Two works by Yuri Suzuki: Sound Chaser is a train-style record player.
Users connect the chipped pieces of records together to make new tracks.
The record bits are from cheap records bought at flea markets and used record shops.
For millenia, outward appearance has often been a choice of how one wants to be perceived.
For the past dozen or so years, it’s been double-duty for those increasing number of people who’ve chosen a virtual presence. Noriyuki Tanaka‘s deceptively simple 100 Erikas explores the connection between personality and appearance from the outside looking in where emotions and perceptions are built upon not only facial features, but the ideas of the other that resides in physical self-transformation, body manipulation, and social hierarchy. The artist could’ve taken this idea to extreme levels – having 100 pedestals with a push button nearby that could tap into a random sampling of hundred different voices matching the transformed features that we see in the photos – but these photos are there to engage us in a dialogue with ourselves about our prejudice or our impartiality to what we see expressed on their surface. An added element is the use of the 20-year-old Japanese media star Erika Sawajiri as the model – creating a much different mindset amongst Japanese viewers than would be created, say, in Austria where the photo below (of 50 Erikas) was taken.
Lawrence Malstaf has created, with his Nemo Observatorium, a circular chamber of PVC and five fans in which a spectator can sit in the eye of a storm – a storm of swirling styrofoam beads that actually produces a calming, almost meditative, effect. Your ears listen to the swoosh and your eyes pick out patterns within the eddying mass of white. You’d think that the styrofoam would get all in your eyes and hair, but he has positioned the fans at just the proper angles and speed in order to avoid the chance of it blowing bits around randomly. You really are the lone observer untouched by the surrounding chaos.
Speaking of hybrid forms: Shen Shaomin (whose Chinese website seems to have disappeared) has fabricated his own “natural” world of rather unnatural creatures which tug at our desire to see them as actual wondrous remnants of the past. Their mock prehistoric presentation using actual ossified bones and bone meal is at odds with what looks like an evolution that should never have happened – one that actually never did happen. It brings us around again to genetic modifications.
Joe Diebes‘ short film, Scherzo, was awarded Honorary Mention in the Digital Musics and Sound Art category this year. The installation version is presented as an open duration work using a computer algorithm that grabs various energetically played cello excerpts (performed by Rubin Kodheli) taken from 10 different camera angles and outputs them in an exhilarating (or manic if you choose)
stream of visual fast cut editing.
On my second day in Linz this year, I saw a guy near the Hauptplatz who looked like he was trying to train his dog to sit down – having one hand near the scruff of it’s neck and the other on it’s butt, it looked like the really big white dog was being a bit disobedient. Then I looked closer and it turned out that the “dog” was a full size replica that was some kind of animatronic that someone was working with – not showing it off like it was a performance, but, rather it seemed like it was a personal project that this guy was trying to perfect. Only later did I learn that it was part of a much larger project called Flut (Flood) – a quasi-recreation of the myth of the “Great Flood.” As the week progressed, you could see the animals careen through the streets in greater numbers culminating in a large dramatic finale at the banks of the Danube accompanied by video projections, fireworks, and live music.
I want one of these machines – or at least online access. I spent lots of time with this – thinking of the creative possibilities while taking too many photos. My excogitating mind working overtime… Julius von Bismarck & Benjamin Maus have created the Perpetual Storytelling Machine that creates a narrative through access to and the use of nearly 8 million patent drawings coupled with an archive of over 22 million references. It appears to be capable of mechanically free-associating – creating a form of subtext by finding possible similarities between arbitrary patents thereby producing contextural information in which a lateral thinking person can use for creative ideas.
Digital fabrication using 3D printers is an additive manufacturing method that is generally cheaper than the molding and/or tooling process. It allows for highly customized greener end-products that can be produced on-demand. In the Fablab, there are interactive pen tablets where a physible can be created by anyone, then linked by digital interface to a 3D printer.
David Haines & Joyce Hinterding‘s EarthStar emphasizes the sun’s elemental and mythic qualities. Spectacular footage of the solar chromo-sphere merges with virtual aroma compositions that smell ozonic. Building a bridge between these two elements, the radio bursts emitted by the sun provide a real-time soundtrack. Based on scientific facts, this exploration of electromagnetic and vibrational energy of the sun offers an intense, poetically charged experience for all of the senses.
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.
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
Eternally grateful to these folks who had, in person, taken the time to encourage me in my compositional work (chronologically listed):