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.

Audio MP3

TRISTAN und ISOLDEring iron

There’s a wonderful, beautiful simplicity in the ideas that unfold to create the works of Tristan Perich. He gave me a copy of his most recent assemblage – 1-Bit Music – which consists of a standard CD jewel case (with the tray removed) and an internally attached electronic circuit. You listen by simply plugging a set of headphones into a jack that is already attached to the side of the jewel case. The sound is from the most minimal of digital audio sources – a single bit of audio – thereby presenting a clean interface that complements the most basic circuit-based sound output.

He’s taken his love of 1-bit electronics a step further by incorporating them into compositions for various ensembles and soloists. Active Field is for ten violins and ten-channel 1-bit music. Here’s an excerpt from a performance that I attended.

(thanks to ramsy2)

Branching Morphogenesis

Made from 75,000 interconnected cable zip-ties, Branching Morphogenesis simulates the predicted network generated by human lung cells as they interact with an extracellular matrix in three-dimensional space and time. Designed by Jenny Sabin, this installation allows visitors to walk through a giant three-dimensional “datascape,” encapsulating the way in which human endothelial cells interact with their surrounding extracellular matrix, a type of connective tissue.

effondrâtes

舵-鶜

Drama in fünf Anrufbeantwortern

Ist es ein Hörspiel oder Rauminstallation?
There are five answering machines on separate tables with chairs and imagined scenes.
Secret messages concerning various nefarious plots amidst a fictitious government dictatorship
can be heard coming from each of the five stations.
This is Helmut Mittermaier‘s work
: am Dienstag um neun sind die Erdbeeren reif.

Inrygsteek-Sitatungas-Seisoenkaartjie

(thanks to Helmut Mittermaier)

DRINK.PEE.DRINK.PEE.DRINK.PEE

Britta Riley and Rebecca Bray (Britta & Rebecca) reconsider urine as a rich source of nutrients instead of a waste product with their project drink.pee.drink.pee.drink.pee. Not in the sense of urine therapy or as in the Hindu practice of  Shivambu Kalpa, but as a urine-to-fertilizer transformation that removes the elements that are toxic to our waterways.

Participants begin by peeing in a jar and returning it to the desk. While your urine is going thru the necessary reaction, you are informed of what actually happens after you flush your home toilet. Not only do you realize that all of the world’s urine is creating harmful algae blooms, but you’re reminded too of the ever increasing number of people who are sold the pharmaceutical line that pills will cure your ills and that all of those chemicals have to go somewhere…and where they go, and ultimately stay, is inside our planet’s closed, cycling water system. Soon after the talk, you’re presented with a container of houseplant-ready fertilizer made from your urine.

鼷-穽2

Audio MP3

Relative Realities

Volkmar Klien‘s installation, Relative Realities presents a video screen
as pendulum bob and window, tracing beautiful, fleeting video elements in invisible space.
The first video below shows it in action and the second is more explanatory.

 

(thanks to Volkmar Klien)

rain music line and parade

The installation Rain Dance consists of falling streams of water modulated by audio signals.
Paul DeMarinis uses water to make familiar musical melodies audible
as a composition of drops and sound vibrations.
The umbrella becomes a resonant body for sound worlds made of fine streams of water.

निसंतान-मरे-राजाजी-रानी-शोक-समानी-थी

(thanks to ejectthis)

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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
  •