thaki

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I was told of the Musique.laclasse CD that was released in 2007, but was unable to find out how to purchase it or even if it was still available, so I set out to create my own version which is what you can hear above. I have no idea if mine is even close to the original, but it’s not really intended to be – just a fun exploration of the soundfiles made available from the site. It was done in one uninterrupted 50 minute take.

The Musique.laclasse.com CD was the result of numerous workshops Lionel Marchetti conducted in schools with children from 12 to 16 years old. The composer helped the kids record source material then process it themselves with effects and montage. The 2007 CD was a selection of some of these musique concrète tracks and was meant to be played on shuffle mode with the silent tracks popping up here and there. Some of Marchetti’s own technique would spring up here and there but with a fresh and naive take on musique concrète.

ఉప్పలపు శ్రీనివాస్

Lately, I’ve been making too many playlists honoring musicians who’ve recently died,
but whether it’s been Joe Sample, Jackie Cain or Kenny Wheeler, they’ve lived
a pretty good long life – 75 to 86 years old. Now, I’m coming to terms with the
death of a master musician who was only 45 years old – a man who just kept
getting more amazing and whom I expected to be able to give the world at
least 40 more years of his amazing musicianship.

In the eighties, I remember sitting in a favorite Indian restaurant and being
gobsmacked by what I was hearing over their sound system. Who was this
seasoned professional player of this stringed instrument? When I was shown
the cover of the cassette, I wondered why this child was featured on its cover.
Was this the performer’s young son? …and why would he feature the child over
himself. My quest began to find more recordings – going to every Indian food
and/or video store I could find to grab up more of this wonderful food for the soul.
Since those days, I’ve had the chance to see Uppalapu “Mandolin” Srinivas
simply known as U. Srinivas – a couple of times in concert. When he last
arrived in town in May of last year, I couldn’t make it to the show (and figured
that he’d be back again in a couple of years – he was only 44, so yes, he was
bound to come back, right?), but I had told a friend who was a member of the
local Indian music society that he really should go see him for his first time.
You may know his work with Remember Shakti and Michael Brook
plus various wonderful soundtracks. He made nearly 50 recordings and now
Srinivas is gone – complications that arose from a liver transplant the day before.

YouTube is filled with his work, and here‘s a Spotify link to start
you off on your journey if you haven’t yet discovered him.

 

I’m spending quite a bit of time with him now:

ON⁻OFF

ON•OFF

Low-Rate Movers Seen Traversing the Mountain Range

Khud phxcı k̄hxcĥāng xups̄rrkh

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ORIGIN叄


Jeck of all fades

Philip Jeck‘s Suite is a vinyl release which is comprised of various edits and mixes captured from recordings of various live concerts of his. This method of composition is also how he compiles his CDs – reworking and adding new elements where he thinks they should fit. With a mixture of vinyl crackle, old recordings of melodramatic strings, and a panoply of noisy textures all filtered through electronic flecks of grainy quadruplications, you’re transported to some fractionalized cosmic radio broadcast that still retains a near seamless coherence of a logical compositional strategy. Philip Jeck speaks about his work followed by a question and answer session. Also, I’m including an audio recording of his performance in Linz done on the following evening. The LP, Suite: Live in Liverpool, is available from Touch.

(thanks to Ars Electronica)

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(thanks to Touch)

FacePunch [Schnitt Fit]

By breaking the constraints and ridiculous social rules put upon Facebook members while cleverly critiquing the invasive data mining that those of us who aren’t members abhor, Paolo Cirio and Alessandro Ludovico have created Face to Facebook – the third in their Hacking Monopolism Trilogy. What started as an art-site statement based on a social experiment – retrieving a million “personal” profiles, filtering them using face-recogniton software and then posting them as members of a dating website – soon became a performance activity of just a few days in length. The flood of reactions from unwitting (debatable to some extent) accomplices coupled with over a thousand instances of media coverage suddenly thrust the two of them into a legal fight in which they decided to remove the Lovely Faces dating website, but still keep the F to F site. Following some basic photos I took of the installation and at the Forum, you can watch a video of just one media-based reaction followed by a presentation and an excerpt from the Interactive Art panel discussion that they gave on their award-winning project. Also, check out Alessandro’s publication Neural for a great read.

 

(thanks to Paolo Cirio and Alessandro Ludovico and Ars Electronica)

fixing the facts

“Media is the nervous system of a democracy.
If it’s not functioning well, the democracy can’t function.”
(Jeff Cohen, Director of the Park Center for Independent Media)

Julian Oliver & Danja Vasiliev have created Newstweek as a device for manipulating the news
read by other people on wireless hotspots. Built into a small, innocuous wall plug, the Newstweek device appears as part of the local infrastructure. This allows agents to remotely
edit news read on laptops, phones and tablets without the user being aware of this news alteration. Newstweek emerges as a symptom of our increasingly corporatized and mediated democratic reality. While news is increasingly read digitally, it still follows a traditional, top-down distribution model and thus often falls victim to the same political and corporate interests that have always sought to manipulate public opinion. Newstweek intervenes in this model, providing an opportunity for citizens to have their turn at manipulating the media, “fixing facts” as they pass across a wireless network. In this way, Newstweek can be seen as a tactical device for altering public reality on a per-network basis. Hotspots manipulable by Newstweek include cafes, libraries, hotels, universities and city-wide wireless networks.

Newstweek also signals a word of caution, that a strictly media-defined reality
is always a vulnerable reality. Today, as devices and their networks become ubiquitous,
ignorance as to how they function increases, offering an opportunity for the manipulation
of facts on their journey from source to destination (from server to screen).

Over at Imperica, you can read a little more about the project
as well as see a more in-depth video example of how the hardware works.
The photo above makes them appear mean, but it was the best of what I had taken.
I can assure you that they are very friendly and interesting guys who have done some
great, creative work. Below is their official video followed by their Forum presentation
where they spoke about the development of this project – a project that won them
a well-deserved Golden Nica in the Interactive Art category.

(thanks to Julian OliverDanja Vasiliev, & Ars Electronica)

μέλισσα

While sitting here drinking a “handcrafted soda” made by the Thomas Kemper Soda Co.
called “Bumble Berry,” I find myself re-listening to, appropriately, the electroacoustic work, Bee,
by Apostolos Loufopoulos. A work which was inspired by the microcosmos of the kind of insects
which share an intensely energetic flying behavior. Most of the audio material comes from our natural environment filled with summer insects, sea-related sounds, and forest soundscapes, but transformed according to their individual morphologies at multiple levels. An acousmatic work that seems to place the listener right on the back of a bee as it quickly zigzags thru its flowery environment.
The work can be heard in its entirety below the video of Loufopoulos explaining its creation.

(thanks to Ars Electronica)

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(thanks to Apostolos Loufopoulos)

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biz at stas...

Rod Stasick is a composer in the broad sense of the term. He is interested in the creation of event-systems for various situations. Template scores are often created using a combination of graphic signs and symbols that usually suggests a syncretism of styles and methods of performance. Using these methods, he produces works in diverse disciplines (audio, video, text, mail art, conceptualism, etc.) utilizing assorted influences: Eastern Philosophy, Fluxus, The Situationist International, Oulipo, Semiotics, Discrete Event-Systems, random numbers to revamp Zen planning and forms of Information Theory.


  • Psychoacoustics
  • Generative Music
  • Composition
  • Sound Diffusion
  • Interactive Art
  • Installation
  • Sound Design
  • Radiophonic Art
  • Electroacoustics
  • Sound Art
  • Performance
  • Sound & Image

  • His studies with Karlheinz Stockhausen (2001-2007) have renewed his interest in various aspects of compositional integration.

    Extensive number of performances
    of experimental works.

    Archivist for the Jerry Hunt Estate


    Percussion studies:

  • Steve McCall
  • Dennis Charles
  • Charles Hammond
  • Gary Burton

  • Eternally grateful to these folks who had, in person, taken the time to encourage me in my compositional work (chronologically listed):

  • Alan Watts
  • John Cage
  • Joseph Beuys
  • Jerry Hunt
  • Alvin Lucier
  • Robert Rauschenberg
  • Merce Cunningham
  • Buckminster Fuller
  • Nam June Paik
  • Charlotte Moorman
  • Anthony Braxton
  • David Tudor
  • Earle Brown
  • Christian Wolff
  • Ben Patterson
  • Karlheinz Stockhausen
  •