“客厅巡演”现场录音。录制于2016年4月30日下午，北京李英武家。

作曲：颜峻 物件：颜峻（客厅内及缺席） 小提琴：阿科（卧室内） 单簧管：朱文博（楼下及客厅内）

录音、编辑：颜峻 母带处理：宇波拓 设计：李松

颜峻：

最近我在想一件事，叫做“专注于没什么”，或者“聚焦于全部”，既不是不专注也不是只专注于一样东西。用英语说应该是“concentrate on nothing”。我是先用英语来想的。这和即兴合奏有关，人们喜欢说，即兴合奏要专注聆听对方的声音，不要只顾自己爽。但事实上没人能做到，因为你还得听自己的声音，你还得听几个人合起来的声音，还得听环境的声音或者说气氛。小场地的话，观众什么时候换个姿势坐、什么时候调整呼吸，也都和气氛有关，他们紧张起来就会不动，松弛下来就会出很多声音，这些会影响演出。没人会专门去听这些，但是乐手会知道。明察秋毫，但是并没有专门去察。 这几年我对欧洲经典的自由即兴感到厌烦。尤其是乐器之间的对话。“对话”是一个非常古典的欧洲概念，去参加几个老外的趴替就知道了，随便扯住一个话题就开聊，真心聊。这和民主政治的传统有关。也和人们对民主的想象力的局限性有关。 在欧洲，演出后我常听到的一个赞美就是“very concentrate”。但我并不喜欢只有一个焦点，就像文艺复兴以来的油画透视法。专注是一种精神状态，不是操作流程。 在田野录音的领域，我不记得有什么喜欢的艺术家爱用指向性话筒。很多人用一对全向话筒，例如角田俊也。这造成一种完全没有特定事件的景象，这种聆听带来的震撼，要比任何景观艺术更强烈，更深。用福柯谈论布朗肖的话说，有时候你得沉默才能让别人来听你。

这个录音是一次‘客厅巡演“的现场录音。我们有一个简单的作曲结构。作曲总长一小时。所以录音也是一小时左右。 它并不只是一个记录。它期待着播放、听，或者其他的，另一个行动。 感谢李英武。

a live recording from Yan Jun’s “living room tour”. Recorded in Li Yingwu’s home, the afternoon of April 30, 2016, beijing

Composed by yan jun objects: yan jun (in living room and in absence) violin: ake (in bedroom) clarinet: zhu wenbo (outside and in living room)

recording and editing: yan jun mastering: taku unami art work: li song

recently i’m thinking about one thing. which is “concentrate on nothing”. or “focus on everything”. it’s neither focus on one thing, nor with no concentration. it’s from some discussion about improvisation in improvised music. people always say good manner means listen carefully to other’s sound. don’t be big ego. but actually no one can do it because you have to listen to your own sound, the sound all together, and environment sound or so-called atmosphere. if it’s small venue the atmosphere could be changed by audiences when they change a sitting posture or adjust their breath. if they are in tension they would not move at all. if they feel loss they might make lots sounds. and all these are feedback into the performance. nobody would concentrate on listening to these but musicians’ percipience is on. you know everything without intentionally to know. these years i feel boring with classical european free improvised music. especially the dialogues between instruments. dialogue is a very classical european concept. in everyday life you can see people really enjoy nonsense conversations during parties. of course this is related to the tradition of democracy. and it’s also related to the limit of ability of imagination on democracy. in europe, after concerts, i often hear comments as “it’s very concentrate”. but i don’t like to have only one focus, as perspective in oil painting after renaissance. be concentrated is a mental status instead of operational process. in the field of field recording, i don’t remember any favorite artist using directional microphones often. many use a pair of omni-direction microphones (for instance, toshiya tsunoda). this leads to a scene with totally no specific event. the shock from this kind of listening is more intense and deeper than any spectacular art. according to michel foucault (on maurice blanchot), sometimes you have to keep silent in order to let people to listen to you.

this is live recording of a “living room tour”. we had a simple composition. one hour composition. so the recording we leave here is also about one hour. it’s not just a document. it’s here waiting for another action such as playing back, listening or whatever. thanx to li yingwu.

yan jun