“Sometime You’ll Remember” is a performance that maps the spatial and attentional sites of a procedure that was carried out over the course of several weeks in the Catskill Mountains.

Listening to headphones, I spend an hour playing along on violin to an early recording of the folk song “The Roving Gambler” while a listener works on whatever they choose to work on (dancing, typing, thinking, etc.) in an adjacent room. At the end of the hour, I record the listener singing the melody as they recall. On the following day, again using headphones, I play along on violin to the previous listener’s recollection of the original melody, this time for a new listener, and at the end of the hour I record this new listener’s recollection of the previous listener’s recollection. This serves as the following day’s melody and so on, until all participants (in this case twelve) have both listened to and effected a new iteration of the melody.

Rather than serving as only a determinant constraint, this procedure opens itself to and is predicated upon affective emergence: the contingencies entering the work stem from the infidelities of memory and musical ability. The work adopts these processes as objects of attention and remembrance. In the adoption of these processes, “Sometime You’ll Remember” documents and exercises care for sites of rehearsal—sites of unfinishedness, unfixity and the quotidian.