The conversation I had with Mark So on September 5th, 2016 is best read page by page, rather than in a lengthy blog post. It’s linked here as a pdf. The analogy of falling through the floor, first brought up on page 14, became increasingly meaningful to me in the days, weeks, and months following our conversation.

You can find his scores at marksoscores.wordpress.com, and sound files at soundcloud.com/markso. A brief profile by Madison Brookshire is at The Experimental Music Yearbook.

Here are two audio excerpts from our conversation, neither of which is included in the transcript.

And included below are recordings, documents and links pertaining to some of his projects, several of which are referenced in the interview.

FESTIVAL (6) DESERT : (Giant Rock Airport near Landers, CA, November 4, 2006

marmarth (the Dog Star Orchestra at Vasquez Rocks, June 9, 2010

though we haven’t read it, we know there is a script
(reading “The End of New England” by Eileen Myles, 2-channel version, 2012/13)

And suddenly from all this there came some horrid music

a box of wind

performing Into Silence (Michael Strogoff Gallery, Marfa, TX, June 2, 2013)

In the City (2013, made for the publication Artist Practice)

(Wolff notes/AND Istanbul) (2014, published in The Open Space Magazine 17/18)

(L-R) Julia Holter, Stephanie Smith, Mark So, Liam Mooney and Stuart Krimko at “a week at midnight” listening party: Stuart’s youtube, New complaints. New rewards dvd, Julia Holter, highlights, &c. Mark’s apartment, Los Angeles, March 24, 2015

readings 54 for Manfred, flexible reading library, c20 cassette, 2016-

readings 54 (tape side A, after April 2016 recording-reading periods)

readings 54 (tape side B, after April 2016 recording-reading periods)

Tim Johnson (L) and Mark So (R) before a recording-reading period of readings 54, Pinto Canyon, TX, December 11, 2016

readings 54 (L: taped archive after April 2016; R: after February 2017)

typed document from (into silence) at MaRS Gallery, Los Angeles, March 4, 2017