-
8/6/2019 Score X. No Recovery. No Finding. No Stopping-
Entrepreneurial Images of Drummond and The17
1/3
SCOS 2011. Instanbul. Recovery
Score X: No Recovery. No Finding. No Stopping ...
Entrepreneurial Images of
Drummond and The17
Abstract
The paper is split into two parts. The first pauses on the
entrepreneurial practice
of Bill Drummond and uses Penrose's (1959/1995:5) idea of images
to narrate
two sessions of participatory active research (Freire 1990), and
emplot how
Drummond's immensely 'successful' entrepreneurial trajectory
comes in and out of
focus as his entrepreneurial identity is successively subverted
and reinvented. It
introduces the audience to his core project, The17, a choir that
records nothing,
performs for nobody, and makes year zero music. Drummond
occupies the
proper space (de Certeau 1984) of musical business by composing
an
international choir that has no exterior- anyone can become a
'member' and by
omitting normative strategies of musical business. Opportunity
is embedded
amidst an image of childhood musical memories, affectionate and
disaffecting
consumer experiences, and marks a frontier in his narrative of
musical business
as musical products are becoming increasingly invisible and
deterritorialized.
Performed in sacred spaces like the Callanish Stones on the
Outer Hebrides,
forgotten city districts, 'marketed' through illegal graffiti,
scores and The17
recompose musical experience as we know it, the tactic
demystifying our
common musical experience not to recover nostalgic memories of
lost eras or
nights of creative indulgence and reward, but to reveal spaces
of play (Hjorth
2005) and decision (Shackle 1979). Images of The17 in turn
deterritorialize the
idea of entrepreneurial opportunities from the lifeless spaces
of reason they and
Penrose occupy; strategic management, and strategic
entrepreneurship where
things are discovered and recovered, and insinuate how the flesh
and blood
prosaics (Penrose 1959/1995:12) of entrepreneurship can matter.
The second part
-
8/6/2019 Score X. No Recovery. No Finding. No Stopping-
Entrepreneurial Images of Drummond and The17
2/3
accepts Drummond's invitation, taking that most formalised of
performance space,
the classroom, as opportunity to redraw boundaries, laugh, play,
and make
choices. Finding in strategies of face-to-face interaction and
'presentation'
metaphors able to animate the images Drummond elicits, the
'audience' is invitedto become members of The17 and perform the
following score. Franchised to
promote what we can still only hold in our memories, the
performance is not a
known quantity able to be calculated through panoptic knowledge
and intellectual
might, but a delayed and brief occupation neither finding nor
recovering space
(after neither teleological engagement or nostalgic
reminiscence), and unable to
hold onto to what it takes.
Score X: Learn
Invite The17 to stand up and divide themselves into two opposing
lines.
Ask The17 to look each other in the face and start clapping.
To clap so loud that the their opposing number becomes weak.
Or laughs. Or their hands hurt.
Ask them to forget musical business. Being musical. The
classroom. And
think of Something else.
What is missing. What we have forgotten.
What can't be found. Or recovered.
What else there could be.
Keep clapping. Stop clapping.
Sit down.
The performance will not be recorded.
De Certeau, M. (1984). The Practice of Everyday Life, (Rendall,
S. Trans.),
University of California Press, Berkeley.
-
8/6/2019 Score X. No Recovery. No Finding. No Stopping-
Entrepreneurial Images of Drummond and The17
3/3
Freire P. (1990). Education for Critical Consciousness, (Ramos,
M. Trans.),
Continuum Publications, New York.
Hjorth, D. (2005). With de Certeau on Creating Heterotopias (or
Spaces for
Play),Journal of Management Inquiry, Vol. 14, No. 4, (pp.
386-398).Penrose, E. T. (1959/1995). The Theory of the Growth of
the Firm. Oxford
University Press, Oxford.
Shackle, G.L.S. (1979). Imagination and The Nature of Choice,
Edinburgh
University Press, Edinburgh.
