CROSS TALK INTERMEDIA
VEXATIONS
THAT MORNING THING
PING
COMMENTARY
REVIEWS

Update 2o January 2025

CROSS TALK ARCHIVE TOKYO 1966-1969

During the late 1960s, supported by the Institute of Current World Affairs, Roger and Karen lived for three years in Tokyo. Their "mission” was to study the language, to participate in Japanese cultural life and to report to the Institute membership through monthly newsletters. They quickly became aware that nourishing communications between American and Japanese artists would be a productive path. Collaborating with the American Cultural Center there as well as the august Asahi Shinbun newspaper, They produced three individual concerts, a three-day Festival in Kenzo Tange’s Olympic Gymnasium, and other activities such as a complete 16-hour performance of Eric Satie’s notorious Vexations. Japanese composer Jōji Yuasa and critic Kuniharu Akiyama were Their dedicated collaborators. Their three-year engagement opened many metaphoric doors and did, indeed, lead to improved trans-Pacific awareness as well as furthering new personal relationships which had their own lasting impact.

Unanticipated tendrils from our activities in Japan have continued to emerge. When Pauline Oliveros left UC San Diego, Yuasa was recruited, influencing a generation of graduate students as an emissary from his ancient culture and the ways in which graphic representation can enhance creativity. UC Berkeley Professor Mryam Sas spent a day with us in Del Mar, using a portable scanner to copy reams of material from our substantial collection of publications on Japan. Her essay “Feeling Media: Potentiality and the Afterlife of Art”, and another for a MOMA catalog on Experimental Cinema in the 1960s brought new attention to our CROSS TALK activities. And, in 2024, Ann Adachi-Tasch, Executive Director of Collaborative Cataloging Japan, included huge enlargements of my CROSS TALK posters in an exhibition at Philadelphia’s Art Alliance.

Toshiro Mayuzumi, Karen Reynolds, Roger Reynolds awaiting the arrival of cameramen to film a television interview for Mayuzumi's afternoon television show, "Concert Without A Name" on New Year's Day 1969 . The subject was Satie's Vexations, which had just been performed at the American Cultural Center in Tōkyō as a CROSS TALK extra event. Many of the most adventuresome Japanese musicians, including Toshi Ichiyanagi, Yori-Aki Matsudaira, Yuasa, as well as Roger and Karen participated, introducing this alarming eighteen-hour prank to the Japanese.

In addition to the Hijikata poster shown elsewhere Karen made two others, one for each of CROSS TALK INTERMEDIA’s three nights. Below is one based on a domestic image of composer Gordon Muma playing his horn with a young admirer watching. The geometry of this portrait is sharply contrasted with that of the Hijikata image that seems to float in a void.

The legendary dancer Tatsumi Hijikata

Hijikata played a foundational role in the emergence of the powerfully original Japanese Butoh dance movement ("ancient dance step of utter darkness”) during the 1960s. They invited his participation in the 1969 CROSS TALK INTERMEDIA Festival, and he proposed a work to involve a live giraffe, and an equal number of crows and of elderly women. They secured the participation of the giraffe, but, for unknown reasons, Hijikata withdrew, using the traditional Japanese go-between practice. His personal “master” made the apologies to us formally at a gathering at the apartment of ACC Director Donald Albright.

This poster coinceded with Karen Reynold's early incorporation of stenciled letters as a basis for both posters and textual slide projections such as the 160 she prepared for performances of Roger's 1968 multimedia work, Ping. This explorative multimedial work was based on a challenging text of the same name written by Samuel Beckett. The blocky forcefulness of these letters, stratigically placed, created a unique ttexture consisting only of the interwoven names of all the mjor festival participants montaged.

A quiet moment of bilingual consultation during rehearsals for the CROSS TALK INTERMEDIA festival’s Ping presentation (in Japanese as well as English). Left to right, Joji Yuasa, percussionist Hiroshi Kumagai, Roger and Karen (dressed in a suit designed by Toshi Ichiyanagi’s trend-setting tailor.)

22 January 1968, CrossTalk 2
Roger conducting an ensemble of Japanese musicians in a performance of Salvatore Martirano’s Ballad, with American service man Autry Rabon as soloist. During the 1960s, innovative composers began to collaborate with individuals in differing fields. Invested in the experience of inter-personal collaboration, they imagined that the works they produced could only be realized within these particular alliances. When they decided to invite Martirano as a festival guest, he did not believe that his work could be realized in a foreign context. But his original and challenging Ballad, as well as the spectacular intermedia piece, L’s G.A. — which involved an actor inhaling helium gas (to raise his voice by an octave), were, indeed, realized to his complete satisfaction.

About Ballad, Martirano writes: "The Work is generated by a sequece of segments from jazz standards and blues vocal lines."

CROSS TALK ARCHIVE TOKYO 1966-1969
During the late 1960s, supported by the Institute of Current World Affairs, Roger and Karen lived for three years in Tokyo. Their "mission” was to study the language, to participate in Japanese cultural life and to report to the Institute membership through monthly newsletters. They quickly became aware that nourishing communications between American and Japanese artists would be a productive path. Collaborating with the American Cultural Center there as well as the august Asahi Shinbun newspaper, They produced three individual concerts, a three-day Festival in Kenzo Tange’s Olympic Gymnasium, and other activities such as a complete 16-hour performance of Eric Satie’s notorious Vexations. Japanese composer Jōji Yuasa and critic Kuniharu Akiyama were Their dedicated collaborators. Their three-year engagement opened many metaphoric doors and did, indeed, lead to improved trans-Pacific awareness as well as furthering new personal relationships which had their own lasting impact. Unanticipated tendrils from our activities in Japan have continued to emerge. When Pauline Oliveros left UC San Diego, Yuasa was recruited, influencing a generation of graduate students as an emissary from his ancient culture and the ways in which graphic representation can enhance creativity. UC Berkeley Professor Mryam Sas spent a day with us in Del Mar, using a portable scanner to copy reams of material from our substantial collection of publications on Japan. Her essay “Feeling Media: Potentiality and the Afterlife of Art”, and another for a MOMA catalog on Experimental Cinema in the 1960s brought new attention to our CROSS TALK activities. And, in 2024, Ann Adachi-Tasch, Executive Director of Collaborative Cataloging Japan, included huge enlargements of my CROSS TALK posters in an exhibition at Philadelphia’s Art Alliance.	Toshiro Mayuzumi, Karen Reynolds, Roger Reynolds awaiting the arrival of cameramen to film a television interview for Mayuzumi's afternoon television show, "Concert Without A Name" on New Year's Day 1969 . The subject was Satie's Vexations, which had just been performed at the American Cultural Center in Tōkyō as a CROSS TALK extra event. Many of the most adventuresome Japanese musicians, including Toshi Ichiyanagi, Yori-Aki Matsudaira, Yuasa, as well as Roger and Karen participated, introducing this alarming eighteen-hour prank to the Japanese.
In addition to the Hijikata poster shown elsewhere Karen made two others, one for each of CROSS TALK INTERMEDIA’s three nights. Below is one based on a domestic image of composer Gordon Muma playing his horn with a young admirer watching. The geometry of this portrait is sharply contrasted with that of the Hijikata image that seems to float in a void.	The legendary dancer Tatsumi Hijikata Hijikata played a foundational role in the emergence of the powerfully original Japanese Butoh dance movement ("ancient dance step of utter darkness”) during the 1960s. They invited his participation in the 1969 CROSS TALK INTERMEDIA Festival, and he proposed a work to involve a live giraffe, and an equal number of crows and of elderly women. They secured the participation of the giraffe, but, for unknown reasons, Hijikata withdrew, using the traditional Japanese go-between practice. His personal “master” made the apologies to us formally at a gathering at the apartment of ACC Director Donald Albright.
This poster coinceded with Karen Reynold's early incorporation of stenciled letters as a basis for both posters and textual slide projections such as the 160 she prepared for performances of Roger's 1968 multimedia work, Ping. This explorative multimedial work was based on a challenging text of the same name written by Samuel Beckett. The blocky forcefulness of these letters, stratigically placed, created a unique ttexture consisting only of the interwoven names of all the mjor festival participants montaged.
A quiet moment of bilingual consultation during rehearsals for the CROSS TALK INTERMEDIA festival’s Ping presentation (in Japanese as well as English). Left to right, Joji Yuasa, percussionist Hiroshi Kumagai, Roger and Karen (dressed in a suit designed by Toshi Ichiyanagi’s trend-setting tailor.)
22 January 1968, CrossTalk 2 Roger conducting an ensemble of Japanese musicians in a performance of Salvatore Martirano’s Ballad, with American service man Autry Rabon as soloist. During the 1960s, innovative composers began to collaborate with individuals in differing fields. Invested in the experience of inter-personal collaboration, they imagined that the works they produced could only be realized within these particular alliances. When they decided to invite Martirano as a festival guest, he did not believe that his work could be realized in a foreign context. But his original and challenging Ballad, as well as the spectacular intermedia piece, L’s G.A. — which involved an actor inhaling helium gas (to raise his voice by an octave), were, indeed, realized to his complete satisfaction. About Ballad, Martirano writes: "The Work is generated by a sequece of segments from jazz standards and blues vocal lines."