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Art and Music
There is no such thing as voice in literature. That is, we assign chimerical properties to characters’ voices; fictions based on voices we have heard in relation to the description of the characters’ personalities; identities we want to confer on the characters. Whilst we read and listen to this voice, it is neither true nor false. It is the product of a careful assembly of traces and features we believe represent a person – more physically even than their own body….
When John Maus (not to be confused with the John Maus of Walker Brothers fame) wasn’t playing keyboards for Animal Collective, Panda Bear, and Haunted Graffiti, he was writing and recording his own hermetic, experimental, and oftentimes misunderstood compositions. Drawing on artists like David Bowie, Scott Walker, and Joy Division, Maus’ swollen, distorted, and unabashedly strange debut, 2006’s Songs, was more or less reviled by any and all music critics within earshot. CMJ wrote, “It took this Ariel Pink cohort five years to write and record his debut album, and only five minutes to become more annoying than Ariel Pink.” ...
Low art/high art — the culture world will have a hard time shaking off that distinction. Hecker’s artistic process on this album could be tracked down to it, too (or at least that’s what he wants us to believe): acid house on the one hand, modern composition on the other. However, his music has been working on that both-sides-of-the-fence mode from the beginning, as he has been using the raw power of electronic music in increasingly circumvoluted processes and formulas. Acid in the Style of David Tudor may be marginally easier to listen to than Sun Pandämonium or PV Trecks, ...
Articulação sees avant-garde electronic musician Florian Hecker continuing the collaborative work he began with author/philosopher Reza Negarestani on the 2012 album Chimerization. The album’s three lengthy pieces see different manipulations and the electronic processing of human voices reading texts by Negarestani that explore themes of nature and the culture man creates around it, interrupted and often side-lined by Hecker’s blasts of digital noise and skittering, computer-generated mayhem. Opening track “Hinge” features two stereo-panned readings by noted poet and sound artist Joan La Barbara, known for her groundbreaking work with the human voice as instrument. A second, much noisier track breaks ...
Blackout: Representation, Transformation and De-control in the Sound Work of Yasunao Tone
Quaderns d’audio
The conversations which form the basis for this interview took place in March 2002 (email interview by Anna Ramos) and July 2008, during Yasunao Tone’s visit to Barcelona, coinciding with his performance at MACBA, and were continued by email with Tone, Fell, Hecker and Held during February-March 2009. Tone’s work has also been featured on issues 1 and 7 of the Ràdio Web MACBA programme Lines of Sight.
New York based conceptual artist James Hoff returns to PAN with ‘Blaster’, a document of his explorations of computer viruses as agents within the composition process. Specifically, Hoff used the Blaster virus to infect 808 beats and then utilized the mutated results as building blocks for seven new compositions.
Hoff’s interest in computer viruses lies in their ability to self distribute through (and ultimately disrupt) networks of communication and Hoff’s agency as an artist centers on placing these parasitic forms into pre-existing genres, such as dance music. BLASTER is a timely exploration of the infectious qualities of sound, and how it ...
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
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Bureau gallery audio project series with gallery artists, running February-June, 2017.
February: Vivienne Griffin
March: Matt Hoyt
April: Constance DeJong
May: Ellie Ga
June: Wojciech Bakowski
http://www.bureau.audio/index.html
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
FEBRUARY 2017
VIVIENNE GRIFFIN
SK (4:48 Psychosis by Sarah Kane, 1999) 2012, 33 min. 41 sec.
I As In Us, 2017, 6 min. 44 sec.
Release Your Inner Dolphins, 2016, 7 min. 44 sec.
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
In September of 2007 Ellie Ga joined the Tara, a research vessel drifting in the upper reaches of the Arctic. The Tara was the second boat in history constructed to purposefully drift indefinitely in the frozen sea. Ellie joined the crew of ten, as the only artist on board, for the last half-year of the expedition. She maintained a close conversation with us, reporting with sounds, images and texts via email and the occasional satellite phone call. These are some excerpts from Ga’s sound dispatches from the Arctic.
Last Day of Sun, October 2007
Map Intro, October 2007
Map Part 2, October 2007
Map Part 3, October 2007
Le ...
JUNE 2017
WOJCIECH BAKOWSKI
KOT
‘Intro’
Album: „Kły” / ‘Fangs’ 2007
Label: Pinkpunk
Music: Wojciech Bakowski
KOT
„Kły” / ‘Fangs’
Album: „Kły” 2007
Label: Pinkpunk
Music and lyrics: Wojciech Bakowski
Wojciech Bakowski
„Ściana” / ‘The wall’
Album: „Kształt” / ‘Shape’ 2010
Label: Bocian records
Music and lyrics: Wojciech Bakowski
Wojciech Bakowski
„Widok pokoju” / ‘View of the room’
Album: „Telegaz” / ‘Tv – prog’ 2014
Label: Dunno recordings
Music and lyrics: Wojciech Bakowski
Wojciech Bakowski
“Ciemno” / ‘Darkness’ 2008
Music and lyrics: Wojciech Bakowski
Wojciech Bakowski
„Zasypianie z nerwów 2” / ‘Falling asleep out of anxiety 2’
Album: „Telegaz” / ‘Tv – prog’ 2014
Label: Dunno recordings
Music and lyrics: Wojciech Bakowski
Wojciech Bakowski
„Ukrycie w rogu szósej planszy” / ‘Hide out in the corner of level 6’
Album: „Duchy kotów” / ...
Catching Net is a collection of selected installations and compositions Eli Keszler created during the last two year. The double-CD set includes both stand-alone recordings of the installations and the integrated ensemble scores performed in conjunction with those installations. The first disc features two ensemble versions of Cold Pin, previously released in a 2011 LP of the same title on PAN, plus a 26-minute, previously unreleased live ensemble recording (mixed sextet and piano quintet; these are captured in contrasting acoustical spaces). The personnel for all three tracks is Eli Keszler drums, percussion, crotales, guitar; Ashley Paul, alto saxophone, bass harp; ...
This conversation with Alexander Weheliye is built upon the critique he made of the work of Giorgio Agamben, in particular in his essentialization of the muselmann in the context of the Holocaust. Alexander argues that slavery functions as a better paradigm to understand the “layering” of bare lives and the racial aspects that this understanding involves. He explains how he is interested in finding other ways to “claim humanity” than the traditional judicial one that attributes this status in a retroactive manner to suffering bodies. In order to do so, we evoke the works of major African-American and black Caribbean thinkers such as Hortense ...
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 ...
In this Quadern d’àudio we publish the complete series of 17 graphic scores that Barber created in Yokohama (Japan) in 2005. This previously unpublished series brings together the visual exercises and/or pastimes that the composer compiled in a small notebook as he worked on Pocket Naumaquia, the closing concert of the International Triennale of Contemporary Art (ITCA) in December 2005. For this publication Barber has used these graphic notations as inspiration to write 17 texts that, like a game, readers can link to any score they wish.
with assumed responsibility of Pascale Berthier & Cerith Wyn Evans
and a response by David Cunningham
Slope Deviation from the horizontal or vertical Recline Fifty balloons read as a score in an afternoon
Da is published by Am Nuden Da. It takes its name after the magazine Da founded by Isidore Isou and Serge Moscovici in 1944.
Revenge is the emotional equivalent of economic recompensation. The creditor-debtor relationship is abusive, it is the production of high and low self-esteem through hurting and being hurt.
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 ...
“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 ...
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.
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 ...
“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; ...
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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