It has been a very full on few weeks!
You may, or may not, know that I bought Limelight Magazine 4 years ago to keep it from going under.
The company I started to publish the magazine has been able to improve the mag's financial position year on year for 4 years, but unfortunately the accrued liabilities from the first couple of years of losses just got the better of me! So I've had to take some drastic actions. I'm now in the midst of selling the magazine for the best price I can... I'm getting incredible advice and help during all this and it's coming along nicely.
The stress of it all, though, has lead me to pull out of the performances I was going to give for Guy James Whitworth's Mardi Gras exhibition starting this coming Friday. I just couldn't get something of quality together, even in scored improv, as my time is being prioritised to ensure Limelight's future.
Given what we're negotiating, however, not only is Limelight's future looking brighter than ever, but so is my artistic one. Whatever happens, I'll be absolved of being the director of a company that owns or publishes Limelight, which bodes well for my future of my works!
There have been other amazing things happening though; Ben (my partner in Vordenker) is upgrading our hardware tech so that I'll be able to wear a chest strap to take live bio-data in future (meaning I'll be able to perform in a much more free way whilst my heart rate, and other data, is effecting the sound). He's putting this tech into a theatre show he's working on at the moment, which means that by the time I'm using it in my own works it'd already been tested.
Dean Walsh (my partner) and I have also booked a bunch of studio space from April onwards to produce workshops in his methodology; Prime Orderly, as well as some space/time for artistic/creative development for our own work, and skills exchange time. I've been recently teaching him some music techniques around rhythm - overlaid time signatures, the difference between pulse, beat, phrase (micro to macro structures of rhythm), which is fascinating for me as well, given I'm letting go of consistency and predictability of rhythm in my own work more and more (in the context of your heart rate, "pulse" and "beat" carry very new meaning, though the macro rhythmic structures of work still carry the same technique as in other music/composition).
Onwards and Upwards! I'll keep you up to date as things progress on my art, and any performances/showings I'm able to organise.