{"id":89590,"date":"2015-09-09T11:53:25","date_gmt":"2015-09-09T15:53:25","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=89590"},"modified":"2015-09-09T15:35:20","modified_gmt":"2015-09-09T19:35:20","slug":"big-bent-ears-chapter-8-surrender-to-the-situation-part-1","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/09\/09\/big-bent-ears-chapter-8-surrender-to-the-situation-part-1\/","title":{"rendered":"Big, Bent Ears, Chapter 8: Surrender to the Situation, Part 1"},"content":{"rendered":"<div id=\"attachment_89621\" style=\"width: 611px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/hive-bbe_image-12.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-89621\" class=\"wp-image-89621\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/hive-bbe_image-12-1024x682.jpg\" alt=\"HIVE-BBE_Image-12\" width=\"601\" height=\"400\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/hive-bbe_image-12-1024x682.jpg 1024w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/hive-bbe_image-12-300x200.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/hive-bbe_image-12.jpg 1600w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-89621\" class=\"wp-caption-text\">Photo: Ivan Weiss<\/p><\/div>\n<p>Oren Ambarchi and Tyondai Braxton lead parallel lives in the world of experimental music. Ambarchi, an avid collaborator and one-third of the noise trio Nazoranai, played at Big Ears in 2014. Braxton, who has composed both avant-rock and classical music, played at Big Ears 2015. Ambarchi performs solo on guitar amid a nest of synths. Braxton\u2019s latest project is an installation called HIVE, in which five percussionists and musicians playing modular synths sits atop honeycombed pods. Ambarchi and Braxton both play music that is durational and unpredictable, that depends upon instruments and sonic forms that are, as Ambarchi says, \u201cinherently out of control.\u201d Braxton calls it \u201cimpossible, beautiful music.\u201d<\/p>\n<p>Good documentary work is a form of barely controlled chaos, too. Opportunities can\u2019t be forced or planned; once the work begins, scripts and proposals mean very little. Documentary process is one of experimentation\u2014determined listening and watching and patience allow strange symmetries and unlikely affinities to emerge. There\u2019s a reason we\u2019re calling \u201c<a href=\"https:\/\/theparisreview.atavist.com\/bigbentears#chapter-cover\">Big, Bent Ears<\/a>\u201d a \u201cSerial in Documentary Uncertainty.\u201d In the last three chapters of the series\u2014beginning here, in <a href=\"http:\/\/bigbentears.theparisreview.org\/bigbentears#chapter-247534\">chapter eight<\/a>\u2014Ivan Weiss and Sam Stephenson do as Ambarchi and Braxton do: they surrender to the situation.<\/p>\n<p>Read the <a href=\"http:\/\/bigbentears.theparisreview.org\/bigbentears#chapter-247534\">latest chapter here<\/a>, and catch up on the rest of the series:<\/p>\n<ul>\n<li>Chapter One, <a href=\"http:\/\/bigbentears.theparisreview.org\/bigbentears#chapter-168599\" target=\"_blank\">There Are No Words<\/a><\/li>\n<li>Chapter Two, <a href=\"http:\/\/bigbentears.theparisreview.org\/bigbentears#chapter-170699\" target=\"_blank\">Borderline Religious<\/a><\/li>\n<li>Chapter Three, <a href=\"http:\/\/bigbentears.theparisreview.org\/bigbentears#chapter-180409\" target=\"_blank\">Nazoranai, a Documentary<\/a><\/li>\n<li>Chapter Four, <a href=\"http:\/\/bigbentears.theparisreview.org\/bigbentears#chapter-202124\" target=\"_blank\">In Search of Lost Time in Knoxville<\/a><\/li>\n<li>Chapter Five, <a href=\"http:\/\/bigbentears.theparisreview.org\/bigbentears#chapter-215286\" target=\"_blank\">Alien Observers<\/a><\/li>\n<li>Chapter Six, <a href=\"http:\/\/bigbentears.theparisreview.org\/bigbentears#chapter-222246\">Treatise on the Veil<\/a><\/li>\n<li>Chapter Seven, <a href=\"http:\/\/bigbentears.theparisreview.org\/bigbentears#chapter-235215\">Anatomy of a Sequence<\/a><\/li>\n<\/ul>\n<p><em>Nicole Rudick is managing editor of <\/em>The Paris Review<em>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Oren Ambarchi and Tyondai Braxton lead parallel lives in the world of experimental music. Ambarchi, an avid collaborator and one-third of the noise trio Nazoranai, played at Big Ears in 2014. Braxton, who has composed both avant-rock and classical music, played at Big Ears 2015. Ambarchi performs solo on guitar amid a nest of synths. [&hellip;]<\/p>\n","protected":false},"author":54,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[16402],"tags":[17253,17255,1596,19377,19375,46,17611,19374,17257,19376,19373],"class_list":["post-89590","post","type-post","status-publish","format-standard","hentry","category-big-bent-ears","tag-big-bent-ears","tag-big-ears-festival","tag-documentary","tag-keiji-haino","tag-modular-synth","tag-music","tag-nazoranai","tag-oren-ambarchi","tag-rock-fish-stew","tag-stephen-omalley","tag-tyondai-braxton"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Parallel Worlds of Oren Ambarchi and Tyondai Braxton<\/title>\n<meta name=\"description\" content=\"For our Big, Bent Ears series, Sam Stephenson and Ivan Weiss trace the parallels between the music of Oren Ambarchi and Tyondai Braxton.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2015\/09\/09\/big-bent-ears-chapter-8-surrender-to-the-situation-part-1\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Big, Bent Ears, Chapter 8: Surrender to the Situation, Part 1 by Nicole Rudick\" \/>\n<meta property=\"og:description\" content=\"September 9, 2015 \u2013 Oren Ambarchi and Tyondai Braxton lead parallel lives in the world of experimental music. Ambarchi, an avid collaborator and one-third of the noise trio\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2015\/09\/09\/big-bent-ears-chapter-8-surrender-to-the-situation-part-1\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2015-09-09T15:53:25+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2015-09-09T19:35:20+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/09\/hive-bbe_image-12.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1600\" \/>\n\t<meta property=\"og:image:height\" content=\"1065\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Nicole Rudick\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta 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