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Brandhorst

My friend Mark Polscher introduced me to a new museum in München that opened in May.
The Museum Brandhorst is in the Kunstarealclose to the Alte and Neue Pinakothek museums as well as the Pinakothek der Moderne – and is near the university district. It’s a two-story structure that features 36,000 vertical ceramic louvres in 23 different coloured glazes. Except for one room, all of the inside galleries have white walls and Danish oak flooring for a neutral look. There’s an abundance of Warhol and Twombly and a selection of Beuys, Nauman, Richter, Hirst, a.o.

Melanelia-subargentifera

ß-x-363-l66-x-ß

commeatum

Input-Output lurk least hazards

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

futurelab

The Futurelab presents a research and development laboratory that combines the experimental and analytic aspects associated with a scientific-based workplace with the creative, art-based locale of an atelier. This kind of setup encourages a working discipline that involves artists, technologists, designers, sociologists, and many other fields of endeavor that continue to nourish the synergistic relationship that these various fields require in order to encourage new ways of thinking. The video below, created to show the diversity of the Futurelab, is from last year – before the move to their new larger and futuristic present location where creative ideas have even more possibilities of realization.

 

(thanks to onurson)

priXeminars

Hustle and bustle before one of the seminars:

острый-замечательный

Prix Forum: Digital Communities winner:
Julian Assange (spelled incorrectly on the video) from WikiLeaks:

(thanks to Ars Electronica)

sew watt

Three projects from Leah Buechley:

Interactive Wallpaper: a mixture of art, craft, and electronics which allows you
to interact with what we commonly know as a static surface.

Computational Sketchbook: The idea here is paper-based electronic configuration
in the form of sketches. Instead of using a machine to etch circuits,
what would boards look like if they were easily drawn instead.

LilyPad Arduino: A kit that enables users to assemble their own electronic textiles (“e-textiles”)
using electronic modules and a spool of conductive thread that is sewn directly into the fabric
thereby allowing connections between the various electronic elements.

twice-five-hundred-and-their-friends

Greasing-the-bodies-of-adulterers

龛-黡

Dissent House (Honest disuse)

There are few good representations of the wonderful exhibition See This Sound online: a 15 second video of Tony Conrad‘s wonderful performance opening, hastily put together short videos – one being a private one – very few good still photos, etc. This is due mostly to the “no recordings” rule put in place which is a real shame because this had to have been one of the best curated exhibitions of sound art of the last century that I’d ever seen or even read about. After three and a half hours inside, I was just about ready to take my shoes off and enter La Monte Young & Marian Zazeela‘s “Dreamhouse” when it became clear that the museum would soon be closing. The next day, I continued exploring for at least another 3 hours. It would seem to me that the curators would want to present some kind of video presentation of honor by featuring some selected excerpts of what could be experienced here, but it appears that the experience can only be approximated by reading from the current batch of 3 books currently in print – over 1000 pages – related to this extraordinary exhibit. In future posts, I hope to speak more about the various artists, their works and styles that were featured here.

Six photos – the last four kindly provided by the folks at Linz09.

In-the-progress-of-events

общий-взрослый

See-this-Sound_c_Linz09-Kurt-Groh

See-this-Sound_c_Linz09-Kurt-Groh_2

See-this-Sound_c_Linz09-Kurt-Groh_3

See-this-Sound_c_Linz09-Kurt-Groh_4

saw a shrink

A comforting cocoon of plastic that seems to convey an idea of human adaptation or is it of commodity – akin to our earlier topic on GenPets? Lawrence Malstaf explores his own scientific investigation that borders on fantasy ritual in this performance of Shrink at the Brucknerhaus.

Panorama shot

not-put-between-inverted-commas

(thanks to ramsy2)

HUMAN NATURE³

Buddhagayamano

Since the days when I was a single-digit midget, I’ve utilized number systems for sundry creative works – not obligatorily in terms of mathematical constructs, but rather as simple decision-making relational elements. Visual, audible, textual, and conceptual works – all under the influence of numbers utilizing some form of “desultoriness as springboard” ethos.

So, while sitting in a hotel room in Linz, Austria, I suddenly came across a series of categorical, electronically engendered numbers that worked, as intended, as a transposition of a passive conceptual event-structure (a duration of unknown length intentionally used solely to generate ideas) to an active one. This event (which, incidentally, happened just 9 minutes into what would’ve been John Cage’s 97th birthday on September 5) coupled with my perpetual desire to offload sundry elements of interest has thrust me into the clear parallel of repurposing my website from static biography-predicated to a dynamic one. A consequential, often unseen, issue for me deals with time cognation (as alluded to in my comments earlier) that will be a component of this website not only in subject matter, but in the actual non-linear publishing chronology of these posts. The system that I’m utilizing (under the form of this incipient active event-structure) yields postings that will not be from linear structured timelines: ergo the past will suddenly arise now, while the future will be indited at any time.

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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
  • 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
  •