Art and Music

4’33” was John Cage’s most famous and disruptive composition, and now it can be performed by you! Cage’s work, which teaches us that there’s no such thing as ‘silence’ (and that there’s joy to be found in paying close attention to the sounds around), is available in this official release from the John Cage Trust and Cage’s long-time publisher, C.F. Peters. Users are able to capture a three-movement ‘performance’ of the ambient sounds in their environment, and then upload and share that performance with the world. They’re also able to listen to the performances of others, and to explore a worldwide map ...

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Blepharospasms is two dreams, their manic interpretation and their hypnogogic secondary elaboration. Six parts over 32 pages. It becomes a story in which 2Pac is transformed into a jellyish-like “speculatively enlarged protist” reliant on the care of an ageless and beautific Georg Meissner. This is the best thing I’ve ever written. Also includes a central Excursion on a Wobbly Face.

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Developed by ambient pioneer Brian Eno and musician / software designer Peter Chilvers, Bloom explores uncharted territory in the realm of applications for the iPhone and iPod touch. Part instrument, part composition and part artwork, Bloom’s innovative controls allow anyone to create elaborate patterns and unique melodies by simply tapping the screen. A generative music player takes over when Bloom is left idle, creating an infinite selection of compositions and their accompanying visualisations. “Bloom is an endless music machine, a music box for the 21st century. You can play it, and you can watch it play itself.” – Brian Eno Features – 12 ...

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APRIL 2017 CONSTANCE DEJONG SERIES ONE On a Street, 2015, 9:27 Jewelry, 2015, 7:53, performed by Jim Fletcher SERIES TWO Nightwriters 7, 2016, 3:03 Nightwriters 9, 2016, 3:21 SERIES THREE In a Cabin 3, 2016, 5:02 In a Cabin 7, 2016, 2:31

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Bureau gallery audio program, 2017. MARCH 2017 MATT HOYT SIDE A Birds on Front St. Melting ice under BQE Drainage pipe in the woods Drainage stream in the woods  SIDE B Stream and crickets Ocean waves Eddy and small waterfall Stream medley Birds and rain

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Generative music is a term used to describe music which has been composed using a set of rules or system. This series of six episodes explores generative approaches (including algorithmic, systems-based, formalised and procedural) to composition and performance primarily in the context of experimental technologies and music practices of the latter part of the 20th Century and examines the use of determinacy and indeterminacy in music and how these relate to issues around control, automation and artistic intention. Each episode of this RWM series is followed by a special accompaniment programme of exclusive music by some of the leading sound artists ...

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Dawn of Midi is a Brooklyn-based acoustic ensemble made up of Aakaash Israni from India on double bass, Amino Belyamani from Morocco on piano and Qasim Naqvi from Pakistan on drums. Formed in 2007, the band name was happened upon after Naqvi casually uttered the phrase by chance as a non sequitur for the improvised music the trio was making at the time. With Dysnomia, Dawn of Midi abandon improvisation in favour of composition, utilising sophisticated rhythmic structures from North and West African folk traditions to weave a sonic tapestry of trance-inducing grooves. From close up one may see only dots, ...

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Deceptionista is a new audio-visual work by composer and artist Aaron David Ross (ADR). Realized as both an album and a fully immersive virtual ecosystem, Deceptionista unpacks and further mystifies the spiralling inconsistenciesthat permeate our globally networked lifestyles. Released through PAN via digital and a limited edition SD card as well as a series of live performances, Deceptionista combines the relentless unknowability of the real-time internet with ADR’s distinct compositional approach. As a classically trained musician with a propensity towards contemporary art & technology practices, ADR’s work has distinguished itself through its formal deliriousness and playful tenor. Deceptionista seeks to accelerate ...

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“Bifurcating a Resounding No!” compounds a variety of prepared acoustic situations, computer synthesis & field recordings developed in the software bidule. It strives to create a multidimensional listening experience both subtle & engaging. It is intended for listening in quiet environments through headphones or monitors with little distraction. The photograph is a book (The Queen’s Gambit), a bookmark (acid) & one of Ingmar Bergman’s favorite quotes “We come into this world with sealed orders”. All of this is inspired by smothered mate (chess) which is a checkmate delivered by a knight in which the mated king is unable to move because ...

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This version of Nebula Prospekt is a slightly remodelled version for the EBM (T) Community Exhibition which I am happy to be a part of. Here some excerpts from the programnotes from 1984 ……… As I mentioned earlier, Nebula Prospekt is a simple play with a structure and ”colours” – it’s completey free to see it as satire, parody, boring, terrifying, something lyrical, crazy, stupid, naive…….. For myself it was a joy to play with my different attitudes and finalize the work in Bourges. Here some excerpts from the programnotes from 2000……. Nebula Prospekt is developed from different works, both from a ...

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Boids is an artificial life program, developed by Craig Reynolds in 1986, which simulates the flocking behaviour of birds.The name “boid” corresponds to a shortened version of “bird-oid object”, which refers to a bird-like object. Taking the position of the bird-like object, how does other creatures sound like? The limitation of labelling computer generated species after preexisting ones complicates our relation to the former. Digitally sythesized -oids lost in the deep sea, later found and played back in 2x speed. A group of dead -oids scattered along the timeline. It’s our choice to hear an -oid.

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RHSM is a crystallization of MSHR’s live performance- an electronic ceremony that glides through four movements. Each movement acts as a virtual scape, defined by a distinct system for improvisation between the players and their handmade analog electronic instruments. MSHR’s pathway through the possibility matrix of each scape was mapped to an 8-track tape machine and digitized multiple times per track. These tracks were interwoven to create the iridescent effect of tape phasing as a compositional element, augmenting the psycho-acoustic content of the original improvisation. Scape 1: Unfolding Hyper-Shape Alap This track was recorded live in an electronics array in our bedroom ...

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“yoooooowhatuhoe” was developed on a tour of the American West Coast in February 2015. The macro form of the piece was predetermined with special attention paid to temporal ratio between sections, while the material filling out the different sections was generated by procedures ranging from retyping the content of a G-Chat conversation on the Computer MIDI Keyboard to capture the typing habits of the composer and thereby generating pitch and rhythmic data, to using weighted random processes to build dense stacks of pitches. The sound sources used in the piece are the following: General MIDI (10. Glockenspiel; 38. Slap Bass 2; 54. Voice Oohs; ...

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On February 26, 2015, Robin Mackay travelled to Graz, to speak at the show-johnmccracken/text/) at Künstlerhaus Halle für Kunst & Medien. In the talk Mackay attempted to draw some brief comparisons between the sound work of Hecker and the analyses of colour proposed by Éric Alliez in his book on modern painting, The Brain-Eye, which he had spent the previous year translating. Apart from extensive works on the rail line which made travel both ways extremely taxing, the most notable thing about the episode was the impressive cathedral-like echo in the grand hall of the Künstlerhaus. Hecker requested a recording ...

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From the moment that you insert the token and the gaming session starts up, the player suddenly has multiple lives. During these games, you can win additional “life” elements, which accumulate as little icons around the edges of the screen. This function creates a positive reinforcement in the player; they have the possibility to fail many times without the game finishing. Professor Pier Luigi Cappucci, in a paragraph of his book “Il corpo tecnologico” descibes to us this phenomenom: Man has always created “virtual” constructs, learning to distance himself from the physical and direct experience of the phenomenal world. (…) mediating ...

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Music is not what you think

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/|__O__||||||||||||\//|_>>||__||| |/////_\/| |/| |/|||||||\/|||||||\|\/|//|_ \|/||||\||||__|| __| /|___ //|||||||/___|////|>|_|/|/| <> |//|/////| |/| |/| || O|//| ||||\|\/|/||/_\ |/||||| \|||//|||// /|____\ ||^|||___|||////| |//|///> <>// \__/|/| _ |/| || |\/| ||||/||||/||___||/|||| \||||//| | /| O ||////\\||/ |////|||/ /__| <> |///// //| |/| |/| || O||/| ||||/||||/|||/| |/|||||\|||//| | /|_____|\_ //\ /////|>||||| | |/// ///| |/| |/||| |//| |// / / / // /////////// // /// /// /// /////// // ///// ///// / / / / // / / / / / // / * / Once we did a trip to Tokyo. //////Iwasstillyoungthen andtheyhad just finished // // /* /// building the new highway. It took the state many centuries and leaders // / ...

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It is a volcanic eruption that grounds all flights; it finds water on Mars; it is a commitment to the future. There is no barren soil: We are lions.

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My puffy morning face cushions the small indented buttons that are my eyes, like those of an old pink armchair and remain this way until the introduction of coffee restores and dilates them. I’m standing half-dressed in a T- shirt like some obscene cartoon character, all cold feet on the tiles wishing I had put my dressing gown on before going to the kitchen or that I even owned a pair of slippers. Each day is full of choice and choice should not lead to repetition, but even choices once seemingly easy become hard. Indecision mounts to higher levels that cascade ...

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This piece simulates a live performance of computer music at the Google Data Centre in Council Bluffs, Iowa. The composition takes its inspiration from this image, which was released from Google’s Data Centre in Iowa in 2012, and is a dialogue between algorithmically generated notes, rhythms and melodies, and my formative input in sculpting the emerging sound as it is generated. Using architectural plans extrapolated from photographs of Google’s server room at this site, I use software to simulate the space’s reverb characteristic, feeding the composition into it. I like to think of this as mimetic hacking. Like the Anonymous hacks that create ...

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Last week, within 5 days, I took a car to a bus to an airplane to an airplane to a car to my feet to a car to a bus to a subway to my feet to a subway to a train to a shuttle van to my feet to a shuttle van to a train to a subway to my feet to a subway to a train to an airplane to a bus to a car to my bed. Collecting myself horizontally, I realized that my insides had been whisked into a pureé from all of the movement. & The word ...

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Field Notes is concerned with the phenomenon of sound from varied perspectives: artists, musicians, journalists and scientists. They add to Field Notes with their essays, interviews, travelogues, anecdotes, notes and picture series. This first issue features six articles written by Costa Gröhn, Tanja Hemm, Christoph Korn, Stefan Militzer, Marcus Obst ( aka Dronæment), and Aaron Ximm (aka Quiet American).

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Our second issue features Marcus Kürten’s interview with the passionate phonographer Walter Tilgner, the second and final part of Stefan Militzer’sessay about “Tones, Sounds and Noises,” a collection of old Chinese texts regarding silence and noise – compiled by sound artist Lin Chi-Wei –, anecdotes by Yannick Dauby regarding his recording and hearing experiences with frogs as well as thoughts and reports based on Gabi Schaffner’s personal experiences with accidentally deleted or never recorded sounds from Finland. The magazine closes with an essay of the componist and sound artist Andreas Bick regarding the construction of meaningful correlations when listening – “listening is making sense.”

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Traces begins with Tom Lawrence’s fascinating and soon unsettling insights into Ireland’s largest wetland Pollardstown Fen and its ongoing destruction through men. Furthermore he describes his elaborate attempt to record the fen’s rich world of water beetles and talks about the startling discoveries he’s made. ♦ Regarding the question ‘Phonography: Art or Documentation?’ sculptor Scott Sherk examines the history of photography and its parallels to the developing world of phonography via selected historical imagery. ♦ From moments of excited listening in his childhood Jim Cummings carries us to the founding of his label EarthEar and his eventual step into scientific fields with the Acoustic Ecology Institute. ♦ ‘Something which lasts, passes by’ is Marcus Kürten’s ...

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“We are continually made aware of musicians who have in the past seen value in spuriousness and enacted it in their work, pioneers whose realizations of fakeness preceded the vocabulary for it. Fake Music‘s new initiative will be not to reissue the works of these unimportant artists so that they might persist in their obscurity. FakeMusic Re–Anticipations will periodically issue notifications that we will not be reissuing one of these forebears. The first of these nonreissues is the lack of a catalogue of VOLVO, a Dutch rock and roll band who in the 1980s did not play, perform, or record. We ...

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