STRANGE ATTRACTOR 1 - 30 April a Residency Developing Sound and Visual Possibilities Through Live Events, Collaborative Performances and Video Documentation
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On Benjamin Patterson Julia Elizabeth Neal Bull Shit No
all–over # 11 On Benjamin Patterson Julia Elizabeth Neal Bull Shit No. 2 and the Life of An Interview Autorin: Julia Elizabeth Neal Erschienen in : all-over 11, Herbst 2016 Publikationsdatum : 2. Dezember 2016 URL : http://allover-magazin.com/?p=2509 ISSN 2235-1604 Quellennachweis : Julia Elizabeth Neal, On Benjamin Patterson, Bull Shit No. 2 and the Life of An Interview, in : all-over 11, Herbst 2016, URL : http://allover-magazin.com/?p=2509. Verwendete Texte, Fotos und grafische Gestaltung sind urheberrechtlich geschützt. Eine kommerzielle Nutzung der Texte und Abbildungen – auch auszugsweise – ist ohne die vorherige schriftliche Genehmigung der Urheber oder Urheberinnen nicht erlaubt. Für den wissenschaftlichen Gebrauch der Inhalte empfehlen wir, sich an die vorgeschlagene Zitationsweise zu halten, mindestens müssen aber Autor oder Autorin, Titel des Aufsatzes, Titel des Magazins und Permalink des Aufsatzes angeführt werden. © 2016 all-over | Magazin für Kunst und Ästhetik, Wien / Basel all–over # 11 On Benjamin Patterson Julia Neal Bull Shit No. 2 and the Life of An Interview Benjamin Patterson, who saw over fifty years of experimental art production as a Fluxus co-founder and artist, passed away this summer. Born in Pittsburgh May 29, 1934, Patterson was an Afri- can-American bassist with limited professional opportunities in segregation-era United States. Instead, Patterson circumvented ex- isting racial barriers by relocating to Canada and performing with symphony orchestras, at which point he took closer interest in elec- tronic music.1 A trip to Germany redirected the course of his career to experimental art production after a negative encounter with ac- claimed Karlheinz Stockhausen. -
Nicola L. Hein – Klangkunst Als Philosophie
Klangkunst als Philosophie Nicola L. Hein 0 Inhaltsverzeichnis: 1. Philosophisches Konzept 1 1.1 Einleitung 1 1.2 Der Begriff der Klangkunst 5 1.3 Familienähnlichkeit und Klangkunst 10 1.4 Was ist Philosophie? 17 1.5 Alva Noë, Georg Bertram, Richard Rorty: Philosophie und Kunst 21 1.6 Was ist Klangkunst? 27 1.7 Cox: Klangkunst als Gestaltung der Frage: „Was ist Klang“? 28 1.8 Klangkunst als Diskurs 33 1.9 Klangkunst und Skepsis 38 1.10 Bestimmungen der Klangkunst in der künstlerischen Praxis 43 1.11 Klangkunst als Philosophie 58 2. Darstellung: „Sokratischer Versuch über politische Kontingenz“ 65 2.1 Das Konzept 65 2.2 Die Änderungen 71 2.3 Die Durchführung 81 2.4 Wurde Anspruch der Klangkunst als Philosophie eingelöst? 95 3. Perspektiven 99 4. Quellenverzeichnis 100 4.1 Literaturverzeichnis 100 4.2 Abbildungsverzeichnis 105 1 1. Philosophisches Konzept 1.1 Einleitung Die Geschichte der Kunstform, die unter dem Namen der Klangkunst oder der sound art bekannt ist, ist von unterschiedlichen definitorischen Versuchen gekennzeichnet. Die interpretatorischen und definitorischen Differenzen unterschiedlicher WissenschaftlerInnen, KünstlerInnen und JournalistInnen weisen dabei eine enorme Spannweite auf. Was ist Klangkunst? Welche Objekte, Handlungsformen und Prozessen fallen unter ihren Begriff und welche Merkmale weißt jene Kunstform auf? Wie lässt sich Klangkunst abgrenzen von anderen Formen der Kunst, wie etwa der Neuen Musik, der Improvisierten Musik, der Performance Art, der Skulptur und der Plastik? Gegenüber dieser Entwicklung soll gerade die Heterogenität des Entwurfs der Klangkunst dazu genutzt werden, den Versuch einer Definition zu wagen, die diese aus einem anderen Winkel heraus betrachtet und versteht, indem sie die bereits in der künstlerischen und theoretischen Praxis auffindbaren Bestandteile zusammenfügt und diese in eine spezifische Direktion weiter denkt. -
ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL
Bio information: ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: ROCK “…the [Jim Hendrix] Experience let me know there was a spare bed in the house they were renting, and I could stay there with them– a spontaneous offer accepted with gratitude. They’d just hired it for a couple of months… …My goal was to make the music I’d actually like to listen to. … …I was clearly imagining life without a band at all, imagining a music I could make alone, like the painter I always wanted to be.” – Robert Wyatt, 2012 Some have called this - the complete set of Robert Wyatt's solo recordings made in the US in late 1968 - the ultimate Holy Grail. Half of the material here is not only previously unreleased - it had never been heard, even by the most dedicated collectors of Wyatt rarities. Until reappearing, seemingly out of nowhere, last year, the demo for “Rivmic Melodies”, an extended sequence of song fragments destined to form the first side of the second album by Soft Machine (the band Wyatt had helped form in 1966 as drummer and lead vocalist, and with whom he had recorded an as-yet unreleased debut album in New York the previous spring), was presumed lost forever. As for the shorter song discovered on the same acetate, “Chelsa”, it wasn't even known to exist! This music was conceived by Wyatt while off the road during and after Soft Machine's second tour of the US with the Jimi Hendrix Experience, first in New York City during the summer of 1968, then in the fall of that year while staying at the Experience's rented house in California, where he was granted free access to the TTG recording facility during studio downtime. -
A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period. -
Steve Beresford - David Toop John Zorn - Tonie Marshall
Steve Beresford - David Toop John Zorn - Tonie Marshall Deadly Weapons nato 950 Illustration : Pierre Cornuel Steve Beresford : piano - David Toop : flûte, guitare, percussions John Zorn : saxophone alto, clarinette - Tonie Marshall : voix Sortie en magasin le 10 octobre 2011 Produit par Jean Rochard pour nato Distribué par l’Autre Distribution 02.47.50.79.79 Contact presse : Christelle Raffaëlli [email protected] 06 82 65 92 73 www.natomusic.fr DEADLY WEAPONS « Ca s’appelle un disque phare ou un diamant noir » (Première) Deadly Weapons est un album clé pour les disques nato. En 1985, John Zorn joue pour la première fois en France avec Steve Beresford et David Toop au festival de Chantenay-Villedieu. Deadly Weapons, réalisé l'année d'après, est la suite naturelle de ce concert remarqué. Steve Beresford, lui, est un des piliers de la maison ; avec Deadly Weapons, il synthétise ses éclectiques et fourmillantes approches en un seul projet. David Toop a déjà enregistré pour nato avec le groupe Alterations et participé à l'album de son compère Steve Beresford : Dancing the Line Anne Marie Beretta. Tous trois sont d'incorrigibles cinéphiles. Tonie Marshall est alors actrice, et quelle actrice ! Elle va bientôt passer de l'autre côté de la caméra et devenir une cinéaste de premier plan. Deadly Weapons est un disque-film comme les affectionne particulièrement la maison du chat. Il joue sur différents plans et s'en joue. Champ et hors-champ. Lors de sa sortie, il divise : le livret rappelle comment s’offusquèrent les puristes et comment se réjouirent les autres ! Si Deadly Weapons, premier album londonien de nato, ouvre bel et bien la marche (toujours randonneuse) de ce qui va suivre, il s'inscrit assez logiquement dans ce qui a précédé en affichant des libertés nouvelles et sa passion des images sans masques. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Lockett, P.W. (1988). Improvising pianists : aspects of keyboard technique and musical structure in free jazz - 1955-1980. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/8259/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] IMPROVISING PIANISTS: ASPECTS OF KEYBOARD TECHNIQUE AND MUSICAL STRUCTURE IN FREE JAll - 1955-1980. Submitted by Mark Peter Wyatt Lockett as a thesis for the degree of Doctor of Philosophy The City University Department of Music May 1988 TABLE OF CONTENTS Page No I List of Figures 3 IIListofRecordings............,........ S III Acknowledgements .. ..... .. .. 9 IV Abstract .. .......... 10 V Text. Chapter 1 .........e.e......... 12 Chapter 2 tee.. see..... S S S 55 Chapter 3 107 Chapter 4 ..................... 161 Chapter 5 ••SS•SSSS....SS•...SS 212 Chapter 6 SS• SSSs•• S•• SS SS S S 249 Chapter 7 eS.S....SS....S...e. -
The Fire Station Project the Fire Station
THE FIRE STATION PROJECT THE FIRE STATION THE FIRE STATION PROJECT THE FIRE STATION PROJECT ACME STUDIOS’ WORK/LIVE RESIDENCY PROGRAMME 1997 – 2013 1 THE FIRE STATION PROJECT Published in 2013 by Acme Studios 44 Copperfield Road London E3 4RR www.acme.org.uk Edited by Jonathan Harvey and Julia Lancaster Designed by AndersonMacgee/Flit London Typeset in DIN and Avenir Printed by Empress Litho The Fire Station Project copyright © Acme Studios and the authors ISBN: 978-0-9566739-5-4 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical or otherwise, without first seeking the permission of the copyright owners and the publishers. Cover illustrations: Robert Ian Barnes Architects 2 Acme Studios is a London-based housing charity dedicated to supporting artists in economic need through the provision of studios, accommodation and professional support. Acme manages 16 buildings providing affordable, long-term and high-quality studios (620) units and work/live space (20 units). Through this resource it helps over 700 artists each year. Acme’s Residency & Awards Programme adds to this core service of studio provision by awarding selected UK-based artists with studio residencies, bursaries, professional mentoring and exhibiting opportunities at the Acme Project Space, working with a range of partners. At any one time over 20 artists benefit from this support. Acme’s International Residencies Programme currently manages 23 annual London residencies on behalf of eight agencies together with an Associate Artist Residencies programme for international artists applying directly to the organisation. -
Ultima Oslo Contemporary Music Festival on Nature
ultima oslo contemporary 10–19 september 2015 ultima music festival oslo contemporary music festival om natur 10.–19. september 2015 10.–19. on nature 1 programme THURSDAY 10 SEPTEMBER Lunchtime concert Henrik Hellstenius Ørets teater III: Ultima Academy Cecilie Ore Ultima Academy Eivind Buene Georg Friedrich Haas In Vain SATURDAY 19 SEPTEMBER Herman Vogt Om naturen (WP) Alexander Schubert in conversation Adam & Eve—A Divine Comedy Geologist Henrik H. Svensen The Norwegian Chamber Orchestra Ensemble Ernst Ultima Remake Concordia Discors, Études (WP) Oslo Sinfonietta / Dans les Arbres with rob Young 21:00 — Kulturkirken Jakob on issues in the Age of Man 19:00 — Universitetets aula 21:00 — Riksscenen Edvin Østergaard (WP) / 10:00 — Edvard Munch Secondary 12:00 — Loftet 19:30 — The Norwegian National Opera 14:00 — Kulturhuset p. 18 19:30 — Kulturhuset New music by Eivind Buene, plus the Spellbinding piece described as ‘an optical Jan Erik Mikalsen (WP) / Maja Linderoth School Piano studies with Ian Pace, piano & Ballet, (Also 12 and 13 September) p. 31 p. 35 pieces that inspired it illusion for the ear’” The Norwegian Soloists’ Choir Interactive installation created by pupils p. 19 Concert / performance Robert Ashley Perfect Lives p. 38 p. 47 13:00 — Universitetets gamle festsal p. 13 p. 16 Ultima Academy Matmos Ultima Academy p. 53 Installation opening and concert Music Professor Rolf Inge Godøy 22:00 — Vulkan Arena Musicologist Richard Taruskin on David Toop Of Leonardo da Vinci — James Hoff / Afrikan Sciences / Ultima Academy Elin Mar Øyen Vister Røster III (WP) Installation opening on sound and gesture American electronica duo perform cele- birdsong, music and the supernatural Quills / a Black Giant / Deluge (WP) Hilde Holsen Øyvind Torvund (WP) / Jon Øivind Media theorist Wolfgang Ernst 15:00 — Deichmanske Ali Paranadian Untitled I, 14:30 — Kulturhuset brated TV opera 20:30 — Kulturhuset Elaine Mitchener / David Toop 22:00 — Blå Ness (WP) / Iannis Xenakis on online culture and hovedbibliotek A Poem for Norway (WP) p. -
A History of Sound Art Arranged and Composed by J Milo Taylor Mixed by Joel Cahen
A History of Sound Art Arranged and Composed by J Milo Taylor Mixed by Joel Cahen A History of Sound Art - A5 24pp symbols.indd 1 24/1/11 14.35.28 » Sleep Research Facility d-deck » A Hackney Balcony » Cathy Lane » Ros Bandt 00:00 01:00 02:00 03:00 Introduction » Charlie Fox » Janet Cardiff » John Cage A History of Sound Art I listen, I hear, I obey. Does the exquisitely dissonant institution of Sound Art, and its subsequent ordering of desire, ensure that we subscribe to a genealogy I hear silence, an absent sense of through which it is governed? knowing, of the heard, that I project into In this composition I hear a rhizomic a future. As a listener at the end of this collective, which obeys, albeit work I feel like a wobbly toddler looking contradictorily, a government in the mirror and happily hallucinating in of past and future time. my own disunity. I am left with the idea ‘Tomtoumtomtoumtomtoum’; the ‘Cage’ of an uncomfortable wholeness. The of Sound Art’s past. I hear hindsight. reconciliation of sonic arts past with its ‘Bwwaaaaaaaaaaaaaaaaaa’; the future seems like an empirical illusion. sound of sonic arts future. Ennioa Neoptolomus A History of Sound Art - A5 24pp symbols.indd 2 24/1/11 14.35.29 » Brandon LaBelle » Marcel Duchamp Interview 02:00 03:00 04:00 05:00 06:00 Early Practices Dada » Enrico Caruso o sole mio » Janet Cardiff » Hugo Ball Karawane (1916) » Thomas Alva Edison Dickson Sound Film (1897) CATHY LANE Composer and sound designer. -
03 Jamie Coleman/Grundik Kasyansky/Seymour Wright
01 A Broken Consort “The River” Previously unreleased 09 Harappian Night Recordings “Bare Cairo” from The Glorious (Sustain-Release) Gongs Of Hainuwele (Bo’ Weavil Recordings) 02 Afternoon Brother “Hack Circle” from Modern Florida 10 The Hunter Gracchus “Fanya Baron In Kharkov” (Dreamsheep) Previously unreleased (Singing Knives) 03 Jamie Coleman/Grundik Kasyansky/Seymour Wright 11 LSD March “Ai No Sakebi” from Under Milk Wood (Important) “Control And Its Opposites” from Control And Its Opposites (Another Timbre Byways) 12 Jonathan McHugh & Mark Wastell “Hydriotaphia” (Exclusive edit) Previously unreleased (Confront) 04 Concern “Young Birth” from Truth & Distance (Digitalis/Iatrogenesis) 13 Brian Morant “Travelodge, Derby: Kristallo Overheard” Previously unreleased (Mordant Music) 05 Rhodri Davies/Michel Doneda/Louisa Martin/Phil Minton/Lee Patterson “Untitled” Previously unreleased 14 Part Wild Horses Mane On Both Sides “The Wire” (Another Timbre Byways) Previously unreleased (Singing Knives) 06 Gareth Davis & Steven R Smith “The Pulpit” 15 Starving Weirdos “Everything Glass” from Into An Energy from Westering (Important) (Bo’ Weavil Recordings) 07 James Ferraro “Jarvid 9” (Comp edit) Edited from the first 16 Sudden Infant “Celi TCS For M” Previously unreleased two discs in the Jarvid 9 series: Kava Jar Race and Gecko (New Age Tapes) 17 Ghédalia Tazartès “Assassins 2” from Les Danseurs De La Pluie (Alga Marghen) 08 Dredd Foole & Ed Yazijian “Overcome” from That Lonesome Road Between Hurt And Soul (Bo’ Weavil Recordings) 18 Uton “Some Other -
David Toop Ricocheting As a 1960S Teenager Between Blues Guitarist
David Toop Ricocheting as a 1960s teenager between blues guitarist, art school dropout, Super 8 film loops and psychedelic light shows, David Toop has been developing a practice that crosses boundaries of sound, listening, music and materials since 1970. This practice encompasses improvised music performance (using hybrid assemblages of electric guitars, aerophones, bone conduction, lo-fi archival recordings, paper, sound masking, water, autonomous and vibrant objects), writing, electronic sound, field recording, exhibition curating, sound art installations and opera (Star-shaped Biscuit, performed in 2012). It includes seven acclaimed books, including Rap Attack (1984), Ocean of Sound (1995), Sinister Resonance (2010) and Into the Maelstrom (2016), the latter a Guardian music book of the year, shortlisted for the Penderyn Music Book Prize. Briefly a member of David Cunningham’s pop project The Flying Lizards (his guitar can be heard sampled on “Water” by The Roots), he has released thirteen solo albums, from New and Rediscovered Musical Instruments on Brian Eno’s Obscure label (1975) and Sound Body on David Sylvian’s Samadhisound label (2006) to Entities Inertias Faint Beings on Lawrence English’s ROOM40 (2016). His 1978 Amazonas recordings of Yanomami shamanism and ritual - released on Sub Rosa as Lost Shadows (2016) - were called by The Wire a “tsunami of weirdness” while Entities Inertias Faint Beings was described in Pitchfork as “an album about using sound to find one’s own bearings . again and again, understated wisps of melody, harmony, and rhythm surface briefly and disappear just as quickly, sending out ripples that supercharge every corner of this lovely, engrossing album.” In the early 1970s he performed with sound poet Bob Cobbing, butoh dancer Mitsutaka Ishii and drummer Paul Burwell, along with key figures in improvisation, including Derek Bailey, Evan Parker, Georgie Born, Hugh Davies, John Stevens, Lol Coxhill, Frank Perry and John Zorn. -
Fluxus: the Is Gnificant Role of Female Artists Megan Butcher
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 Fluxus: The iS gnificant Role of Female Artists Megan Butcher Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Contemporary Art Commons, and the Other History Commons Recommended Citation Butcher, Megan, "Fluxus: The iS gnificant Role of Female Artists" (2018). Honors College Theses. 178. https://digitalcommons.pace.edu/honorscollege_theses/178 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Abstract The Fluxus movement of the 1960s and early 1970s laid the groundwork for future female artists and performance art as a medium. However, throughout my research, I have found that while there is evidence that female artists played an important role in this art movement, they were often not written about or credited for their contributions. Literature on the subject is also quite limited. Many books and journals only mention the more prominent female artists of Fluxus, leaving the lesser-known female artists difficult to research. The lack of scholarly discussion has led to the inaccurate documentation of the development of Fluxus art and how it influenced later movements. Additionally, the absence of research suggests that female artists’ work was less important and, consequently, keeps their efforts and achievements unknown. It can be demonstrated that works of art created by little-known female artists later influenced more prominent artists, but the original works have gone unacknowledged.