon it. In the context of general relativity, where gravitation is reduced to a space-time curvature, a body in free fall has no force acting on it and it moves along a geodesic. The present article only concerns itself with free fall in the Newtonian domain.

An object in the technical sense of free fall may not necessarily be falling down in the usual sense of the term. An object moving upwards would not normally be considered to be falling, but if it is subject to the force of gravity only, it is said to be in free fall. The moon is thus in free fall.

In a uniform gravitational field, in the absence of any other forces, gravitation acts on each part of the body equally and this is weightlessness, a condition that also occurs when the gravitational field is zero (such as when far away from any gravitating body). A body in free fall experiences "0 g".

The term "free fall" is often used more loosely than in the strict sense defined above. Thus, falling through an atmosphere without a deployed parachute, or lifting device, is also often referred to as free fall. The aerodynamic drag forces in such situations prevent them from producing full weightlessness, and thus a skydiver's "free fall" after reaching terminal velocity produces the sensation of the body's weight being supported on a cushion of air;

III - In general relativity, an object in free fall is subject to no force and is an inertial body moving along a geodesic. Far away from any sources of space time curvature, where spacetime is flat, the Newtonian theory of free fall agrees with general relativity but otherwise the two disagree. The experimental observation that all objects in free fall accelerate at the same rate, as noted by Galileo and then embodied in Newton's theory as the equality of gravitational and inertial masses, and later confirmed to high accuracy by modern forms of the Eötvös experiment, is the basis of the equivalence principle, from which basis Einstein's theory of general relativity initially took off.

...for purposes of pragmatism and clear exegesis,
Wikipedia was the main source...

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Between two parentheses...
(Atonalism, Twelve-Tone, Serialism, Musique Concrète... Acousmatic. Eletroacoustic. Magnetic Tape. Expressionism, New Objectivity, Hyperrealism, Abstractionism, Neoclassicism, Neobarbarism, Futurism, Mythic Method. Electronic...Computer Music, Spectral, Polystylism, Neoromanticism, Minimalism and Post-Minimalism...are addressed by Melgaço. Paradoxically New Simplicity and New Complexity also.
Art Rock, Free Jazz, Ethnic Dialects, Street Sounds are occasional syntax elements.
All the possibilities mentioned above and others that were not mentioned are the usual accoutrements of the composer/instrumentalist to establish his ´babelic´ glossary. We can prove this in a short passage of a single composition up along the entirety of a conceptual phonograph album. All distributed over a career and idiosyncratic records. Have we a universe before us and I propose to see it through a telescope, not a microscope.
I propose not handle very specialized topics here. Otherwise would be, with the exception of musicians and scholars, all hostages of a hermetic jargon. Because more important is to present Otacílio Melgaço to the general public and not to a segment of specialists. Faction of experts not need presentations, depart for the enjoyment beforehand. For this reason there is no niche here for intellectual onanism and encrypted musical terminology. The reason for these parentheses is to establish such elucidation. The non-adoption of technicalities leads to more panoramic, amplifier reviews. Are You always welcome. Those who do not dominate contemporary music and are introduced to the world of ubiquitous O.M. [autodidact and independent artist who, being more specific, does not belong to schools or doctrines; artist who makes Music and that´s enough; music devoid of labels or stylistic, chronological, historical paradigms or trends] and Those who belong to the métier and turn to enjoy propositions they know and also delving into advanced Melgacian sound cosmogonies...
I conclude poetically. ´Certeza/Certainty´ by Octavio Paz. ´Si es real la luz blanca De esta lámpara, real La mano que escribe, ¿son reales
Los ojos que miran lo escrito? De una palabra a la otra Lo que digo se desvanece. Yo sé que estoy vivo Entre dos paréntesis.´ If it is real the white light from this lamp, real the writing hand, are they real, the eyes looking at what I write? From one word to the other what I say vanishes. I know that I am alive between two parentheses.
We´re all more and more a-l-i-v-e now.)
- P.S.P.