Archive for the ‘unforeseen inductee’ Category

Input-Output lurk least hazards

qµ-jL-concupiscible
And-with-a-larger-tether-may
Though-chance-of-war-hath-wrought

max neuhaus: medium into the domain

In the late ’60’s, I was introduced to the artistry of Max Neuhaus through one of his most well-known recordings called Electronics & Percussion: Five Realizations. On that LP, he created masterful versions, as a percussionist, of works by Morton Feldman, Earle Brown, Karlheinz Stockhausen,
John Cage and Sylvano Bussotti.

When he died in February, we lost not only a fine percussionist, but a pioneer of sound art
(though this was a term that he eschewed), public art, and sound installation.

(thanks to the Max Neuhaus estate)

Right down the street from the Miles Basie club…

輔-4048637

st. ignatius church

 

collinear “house of god” comeback

My friend Hermann-Christoph Müller introduced me to a wonderful museum in Köln. Kolumba is the art museum of the Archdiocese of Cologne. The architecture combines the ruins of the late Gothic church St. Kolumba, the chapel Madonna in the Ruins (1950), a unique archaeological excavation (1973-1976), and a new building designed by the Swiss architect Peter Zumthor.

In one of the rooms, they had a Rube Goldberg-esque construction that produced all kinds of sounds with balls rolling around and dropping down on trays, etc. Known as Marble Maze, it’s creator – Manos Tsangaris – referred to it as a “three-dimensional automatic musical machine as a model of perception.” The best part wasn’t sitting in the chair in the middle and being surrounded by these sounds; it was the fact that being an old church redone as an art museum, there was a large amount of natural reverb inside – especially the last room in the exhibition which had the highest walls – and you could hear the mechanics of this installation gradually blur into a sound mass as you walked away from it while exploring the outer areas of the museum. Sounds would fade in and out and overlap – no distinct beginnings or endings – which made it beautifully contemplative. I sat in this last room for half an hour. Audio of the walk-through can be heard below.

÷-dP-shend

doing-euery-thing-safe-toward-your

jL-dP-tribadism

formal-analysis-autotelic

fabrico-to-construct

wayward-ere-the-missive-has

bevingen-kleingelovigst

Audio MP3
 

Return top

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
  • Field Recording
  • 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
  • Pauline Oliveros
  • Ben Patterson
  • James Tenney
  • Christian Wolff
  • Karlheinz Stockhausen
  •