LIVE (public incidents)

These eleven incidents comprise all surviving material known to be extant documenting all performances by 1908 outside of the studio space or setting.

#11(15 August, 2009)

#10(9 August, 2009)

#9(6 December, 2008)

#8(5 December, 2008)

#7(24 October, 2008)

#6(28 August, 2008)

#5(05 August, 2008)

#4(01 August, 2008)

#3(03 July, 2008)

#2(12 June,2008)

#1(04 June, 2008)

1908 engages in its particularly unenviable brand of outdoor performance whenever an opportunity is granted it. However, as the opportunity more often than not is not granted it, it then also does so under the alternative circumstance. In its earliest days, these performances were executed on busy, high-traffic streetcorners in districts more affluent than the average, and much attention was paid to them, and much input given, generally in the form of public complaints and private suggestions to take up differing professions. Over time, this has metamorphosed into another approach: that of the complete lack on onlookers and in the surrounding passersby being totally unaware of 1908's existence. It seems now, however unlikely, that the former was preferable, both to 1908 and to the general community, and 1908 will surely do everything that it can in order to insure that these 'good old days' return as soon as plausible.

In the meanwhile, the records of all these performances remain. Of the eleven here, only four were at officially-constituted 'events', one of which was in a backyard and at least two more of which were done to the general discomfiture of all present. One involved a screen which projected a loop of a film by Norman McLaren. Another includes one of only two attempts 1908 has ever made at premeditated material composed by others (although not for long). The other appears on the earliest of the seven additional instances of public and unplanned 1908 performances. Of these, three include portions recorded within public streets, one on a traffic island, one on a sidewalk, two sitting on grass, one apiece in the vicinity of a streetcar and a streetfair, one on the fifth or sixth floor of a structure originally intended for the parking of motorvehicles, and one on another structure originally intended for the docking of small watercrafts. You will notice that these numbers add up to a greater number than that of total performances, which can be attributed to the fact that, although each 'incident' comprises performances recorded in a single day, the advice of some to reconsider premises was occasionally not taken lightly or for granted.

Nearly all of these incidents took place without any warning, save of 1908 itself. On those rare occasions in which preliminary advance was given, supporting documentation can be found on the corresponding incident page.

All this is unimportant.

What is important: what 1908 sets out to do in its incidents. As in all things, 1908 is committed to a program of constant inconsistency and total innovation. This is never more evident than in the live performances. No consideration is given to listener comfort or to constructed material. All performance is extemporaneous and time is often spent in the reconfiguration, assembly and dismantling (often unintentionally) of instruments and other sound-producing materials. All successful alignment of material is entirely coincidental and accidental; likewise, all failures. The main object is to suppress reaction by whatever audience 1908 may have acquired or compelled in some way not to leave. This is often accomplished through the means of never allowing for gaps in material: if 1908 performs for two hours on a riverdock, then the incident will yield (at least) two hours of 1908 sound material. This is not to imply a holistic approach to this material's creation, nor to the possibility or hint of inconspicuous segue matter. 1908 simply starts at some point and then ends at another, and in between these recordings remain.