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( 35 Scanner 1964 417 images/works/scanner-2000-collector.jpg The Collector Katarina Matiasek + Scanner, Participating artists: Angela Bulloch, Paul Burwell, Heri Dono, Max Eastley, Brian Eno, Paulo Feliciano and Rafael Toral, Greyworld, Stephan Von Huene, Ryoji Ikeda, Philip Jeck, Thomas Koner, Christian Kubisch, Chico Macmurtie, Christian Marclay, Russell Mills and Ian Walton, Mariko Mori, John Oswald, Pan Sonic, Project Dark, Lee Renaldo, Paul Schutze I am one in a row of specimens. Its when I try to flutter out of line he hates me. Im meant to be dead, pinned, always the same, always beautiful. He knows that part of my beauty is being alive, but its the dead me he wants. He wants me living-but-dead. [John Fowles, The Collector 1963] The Collector, which was inspired by John Fowles famous novel , is an audio/video environment created within an oblong and rounded room that is reminiscent of an orangery. Formally scaled between the secluded hideaway of a private collection and the more heroic public display, the space at first suggests a leisurely mental pursuit. It is through its very orchestration that the dilemma of the collector’s practice gets unveiled. Displayed upon the two opposing curved ends of the space are two synchronous 16mm to video projections of numerous butterflies in swift succession. Due to the fact that these pictures are offered in most rapid animation from single stills, the simultaneously projected butterfly motifs start to flap their wings. But as the musical narrative of The Collector unfolds, the specimens of the collection do not remain the seemingly innocent continuum of Nature: the composition interweaves scientific recordings of subtly rustling butterfly wings with the blunt noise of the collector’s hammer, nailing down his objects of desire. The sound enforces a sense of containment balanced against the freedom expressed within the image of a butterflies wings. 2000 England audio/Scanner-2000-The_Collector.mp3 41 Peter Cusack 1954 682 images/spacer.jpg Baikal Ice In 2004 Peter took a field trip out to lake Baikal to record the ice breaking up (its a dramatic annual event) and to make an aural document of the environs (port, jettys, generators, the trans-siberian express, settlements andc.). These are beautifully recorded sound-in-time snapshots, with excellent visual co-documentation. Such works belong nowhere and begin to constitute a new genre; this is one of the pioneering works in that genre. Accessed 2.11.06 from - 2002 England audio/Cusack-lake_baikal-Track1.mp3 41 Peter Cusack 1954 682 images/spacer.jpg Baikal Ice In 2004 Peter took a field trip out to lake Baikal to record the ice breaking up (its a dramatic annual event) and to make an aural document of the environs (port, jettys, generators, the trans-siberian express, settlements andc.). These are beautifully recorded sound-in-time snapshots, with excellent visual co-documentation. Such works belong nowhere and begin to constitute a new genre; this is one of the pioneering works in that genre. Accessed 2.11.06 from - 2002 England audio/Cusack-lake_baikal-Track10.mp3 106 Justin Bennett 1964 1636 images/works/Bennet-2005-Shelters.jpg Shelters for Scarborough Shelters are three sound pieces to listen to while looking out to sea. In Scarborough they were played into three wooden shelters on the south cliffs. Commission 2005 England audio/Bennet-2005-shelter.mp3 137 Vicki Bennet 1990 1775 images/spacer.jpg Boots . With Ergo Phozmiz. Using vintage turntables and a selection of musical instruments, the two acclaimed sound-manipulators will create an exclusive and brand new mash-up live set, using the sound of traditional ballroom music to create mixed and mashed collages of musical silliness. - 2006 England audio/Bennet_Vicki-2006-BOOTS.mp3 131 David Cunningham 1954 1855 images/works/Cunningham-2002-listening_room.jpg The Listening Room Documentation of such site-specific work with its implicit focus on the real-time presence of the viewer/listener within the active installation presents significant problems - a recording is an inaedequate representation of the experience in the moment - you had to be there. Original proposal, July 2002: This proposal is to amplify the dark space beneath the stairs in the Fine Art Department at Newcastle using the principles expanded in my AHRB proposal (, taking the sounds in the space and allowing people within that space to hear the space in a qualitatively different way over a few days. Various techniques are employed to allow the resonant frequencies of a room to become audible in real time - see Appendix below. This process is modulated by acoustic changes as people move around the space, by ambient sound, by humidity, by the movement of air. Considerations with this particular installation will include the visual appearance of the space - lighting etc, a prime concern is to clarify the process at work. It is my intention to set up the installation at some point during the summer, this should sort out any technical problems and make the eventual October version simpler and quicker to re-install in a configuration more likely to fit the overall context of this exhibition. Appendix - Technology: The basic system components of the installations are a microphone connected to a noise gate (in principle a switch which activates according to the volume of sound passing through it), amplifier and speakers in a highly reverberant room. The system is arranged in such a way that when the microphone and loudspeaker begin to feed back the amplitude of the sound causes the noise gate to cut off the signal. The feedback notes resonate through the space accentuated by the reverberation time of the space. As the sound falls below the threshold of the noise gate the system switches back on and the process continues. The available pitches of the sound are primarily determined by the distance between the wall, floor and ceiling surfaces in the space, and by the location of microphone(s) and loudspeaker(s); by the time it takes a sound to travel and be reflected in three dimensions; not a simple equation. Microphones are Pressure Zone type to enable the plane of a room surface to act microphonically. Equipment will be supplied by myself and the University. - 2002 England audio/Cunningham-2002-listening_room.mp3 131 David Cunningham 1954 1850 images/works/Cunningham-2003-listening_room.jpg The Listening Room The three upper galleries of Ikon house two variants of The Listening Room. Each installation amplifies the sound of a gallery in real time, introducing low-volume feedback, pitches delineated by the architectural characteristics of the space and modulated by the transient nature of people passing through. In between is the central gallery, a space where the sound of the two Listening Rooms actively mixes and merges, allowing the two activated spaces to affect each other - in a very real sense the Galleries are listening to each other. The technology in each room consists of a system of microphone, noise gate, amplifier and speakers in the room, arranged in such a way that when the microphone and loudspeaker begin to feed back the amplitude of the sound causes the noise gate to cut off the signal. The feedback notes resonate through the space accentuated by the reverberation time of the space. As the sound falls below the threshold of the noise gate the system switches back on and the process continues. Available feedback pitches are a function of the resonant frequency of the space. - 2003 England audio/Cunningham-2003-listening.mp3 video/Cunningham-2003-listening_room1.mpg 131 David Cunningham 1954 1850 images/works/Cunningham-2003-listening_room.jpg The Listening Room The three upper galleries of Ikon house two variants of The Listening Room. Each installation amplifies the sound of a gallery in real time, introducing low-volume feedback, pitches delineated by the architectural characteristics of the space and modulated by the transient nature of people passing through. In between is the central gallery, a space where the sound of the two Listening Rooms actively mixes and merges, allowing the two activated spaces to affect each other - in a very real sense the Galleries are listening to each other. The technology in each room consists of a system of microphone, noise gate, amplifier and speakers in the room, arranged in such a way that when the microphone and loudspeaker begin to feed back the amplitude of the sound causes the noise gate to cut off the signal. The feedback notes resonate through the space accentuated by the reverberation time of the space. As the sound falls below the threshold of the noise gate the system switches back on and the process continues. Available feedback pitches are a function of the resonant frequency of the space. - 2003 England audio/Cunningham-2003-listening.mp3 video/Cunningham-2003-listening_room2.mpg 131 David Cunningham 1954 1851 images/works/Cunningham-2003-listeningarchitecture.jpg Listening to the Architecture This is an amplified acoustic situation, a triple system variant of The Listening Room. The triple system is installed in such a way that the relationship of height, width and depth of the Courtroom will be exposed in a space which has an inherent architectural focus on the sound of the room. The installation is designed to cope with the flow of people through the space at a launch event where the work can not necessarily claim the time and passivity which might be implied by a gallery situation. The amplification systems, electronically separate, inhabit the same acoustic space, and affect each other in ways that are not entirely predictable. The work assimilates and adapts to sound made in the space, the available feedback pitches are a function of the resonant frequencies of the architecture. The technology consists of a system of microphones, noise gates, amplifier and speakers in the room, arranged in such a way that when the microphone and loudspeaker begin to feed back the amplitude of the sound causes the noise gate to cut off the signal. The feedback notes resonate through the space accentuated by the reverberation time of the space. As the sound falls below the threshold of the noise gate the system switches back on and the process continues. Through the introduction of a low volume feedback within the system, notes emerge, pitches delineated by the solid architectural characteristics of the space and modified by the transient nature of people passing through the space and disturbing the air. Available feedback pitches are a function of the resonant frequency of the space. - 2003 England audio/Cunningham-2003-listeningarchitecture.mp3 video/Cunningham-2003-listeningarchitecture.mpg 131 David Cunningham 1954 1854 images/works/Cunningham-2003-position.jpg A position between two curves This work could be heard in the alcoves of Tate Britains Manton Entrance. It consisted of two circuits of microphone, loudspeaker and noise gate. The microphones pick up the ambient sound of the space, acoustically focussed by the curved surfaces at each side of the entrance area and build it up to the point of feedback. This sound is cut off by the noise gate when a certain volume is reached allowing the listener to become part of the process. Although Cunningham has initiated this process, he has little control over its outcome. He provides the conditions and the equipment but it is the presence of people moving through the space which moves the air and alters the characteristics of the sound. Over December 2002 and January 2003 a public installation work was created specifically for the Atterbury Street Manton Entrance of Tate Britain. There are two alcoves built out of the stone wall at each side of the entrance area which I have amplified to act something like parabolic reflectors, creating a narrow focussed zone across the entrance where the sound of the space becomes hyper-real. The development of this installation had to cope with a much less controlled situation than previous work, high levels of background noise and large numbers of visitors, plus the exposure of microphones to extremes of temperature and humidity. ‘A position between two curves’ specifically employs the innovation of a tuned double system - equivalent to two independent installations of the basic technology used in The Listening Room. This double system is designed so that the electronic part of the chain is independent but the acoustic part of the chain is interdependent - the two systems hear and react to each other. - 2003 England audio/Cunningham-2003-position.mp3 video/Cunningham-2003-position1.mpg 131 David Cunningham 1954 1854 images/works/Cunningham-2003-position.jpg A position between two curves This work could be heard in the alcoves of Tate Britains Manton Entrance. It consisted of two circuits of microphone, loudspeaker and noise gate. The microphones pick up the ambient sound of the space, acoustically focussed by the curved surfaces at each side of the entrance area and build it up to the point of feedback. This sound is cut off by the noise gate when a certain volume is reached allowing the listener to become part of the process. Although Cunningham has initiated this process, he has little control over its outcome. He provides the conditions and the equipment but it is the presence of people moving through the space which moves the air and alters the characteristics of the sound. Over December 2002 and January 2003 a public installation work was created specifically for the Atterbury Street Manton Entrance of Tate Britain. There are two alcoves built out of the stone wall at each side of the entrance area which I have amplified to act something like parabolic reflectors, creating a narrow focussed zone across the entrance where the sound of the space becomes hyper-real. The development of this installation had to cope with a much less controlled situation than previous work, high levels of background noise and large numbers of visitors, plus the exposure of microphones to extremes of temperature and humidity. ‘A position between two curves’ specifically employs the innovation of a tuned double system - equivalent to two independent installations of the basic technology used in The Listening Room. This double system is designed so that the electronic part of the chain is independent but the acoustic part of the chain is interdependent - the two systems hear and react to each other. - 2003 England audio/Cunningham-2003-position.mp3 video/Cunningham-2003-position2.mpg 131 David Cunningham 1954 1854 images/works/Cunningham-2003-position.jpg A position between two curves This work could be heard in the alcoves of Tate Britains Manton Entrance. It consisted of two circuits of microphone, loudspeaker and noise gate. The microphones pick up the ambient sound of the space, acoustically focussed by the curved surfaces at each side of the entrance area and build it up to the point of feedback. This sound is cut off by the noise gate when a certain volume is reached allowing the listener to become part of the process. Although Cunningham has initiated this process, he has little control over its outcome. He provides the conditions and the equipment but it is the presence of people moving through the space which moves the air and alters the characteristics of the sound. Over December 2002 and January 2003 a public installation work was created specifically for the Atterbury Street Manton Entrance of Tate Britain. There are two alcoves built out of the stone wall at each side of the entrance area which I have amplified to act something like parabolic reflectors, creating a narrow focussed zone across the entrance where the sound of the space becomes hyper-real. The development of this installation had to cope with a much less controlled situation than previous work, high levels of background noise and large numbers of visitors, plus the exposure of microphones to extremes of temperature and humidity. ‘A position between two curves’ specifically employs the innovation of a tuned double system - equivalent to two independent installations of the basic technology used in The Listening Room. This double system is designed so that the electronic part of the chain is independent but the acoustic part of the chain is interdependent - the two systems hear and react to each other. - 2003 England audio/Cunningham-2003-position.mp3 video/Cunningham-2003-position3.mpg 131 David Cunningham 1954 1847 images/works/Cuningham-2005-listeningroom.jpg The Listening Room What happens when you magnify the sound of a room? This installation amplifies the sound of the room in real time, introducing low-volume feedback. All surfaces - walls, floor and ceiling - reflect sound. The relationship of these reflections produces resonant frequencies, which are the notes at which the amplification will produce feedback. Other sounds and the presence of the spectator interfere with these reflections, shifting the feedback notes. part of Architecture Week. This version of The Listening Room is minimal, one microphone and two loudspeakers in the Reading Room of Camden Arts Centre, a relatively small space for this work. The Reading Room is the former entrance to the building, this entrance has been bricked over to create three highly reflective wall surfaces in the room. The room resonance is so pronounced that my usual placement of microphone and speakers would tend to fix on one pitch and stay there - to introduce more of the available frequencies from the space I left the Reading Room table in the space to allow an additional reflective element and used an asymmetric placement of loudspeakers, one at the side and one under the table. The Listening Room allows the resonant frequencies of the room to become audible. This process is modulated by very slight acoustic changes as people move around the room, by ambient sound, by humidity, by anything that causes air to move. The presence of the spectator integrates the object of the work with its subject. The primary function of the noise gate is to govern the amplitude of the feedback which would otherwise rise exponentially. A secondary function is that the system will respond to loud noises within the space by shutting itself down, exposing the spectator to the unaltered sound of the space they are in. This is not as simplistic as it may appear - the difference or absence creates an observational opportunity at a moment where the listener is prepared. Sculpture? The work could be considered to be a sculpture in the sense that there is a consistent structure which is moderated by conditions of the space, just like a sculpture catching different patterns of light at different times of day or in differing locations. However, The Listening Room has a musical function and unlike much other time-based work is responsive to musicological analysis. It creates a slowly shifting series of chords based on a fundamental which is always a resonant frequency or a harmonic of the room modulated as described above. Music? I realised when I did The Listening Room that theres a connection with the first record of mine that most people know about - Money by The Flying Lizards (Virgin Records 1979) was renowned for its (then) extraordinary drum sound. The drumkit was in a big reverberant room with concrete wall and my microphone cable was a bit short so I recorded the drum with the microphone four or five metres away. You re not hearing the drum on the record, you re hearing the drum in that acoustically very complex space and all the air in the room. Later, working with orchestras in a couple of particularly nice sounding studios (the old Pye/PRT studio 1 or Abbey Road 2), I became very interested in using what I like to describe as the air moving around in the room by pulling the microphones back from the instruments. The obvious next step - what happens when you take away the instruments and just listen to the room? Elsewhere is a music industry devoted to replay, to the iconification and fossilizing of the recorded moment, mostly responding to purely financial imperatives. Metaphor? There is no metaphor within the work. My approach to this work has been essentially experimental, to initiate a process and let it flow, the nature of the process thereafter determining the structure of the work. This involves consideration of the structure of the work: which elements are prescribed, which are variables, how these variables will interact and feed back into the main consideration, which is that the work is a situation which organises itself dependent on its own structural organisation. With this work it is important to maintain the scale, volume and complexity at a level which creates a coherent individual experience. For myself the most important quality is that it is a situation which is physically referential both to external contexts and to its own structure. Technical: The installation consists of a microphone connected to a noise gate, amplifier and speakers in a highly reverberant room. The system is arranged in such a way that when the microphone and loudspeaker begin to feed back the amplitude of the sound causes the noise gate to cut off the signal. The feedback notes resonate through the space accentuated by the long reverberation time of the room. As the sound falls below the threshold of the noise gate the system switches back on and the process continues. The available pitches of the sound are primarily determined by the distance between the wall, floor and ceiling surfaces in the space, and by the location of the system; by the time it takes a sound to travel and be reflected in three dimensions, not a simple equation. - 2005 England audio/Cunningham-2005-listeningroom.mp3 131 David Cunningham 1954 1846 images/works/Cunningham-2006-piano.jpg A piano in a gallery A piano sits in the middle of an empty gallery. All the sound in the room is amplified and the sound passed through loudspeakers which resonate over the piano strings which vibrate into the room in a continuous cyclical process. This situation is the inverse of a piano amplified. The piano, instrument, conduit and sculpture. The work, pared down and minimal, continuous and evolving. An aesthetic encompassing a reductive gesturality, part Dada, part Bauhaus and part Fluxus, David Cunningham’s installations are all part of one continuous body of work exploring acoustics and subtle sonic dynamics in different locations with changing materials and changing dynamics. This body of work responds acoustically not only to the space but also to the physical presence of its audience, integrating the object of the work with its subject. This self referentiality is central to one of Cunningham’s basic principles - sound isnt used to illustrate an idea, it is the idea in itself. The installations reveal the legacy of Fluxus, the often minimalist exploration of scientific, philosophical, sociological, or other extra-artistic ideas, in this case fused with the sensibility of John Cages use of silence as a compositional tool. Cages renowned work 4 33, (four minutes and 33 seconds of silence) shifts the focus of the audience to their immediate situation, to the ambient sound around them. Cunningham structures that ambience through subtle amplification, by placing microphones and loudspeakers in the gallery.This isolating of sound and its magnification back to us makes us aware of the complexities of our presence in any place we are situated. it is this complexity brought out by subtlety that makes for meaningful and potent art. Being able to explore greater issues through tiny subtleties and an economy of means gives a greater understanding of our place and effect in our environment. This work responds acoustically not only to the proportions and dimensions of the space but also to the physical presence of its audience, integrating the object of the work with its subject. This self referentiality is central to the installation - sound isn t used to illustrate an idea, it is the idea in itself. The work isolates and makes audible the movement of air within a given space, something invisible and so quiet we are normally oblivious to it. Installation Diary 4 August 2006: Nothing much appears to happen in London s art world in July and August. Important (and equally important but less rich) people go on holiday. The rest of us just hang around and read books or get some work done, sensibly thinking it s great, it s quiet and it s warm for a change, why go away now? . Most exhibitions have openings and then trickle out. Some, notably the Tate, often have a last minute rush. This one has had a regular trickle of visitors, hence a Closing view (as opposed to or more properly conjugant with an Opening). I did this last year at Camden and it seems like a good idea. Lots of people who hadn t seen it before and a few generously returning. Although the installation has been stable over the last month the balance had shifted this afternoon, the low note tending to get lost for some mysterious reason. A last minute adjustment before people started arriving. A lot of people seem to want to know how it works. It follows the same principle as The Listening Room and more technical stuff is posted at the Technology link at the top of this page. But Why? is more interesting than How? 2 July 2006: A bright sunny afternoon and evening for the opening of the work to public scrutiny. 1 July 2006: This is one of the most difficult installations I ve made since The Listening Room, ICC, although the work itself and some of the reasons are different. The relatively long process of installing presents a major demand on any curator. The space is relatively small, which means that any physical changes to the feedback environment are magnified; for instance a bag left in a corner has an effect on the reflective acoustic out of all proportion to the visible. So over the last week a fair amout of fine-tuning every day. Jamie in his curatorial role has indulged this although he revealed tonight that he thought I was just fiddling around. An afternoon of running the installation for more fine-tuning left me feeling slightly deaf to the general sound of the installation so I went to join Jamie, Tomoko and Mina who had been watching football in a bar. I thought it would all be over but the football seemed to be going on. The lovely bit was that the bar is Portugese and when their national team won the general sense of happiness and friendship stretched far beyond any national boundary. Which it does every day in that place. We were wondering what it would have been like in an English equivalent - angst-ridden whinging, very drunk people and maybe a fight. Back to the gallery and where is that water coming from? Through the wall. A major flood next door - nobody in - panic, phoning around, shutting off the water and power and a bit of clearing out. A sort of baptism of the work prior to the opening tomorrow. 30 June 2006: Fine-tuning, cleaning and fixing cables in position. 29 June 2006: The floor is painted, the mics are in position and the consequent disruption to settings from equipment being moved (plus a change of one loudspeaker - an attempt to get the sound closer to the piano strings) has forced me to reset the balance producing a definite improvement on the earlier part of the week. This is because I'm dealing with fewer variables - microphone positions are established as workable so I'm concentrating on fine tuning the balance of what is essentially two electronic systems in the same acoustic situation. 27 June 2006: The high sound is still less interesting, perhaps it is constantly ringing one note on the piano which reinforces that pitch in the feedback. I have solutions which will have to wait until the floor is painted and the gallery cleaned out. 26 June 2006: More moving around of microphones. This installation uses the piano as a resonating object in the middle of a resonating room so the basic but complex equation of room reflections, floor, ceiling, walls is made even more complex by the shape of the piano and the sympathetic resonances induced in the strings. A few hours work today seems to have produced a coherent balance of the elements involved and seems more stable than previous attempts. On Thursday (22 June) I wrote: The room is part of the equation of the system of resonance but unlike The Listening Room and most of the other installations, this is not the main focus of the process. Which begs the question - what is the focus? I'm not entirely sure. As spectator (or participant) of an artwork I should be looking for something I don't understand, something beyond my expectation. Sometimes it's so weirdly structured that I don't see it for years. It comes down to observation - ways of looking at the world. Observation is the responsibility of the spectator as well as the artist. 25 June 2006: I realised today that this situation is the inverse of a piano amplified, the speakers are in the piano and the microphones are in the room. This is a curious incidental aspect of the work which has nothing obvious to do with the way I was thinking about the installation. Maybe it is significant. It will certainly be significant to some people. More moving around of microphones. The doors are open, birdsong in the background. 23 June 2006: Installation continues at Carter Presents. My intention today was to experiment with microphone positions but instead the whole day was taken up with shopping for materials and talking to curator Jamie about the text of the statement he is writing about the work. His press releases are mini-essays. We are trying to identify some sort of meaningful and relevant historical context. Discussion ranges from Cage to Fluxus to On Kawara, Beuys and beyond. 22 June 2006: Installation begins at Carter Presents... Shane and Will arrive to move the piano. By about 3pm the work is roughly assembled and beginning to make sound. The strings of the piano are resonating sympathetically with the feedback frequencies, very subtle. Not having had the opportunity to test this work I'm curious to how it will behave. The room is part of the equation of the system of resonance but unlike The Listening Room and most of the other installations, this is not the main focus of the process. Accessed 8.11.06 from - 2006 England audio/Cunningham-2006-piano(workin_progress).mp3 video/Cunningham-2006-piano.mpg 41 Peter Cusack 1954 680 images/works/Cusack_and_Eastley-2000-Day.jpg Day For Night Over the last 25 years Cusack and Eastley have been gradually adding episodes to the collection of compositions that make up this CD. The foundation of this work consists of location recordings layered with the live or recycled sounds of Eastleys kinetic sculpture. Perhaps whats most impressive about Day For Night is that nothing is overdone; the pieces sound spontaneous, their simplicity is beguiling. —Brian Marley, Avant This CD represents a 25-year collaboration between renowned British avant-garde improviser Peter Cusack and instrument builder and sculptor Max Eastley. Cusack and Eastley have made these short episodes together between busy careers recording experimental music alongside artists such as Nicolas Collins, Steve Beresford, and David Toop). With numerous releases on ReR and Incus, the two musicians are mainstays of the British improvised music world, and Eastley is particularly prominent for his work with Toop in the 70s on Brain Eno s Obscure label -- which debuted his self-designed electro-acoustic instruments. Said instruments are highly developed kinetic sculptures powered by a range of forces from small engines to the wind or running water. The duo creates intriguing delicate compositions with these instruments, abetted by the transformed string instruments and electronics of guitarist $Cusack, whose guitar is at times so far removed from its traditional use that it is hard to still call it a guitar. —Skip Jansen, All-Music Guide. Accessed 4.11.06 from - 2000 England audio/CusackandEastley_2000-Day_for_night_CD-tk-PeepShow.mp3 9 Max Eastley 1946 1800 images/works/Eastley-2003-interior.jpg INTERIOR LANDSCAPE Context In collaboration with Heritage Open days and the Hindu Temple and Community Association, Artists in the City, Reading commissioned musician and sound sculptor Max Eastley to create an installation for the Hindu Temple in Whitley Street, Reading. The piece celebrates the buildings rich history and its changing use by two religious communities. Built in the early twentieth century, the architectural space reflects the desire of Methodist preaching to bring together the congregation in an informal, expansive semi-circle on two levels. The original architectural elements are still in place. The floors, seating and walls have been recently refurbished and are now used as a community space by the Hindu Temple. Project Working with sound engineer Dave Hunt, Eastley used sand, stone, iron and electrical motors to generate a tapestry of sound that permeated all corners of this former Methodist chapel. A series of stones were placed in a circle on a bed of sand and gently brushed by a central rotating metal arm. Varying sounds were produced by the contact of metal on stone. Each stone was fitted with a contact microphone and the signals picked up were sent to loudspeakers through an Ambisonic surround matrix thereby enlarging the aural dimension of the stone circle. Three independent cycling rates: the circular motion of the sculpture, the amount of amplification and the amount of reverberation combined to create a continually shifting aural perspective of the sculpture and the space containing it. Accessed 7.11.06 from sound, sand, stone 2003 England audio/Eastley-2003-interior.mp3 135 Patrick McGinley 1976 1680 images/spacer.jpg eyes like a fish part 1:3 This piece was completed in early 2000 using field recordings taken throughout the previous year, including londons millennium new years eve celebrations. its composition came about with the desire to do all of the things that i hadnt previously allowed myself to do: allow sounds to be recognizable and retain their context, use musical instruments, allow a greater harshness; i wanted to break the guidelines i d set for myself in recording earlier pieces. the decontextualization of sound especially had been very important to me, in order to allow a truly unbiased hearing, but here i found myself with source recordings that wouldn t hide their origins: fireworks, water, insects, bells; their voices dictated the structure of this composition. track info: o part 1:1 (07:48): beer cooler o part 1:2 (05:12): new year s eve celebration, 2000 o part 1:3 (10:35): escalator at pimlico tube station, tin whistle, sugar bowl, power lines, airplane (from within) o part 2:1 (03:21): skipping hardcore cd, wasp o part 2:2 (05:11): a walk in chaillac, france, and it s insects o part 2:3 (12:38): stream and church bells in zennor, cornwall composed, with source taken throughout 1999, in january 2000 using minidisc, stereo microphone, analogue 4-track, reverb, distortion and delay _reviews “.Murmer aka Patrick McGinley is a guy with a microphone, walking around the house or outside to tape the fascinations of everyday life. After he stucks his sounds on his four track and plays around with reverb, delay and distortion. For instance for this release he taped a beer cooler, fireworks, escalator, skipping hardcore CD, wasp, insects, airplanes and church bells, to name but a few of his sources. This release reflects some of his early works, dating from 1999 and 2000. His treatments to his source material are mild. The fireworks on new years eve are still fireworks. For the more abstract sounding material it s hard to figure what it is, but it s good to see it listed on the cover (and maybe in some cases even inspiring to get your own microphone hooked up). Some of the ideas on this release are a bit naive (like recording fireworks) or even out of place, such as fourth track with it s skipping hardcore cd. But the third piece, with it s lengthty combination of various sound sources in a darker moody atmosphere makes it up a lot, I think. .Murmer s recent works may sound more refined, but this early work is maybe because of it s raw and pure nature, also a good start.” frans de waard - vital weekly #358. Accessed 5.11.06 from - 2002 England audio/McGinley-2002-eyeslikefish-part1-3.mp3 135 Patrick McGinley 1976 1681 images/spacer.jpg rumer (excerpt) the source recordings for .murmer were all taken during my first six months as a resident of the city of london. hence they document my exploration and discovery of a new home, as well as of a new medium. i purchased my first recorder and microphone upon arrival here, and began exploring their possibilities alongside exploring the city. however, these sounds are not a portrait of a location; i made no attempt to map a geography. they are more personal. many originate from within my private space (the refrigerator and grill provided in a bedsit; the wind through an apartment window) and all are tied strongly to my personal movements (the air vent on my local bus, the heater in my place of work). what ties them together is that they are all new sounds, for me as well as (hopefully) for my listener, that caught me unawares and demanded to be given attention. that is what i have attempted to do. track info: o .rumer (25:43): modem and telephone line o .errum (14:07): air vent on a 73 bus, malfunctioning gas heater, feedback, escalator at pimlico tube station o .meurm (11:56): refrigerator, gas grill o .rumme (6:01): unidentified tape loop, 3 182-cm. long metal pipes of varying diameters o .ummer (1:16): modem and telephone line o .mmeru (11:17): air vent in a red austin mini, wind whistling through a 3rd storey window, air vent on a 73 bus all compositions and source recordings made between january and june 1999 using minidisc, stereo microphone, analogue 4-track, reverb, distortion, and digital and analogue tape delay unidentified tape loop constructed by simon f. _reviews “Arriving in London a few years ago, American born Patrick McGinley began documenting the banal ambience of his immediate surrounds, be it his apartment or anonymous forms of mass transit. Wind, refrigerator hum, malfunctioning gas heaters, an air vent on the 73 bus, modern data streams and a tube station escalator make up the base material of his effective lowercase debut as Murmer. Working a simple setup of four-track recorder and delay pedals, he transforms these raw recordings into glowing compositions of delicately pulsating drones. .murmer is his introspective reconstruction of the novelty of his big city experience.” jim haynes – the wire #223 “With a minimum of sound sources, such as fans, modems, heaters and air flows, Murmer creates long, flowing ambient tracks. The atmosphere is pretty desolate, but not in an uncomfortable way: the sounds are warm and sort of close, with only a few exceptions. There is no hurry getting through the tracks, they take their time and thats okay. It reinforces the dreamy nature of the work. However, this is not background music. All tracks are built up with subtlety and use the minimal material to its fullest extent. A very nice album indeed.” roel meelkop - vital weekly #323 “Another musician using unusual sounds, Murmer collects what could be described a sonic detritus the sounds listed as sources include a modem, air vent on a 73 bus, escalator at Pimlico station, refrigerator, long metal pipes, air vent on a red mini and wind whistling through a 3rd storey window (these have been associated with particular track, but I will just refer to the sounds as heard). .rumer is 25 minutes of tones drones and crackles: long rising and falling tones emerge from the silence, whips and rumbles provide highlights; becoming more active calls shuffling and drones phase and change with a harmonium like pulsing; tonepulse loops cycle out and in phase gradually gaining density, while a high ringing develops and long swinging pulses take the foreground; a drop to a ringling that develops into a high tone, clickcrackle noises emerge and fade into a bagpipe-ish cycling and buzz pulse crackle builds to a climax before a fading tone end. After that tone driven track, .errum has a strong mechanical rhythm with pulsey noises clatters and hints of music: then a soft pulsing with plosive noises over, high ringing and a Tuvanic drone creating a very visceral density, building a head of steam to a rumble clatter and fade. In .meurum a hiss and growing sine tone create undertones, overtones and interference patterns within the listening , wavering and gulping (is it auditory illusion?). The puttering increases, banging come to the foreground, the tone retakes it a clattering, and again a fade. Percussive affects in .rumme looping, changing speed, puttering, shifting through the soundspace, some tones, all very resonant and moody, with a clanging and little notes appearing in the second half. A minute or so of loud pulsating metallic layers in .ummer ( .rumme is the second shortest at 6 minutes, the others are all around 11-14 minutes). So finally .mmeru with a wooshy vent-noise fluttering high and whistly tones, dropping to a pulsating whistle rumble that rebuilds to a mechanical whistle and click, fading and rebuilding again. Mechanical minimalism, a exciting venture into a cross ambient-electronica-noise area. An excursion worth exploring, and another success for Staalplaat s Bake venture that offers wider distribution for self-produced material.” jeremy keens - ampersandetc. 2002_09. Accessed 5.11.06 from - 2002 England audio/McGinley-2002-rumer.mp3 135 Patrick McGinley 1976 1679 images/spacer.jpg oracle extended (excerpt) the three pieces on definition were recorded independently in the same year as eyes like a fish (oracle extended before, the other two after). only later did I decide to try to release them on one cd. each of these pieces was created around one specific recording (simon’s f.’s loop, the bicycle wheel, and my old freezer); other elements were added to serve them. with definition I decided to let the sounds truly take as much time as they wanted, and to create fields without necessarily progressing linearly (its perhaps my theatre background that often leads me to a progressive compositional style). in this way i hoped the listener would become familiar and comfortable with the details of the sounds; to be with them long enough to surpass their first impressions and arrive at a fuller experience of them. track info: o oracle extended (21:17): synth loop, trumpet, water bottle, feedback o spoke speak (16:37): bicycle wheel o liquid solid (21:08): freezer, rain, fluorescent lighting, airplane landing gear, shop alarm all compositions and source recordings made in 2000 using minidisc, stereo microphone, analogue 4-track, reverb, distortion and delay synth loop constructed by simon f. Accessed 5.11.06 from - 2003 England audio/McGinley-2003-oracleextended.mp3 135 Patrick McGinley 1976 1678 images/spacer.jpg elements elements: elements was released by ground fault as a limited edition 3 cdr included with the first fifty copies of they were dreaming they were stones, making use of all the sound elements from k.a. that were not represented on the full length cd it accompanies. this is not a performance document; the sounds are completely restructured, as the ties to the visual elements with in the performance are obviously not present. the development, culminating with the grating of a coiled metal wire, follows the slow advance of a storm, finally exploding and abating in the final moments. track info: o elements (20:36): crickets, rocks, turkish football victory celebrations, road noise and bicycle vibrations from inside a bicycle bell, a coiled metal wire all source recordings made between 1999 and 2003 composed 2003 using minidisc, 8-track and effects. Accessed 5.11.06 from - 2004 England audio/McGinley-2004-elements.mp3 135 Patrick McGinley 1976 1677 images/spacer.jpg they were dreaming they were stones This piece was composed very slowly over the course of 2 years; part one came first - inspired by the hypnotic rhythm of the ancient gas meter in my basement - and was then left alone for about a year. finally, with a desire to reuse some old telephone feedback recordings that had been made for a composition that I hadnt been happy with, the prologue came into existence, and then, much later, the longer conglomeration of parts two, three and four. i mastered these as a single track as, while they are three distinct parts, they do not have distinct transitions, blending slowly from one into the next. the piece shares many of its elements with the live soundtrack to the show K.A.., which I have been performing over the past year (2003) with the french performance company urba. the earlier parts were completed when rehearsals began, and were integrated into the show, and much of the latter work came directly out of the rehearsal process. track info: o prologue (06:42): car seat massager, telephones, the brooklyn bridge o part one (11:39): gas meter, feedback, car seat massager o parts two: hewitts cove marina, elevator shaft o three: ringtone o and four (43:03): airplane cabin, turkish football victory celebrations, 600 gallon galvanized steel water tank all source recordings made between 1999 and 2003 composed 2002/2003 using minidisc, 8-track and effects. Accessed 5.11.06 from - 2004 England audio/McGinley-2004-stones-pt1.mp3 135 Patrick McGinley 1976 1684 images/spacer.jpg untitled (william english) Accessed 5.1..06 from - 2003 England audio/McGinley-xxxx-english.mp3 135 Patrick McGinley 1976 1682 images/spacer.jpg framework 1 framework has been on the air since june, 2002, featuring regular editions of new and old field recordings and field recording based composition, live on-air performances, and special editions such as framework:focus, which features the work of a single artist, project or theme in a continuous hour-long soundscape, and framework:afield, a series of programs curated and produced by guest artists from around the world.Accessed 5.1..06 from - 2002 England audio/McGinley-xxxx-framework1.mp3 135 Patrick McGinley 1976 1686 images/spacer.jpg binaural haircut, london, 10.2003 Accessed 5.1..06 from phonography 2003 England audio/McGinley-xxxx-haircut.mp3 135 Patrick McGinley 1976 1683 images/spacer.jpg the garden Accessed 5.1..06 from - 2002 England audio/McGinley-xxxx-thegarden.mp3 135 Patrick McGinley 1976 1685 images/spacer.jpg wind and sand, portugal, 07.2004 Accessed 5.1..06 from phonography 2004 England audio/McGinley-xxxx-windandsand.mp3 93 David Lee Myers 1949 1793 images/works/Myers-2000-Pond.jpg Pond with Tod Dockstader. This CD brings together the reclusive electroacoustic analogue pioneer Dockstader and the younger digital manipulator Myers (who has also remained solitary and relentlessly non-commercial throughout his own career, first as Arcane Device and more recently under his own name). Its entirely to the listeners benefit that these two esoteric sound artists seem to have gotten on quite splendidly, with Dockstader cheerfully acknowledging that his painstaking experiments with tape splicing in the 1950s and 1960s were tedious, time-consuming and not necessarily the only (or even best) means to an end. In fact, Dockstader had never even used computers for his sound art prior to this recording, but as a self-taught sound engineer and audio visual designer, he seems to have had little trouble recognizing the value of the tools-at-hand, after being given a helpful introduction by Myers. As the title suggests, the sound sources on this CD are the frogs and insects of a pond/lake environment, captured by the two skulking artists in the dead of night using portable recording equipment. In the liner notes Dockstader even mentions a visit from the police one evening after a homeowner reported a lurking presence amongst her garden shrubs. (Such are the perils of the dedicated sound artist.) Having amassed an impressive collection of natural sounds, Dockstader and Myers then proceeded to process them almost (but not quite) out of recognition, giving them a glossy electronic sheen and mutating more than a few of them into electronic whales, or wolves or creatures that defy any kind of mental reconstruction on the listeners part. The mind simply wont (or cant) go there. And the two sound artists also shape the thirteen very distinct pieces on the CD into tantalizing patterns that hover between human intent and the random rhythms of nature. (Only on the final section of one piece, Glotalk, does the music briefly take on a pounding minimalist quality akin to Steve Reich.) It s a rich tapestry indeed, and one that often defies categorization. Initially, most listeners will regard the obviously electronic sounds as attempted approximations of the natural sound environment. But then along comes a texture, timbre or pattern that is simply too frog-like or insect-like (or something-like) to be dismissed as a mere electronic simulacrum. At some point, the attentive listener will begin to realize that art is not really imitating life here, but rather, enhancing and recalibrating it. At times, the ebb and flow of the sounds and the use of stereo panning immerses the listener totally, as if the sounds of the pond had become the pond itself. Sounds are piled on top of one another into choruses. Figure and ground exchange places. Counterpoint and repetition of motifs provide cohesiveness and musical logic. The effect is sometimes almost orchestral and sometimes like electronic jazz, with enhanced frogs and insects riffing on chord changes and rhythmic patterns. Myers and Dockstader have succeeded in creating a mysterious and occasionally mind-bending universe of sound which displays an awesome degree of depth and complexity. This recording certainly places them in the upper echelon of electroacoustical practitioners. Reviewer: Bill Tilland . Accessed 7.11.06 from check released date 2000 England audio/Myers-2000-pond-Crepitata.mp3 93 David Lee Myers 1949 1793 images/works/Myers-2000-Pond.jpg Pond with Tod Dockstader. This CD brings together the reclusive electroacoustic analogue pioneer Dockstader and the younger digital manipulator Myers (who has also remained solitary and relentlessly non-commercial throughout his own career, first as Arcane Device and more recently under his own name). Its entirely to the listeners benefit that these two esoteric sound artists seem to have gotten on quite splendidly, with Dockstader cheerfully acknowledging that his painstaking experiments with tape splicing in the 1950s and 1960s were tedious, time-consuming and not necessarily the only (or even best) means to an end. In fact, Dockstader had never even used computers for his sound art prior to this recording, but as a self-taught sound engineer and audio visual designer, he seems to have had little trouble recognizing the value of the tools-at-hand, after being given a helpful introduction by Myers. As the title suggests, the sound sources on this CD are the frogs and insects of a pond/lake environment, captured by the two skulking artists in the dead of night using portable recording equipment. In the liner notes Dockstader even mentions a visit from the police one evening after a homeowner reported a lurking presence amongst her garden shrubs. (Such are the perils of the dedicated sound artist.) Having amassed an impressive collection of natural sounds, Dockstader and Myers then proceeded to process them almost (but not quite) out of recognition, giving them a glossy electronic sheen and mutating more than a few of them into electronic whales, or wolves or creatures that defy any kind of mental reconstruction on the listeners part. The mind simply wont (or cant) go there. And the two sound artists also shape the thirteen very distinct pieces on the CD into tantalizing patterns that hover between human intent and the random rhythms of nature. (Only on the final section of one piece, Glotalk, does the music briefly take on a pounding minimalist quality akin to Steve Reich.) It s a rich tapestry indeed, and one that often defies categorization. Initially, most listeners will regard the obviously electronic sounds as attempted approximations of the natural sound environment. But then along comes a texture, timbre or pattern that is simply too frog-like or insect-like (or something-like) to be dismissed as a mere electronic simulacrum. At some point, the attentive listener will begin to realize that art is not really imitating life here, but rather, enhancing and recalibrating it. At times, the ebb and flow of the sounds and the use of stereo panning immerses the listener totally, as if the sounds of the pond had become the pond itself. Sounds are piled on top of one another into choruses. Figure and ground exchange places. Counterpoint and repetition of motifs provide cohesiveness and musical logic. The effect is sometimes almost orchestral and sometimes like electronic jazz, with enhanced frogs and insects riffing on chord changes and rhythmic patterns. Myers and Dockstader have succeeded in creating a mysterious and occasionally mind-bending universe of sound which displays an awesome degree of depth and complexity. This recording certainly places them in the upper echelon of electroacoustical practitioners. Reviewer: Bill Tilland . Accessed 7.11.06 from check released date 2000 England audio/Myers-xxxx-pond-The_Cringing_Unknown.mp3 92 Gregory Whitehead 1947 1038 images/works/Whitehead-1998-bonetrade.jpg The Bone Trade imaginary conversation, 14:00, celebrity necrobilia with Walter Sculley - 1998 England audio/Whitehead-1998-The_Bone_Trade.mp3 92 Gregory Whitehead 1947 1039 images/spacer.jpg The Hidden Language of Trees imaginary conversation, 14:00, they are trying to tell us something - 1998 England audio/Whitehead-1998-The_Hidden_Language_of_Trees.mp3 96 Trevor Wishart 1946 1643 images/spacer.jpg Red Bird - 1977 England audio/wishart-1973-redbird.wav 96 Trevor Wishart 1946 1644 images/spacer.jpg Beach Singularity (recently revived, at Scarborough, for the Sonic Arts Networks Expo 669, June 2005) - 1977 England audio/Wishart-beach_singularity-1975aqualung.mp3 96 Trevor Wishart 1946 1644 images/spacer.jpg Beach Singularity (recently revived, at Scarborough, for the Sonic Arts Networks Expo 669, June 2005) - 1977 England audio/Wishart-beach_singularity-1975still_life.mp3 142 John Wynne 1965 1761 images/spacer.jpg Upcountry Upcountry began as the second in a series ofsonic portraitsof Kenyans I have met during my travels in their country. The subject is William Ingosi Mwoshi, a master musician of the Luhyia community from the region just north of Lake Victoria.Upcountry is the term used by people in Nairobi to refer to other parts of Kenya: to go upcountry is to leave Nairobi, often carrying the implication of going home . The sound sources for this piece are derived exclusively from recordings of Ingosi I made while visiting his home in the remote village of Kamulembe and walking with him around the vicinity and in Kakamega rainforest. This forest is where Luhyia musicians and instrument makers traditionally obtained the raw materials for their instruments and was a rich source of raw materials for my piece. These sonic sources have been manipulated via computer to create a piece which moves from documentary to rhythmic abstraction - and back - to reflect the essentially social aspects of Ingosi s life and work and to draw on the rhythmic complexity of his music and his environment, but very much filtered through my own compositional outlook and methods. - 1999 England audio/Wynne-1999-Upcountry.mp3 122 Throbbing Gristle 1976 2450 images/spacer.jpg Live - Winchester Art School - 1977 England audio/throbbing_gristle-1977_winchester_art_school_a.mp3 122 Throbbing Gristle 1976 2451 images/spacer.jpg Live - Goldsmiths College - 1980 England audio/throbbing_gristle-1980_goldsmiths_college_a.mp3 29 Christina Kubisch 1948 283 images/works/Kubisch-1999-Oase.jpg Oase 2000 1999 England audio/Kubisch-2000-_Oase_2000.mp3 28 Philip Jeck 1952 206 images/spacer.jpg Off the Record Installation and performance with 72 record players. Multiple record players, vinyl 2000 England audio/Jeck_2000-Off_The_Record.mp3 54 David Toop 1949 930 images/works/Toop-2003-Black.gif Black Chamber The Black Chamber (kurodo) is a room where the emperor from Komatsu after his accession to the throne always cooked for himself, still remembering how in the past, when he was a private person, he had dabbled in cookery. They say it is called the Black Chamber because it has become sooty from kindling smoke. Essays In Idleness: The Tsurezuregusa of Kenko (c. 1330-1332) Recorded, played and produced by David Toop† at the mythic The Bathosphere in autumn 2002, this record is† an important landmark in his work because its an accomplishement and a synthesis of many preoccupations from his whole artistic live. Presents in these sessions : Tom Recchion, Terry Day (Alterartion), Paul Burwell, Watanabe,† Lol Coxhill.... many of these musicians were the main protagonists of the London improvisation scene in the seventies. It included too some surprising field recordings in China and in his own garden in London ! The tonality, the general key, is very diverse with something japanese in the air, an important part of real instruments on a complexe electronic organization. Soft Cavities, Raw Mouth Shape, The Slapping Gun and Plume (inspired by the belgian Henri Michaux) are successful mix up of electronic devices and Coxhill s sax improvistions. Waxed Skin† and Poison Incense are very delicate micro-sound excercices (including time to time some acoustic instruments). Apartment Thunder and Ill-Faced Doll are a short erotic japanese movies. Silver Birds and Life In the Folds are field recordings in China and to be true it s hard to admit that Gored Fig Sacs was recorded in his own garden ! (but it is…). The very soft Blind Eel Priestess involved electronics and beautiful electric guitars. At least, Black Chamber is an amazing lynchian piece with his compelling part of guitar arpeggio. a splendor. Accessed 12.12.06 from - 2003 England audio/Toop-02-waxed_skin.wav 38 Joe Banks 1974 1418 images/spacer.jpg National Grid No 5608 Sonic Boom, Joe Banks, Mount Vernon Arts Lab, Project Dark - 2000 England audio/Banks-Disinformation-2000-National Grid.wav 19 Janet Cardiff and George Bures Miller 1957 855 images/works/Cardiff-1999-MIssing.jpg The Missing Voice (Case Study B) is one of a series of audio walks scripted by Cardiff in response to a particular location. These site-specific sound works take the listener on a physical and psychological journey. They combine unexpected new perspectives on everyday surroundings with disturbing flashbacks in a process which mirrors consciousness itself. Leave the Gallery and enter the peeling splendour of the Whitechapel Library. The story ends forty minutes later at Liverpool Street Station having immersed the walker in the 18th century streets and histories of Londons East End, and in the memories and paranoias of a complete stranger. - 1999 England audio/Cardiff_The_Missing_Voice.wav 21 Ryoji Ikeda 1966 1139 images/works/Ikeda-1996-plus.jpg +/- - 1996 England audio/Ikeda-1996-PLusMinus-Headphonics.wav 116 Brian Eno 1948 4110 images/spacer.jpg Unfamiliar Wind (Leeks Hills) 1978 England audio/Eno-1978-UnfamiliarWind.wav 24 Vito Acconci 1940 959 images/spacer.jpg Waterways: Four Saliva Studies Waterways comprises four minimalist exercises in which Acconci explores the formal, visual and dynamic properties of a body fluid in a controlled performance situation. Using extreme close-ups and amplified sound to force the viewer into the space of his body, he experiments with his mouth as a container for saliva, holding it in as long as possible, trying to catch it in his hands. By using a bodily fluid as art-making material, Acconci pushes the anti-aesthetic of body art to its radical extreme. [text from electronic arts intermix catalog].[sonic] square curated by Christof Migone - 1971 England video/Acconci-WATERWAYS4.mpg 137 Vicki Bennet 1990 1776 images/spacer.jpg Story without End The future can be found in many places. It can be seen reflected in the eyes of those who are privileged to look at it. The narrative is from a (now) public domain film of the same name made in 1950, about the development of microwave radio transmission and the transistor. What is lovely about viewing this now is the timelessness of the message contained within; the will to find newer, faster ways to communicate. In my view of the future the novelty will wear off. The instrument will grow light, convenient, and familiar to every hand. With promises of faster connectivity resulting in better productivity and ultimate happiness, aspirations havent changed that much - just the method by which people try and achieve this goal. In the laboratories the men who develop new equipment and the men who have to build it are always at work. Not only improving what has been developed, but creating new things as well. In amongst change there are always the very basic fundamental things that make up what it is to be human, the hope to be less isolated and to feel and do more. However, the more we surround ourselves with objects that plug us in, the more we can become disconnected. The tower looms further into the sky but the foundation needs to remain still and intact. There isnt a single message within this film, it is a collage and so by its nature can be entered into on many levels. However, to make this film today, 55 years later, the story hopefully remains relevant and positive. This film was made with footage from Prelinger Archives (, Skip Elsheimer (, and The Internet Archive ( Thanks to them for making their databases available and freeing up these wonderful resources which in many cases would have been locked away and left to rot. Only by reflection upon the past can we change the present into a better future... that s just what the film said 55 years ago too. This and also the first version of Story Without End can be downloaded at The Internet Archive - Thanks to Rick Prelinger, Skip Elsheimer, Dr. Irene Moon ( and Robert Beatty (for the cockroach footage). Commission 2005 England video/Bennet_Vicki-2005-Storywithoutend.mpg 97 Brown Sierra 1998 1446 images/works/Brown_Sierra-200x-RotatingElectro.jpg rotating electro magnetic fields Suspended from the ceiling the thin wires balance the batteries at one end which power the fans at the other, causing them to slowly rotate as they turn they pass over a guitar pickup, which buzzes each time the fan and the battery pack pass over the pick up on the floor, picking up the electro magnetic field. 4 Rotating mobile structures driven by a fan balanced by a set of 4 batteries. The piece is part of an ongoing series of installations by brownsierra into the nature of rotating sound sources. Rotating Electro Magnetic Fields utilises the electro magnetic properties of motors. The electro magnetic field is transposed through the use of coil pick-ups. Creating regular rhythms, that phase in and out of each other, the sound frequncy of the fan slowly changing depending on the speed and power in the batteries that are left to run down over the duration of the show, the piece ending when the batteries eventually run out. - 2002 England video/Brown_Sierra-rotating_electro_fields.mpg 131 David Cunningham 1954 1859 images/works/Cunningham-2003-lift.jpg Lift Corridor In contrast to the controlled more analytical installation at Ikon, Lift Corridor was developed onsite at The Mailbox, a city centre shopping and leisure complex. A system of highly controlled amplification is used to audibly enhance and extrapolate what is already there - the peculiar resonant space created by the glass and reflective walls of the corridor. One intention is to isolate and highlight singularities created by the architecture of the available space. The technology consists of a double version of the system used in The Listening Room. The two systems, electronically separate, inhabit the same acoustic space, and affect each other in ways that are not entirely predictable. The system assimilates and adapts to any sound made in the space, including sound which leaks in from elsewhere in the building. The English critic Andrew Wilson has written: There is no metaphorical dimension, Cunninghams work is a presentation of fact. He relies on isolating sonic or other sensory elements from the conditions of their sources and through subtle framing makes us aware of that which would otherwise be disregarded. This hum that surrounds our lives, by being isolated, is also magnified and the dynamism and effect of everyday actions made clear. (1) For myself the most important quality is that it is a situation which is physically referential both to external contexts and to its own structure. With this work it is important to maintain the scale, volume and complexity at a level which creates a coherent individual experience. Less is more. - 2003 England video/Cunningham-2003-lift_corridor.mpg 100 Brandon LaBelle 1969 1108 images/works/Labelle-2005-phantomres.JPEG Phantom Radio Broadcast Drawing inspiration from the collected memories received from around the globe, this broadcast incorporates the playing of speech driven by peoples stories, musicians learning fragments from songs associated with the memories, from Bob Marley to Billie Holiday, laptop manipulations excavating their granular essence, and live mixing, of song, of voice, of musical ghosts. - 2005 England video/Labelle-2005-Phantom_Music.mpg 6 Janek Schaefer 1970 30 images/works/janek_schaefer_concert_300.jpg untitled curated by The Wire we 1999 England video/Schaefer_Janek-Live_at_Interference-1999.mpg 92 Gregory Whitehead 1947 1048 images/spacer.jpg On One Lost Hair documentary performance (excerpt, 4:25) the last voyage of Horatio Nelson, duration of complete program: 14:00 - 2003 England video/Whitehead-2003-onelosthair.mpg 1 Barry Truax 1947 6 images/spacer.jpg Acoustic Communication 2001 England 6 Janek Schaefer 1970 13 images/spacer.jpg Self Storage Recorded Delivery with Artangel and Brian Eno. Piece also shown at Bandwagon Jumping.The International 3, Manchester 2002. tape 1995 England 6 Janek Schaefer 1970 14 images/spacer.jpg The Rumble Twin Turntable and On/Off LP, vinyl 2001 England 6 Janek Schaefer 1970 16 images/spacer.jpg Grooves vinyl 2002 England 6 Janek Schaefer 1970 21 images/spacer.jpg The Science of Aliens soundtrack 2005 England 6 Janek Schaefer 1970 23 images/works/janek_schaefer_concert_300.jpg untitled 2003 England 6 Janek Schaefer 1970 24 images/works/janek_schaefer_concert_300.jpg untitled 2003 England 6 Janek Schaefer 1970 31 images/works/janek_schaefer_concert_300.jpg untitled 1998 England 8 Susan Philipsz 1965 33 images/spacer.jpg The Internationale - 7 version vinyl 2002 England 8 Susan Philipsz 1965 35 images/spacer.jpg The Internationale single loudspeaker plays song every 10mins beneath underpass loudspeaker 1999 England 8 Susan Philipsz 1965 40 images/spacer.jpg Metropola singing her voice over supermarket sound system loudspeaker 1997 England 8 Susan Philipsz 1965 41 images/spacer.jpg Susan, Barbara, Joan and Sarah, A Song Apart 4 video monitors on plitchs facing each other, 4 sisters recorded seperately in their own homes singing a song from their childhood video monitors, loudspeaker 1997 England 14 Project Dark 1992 60 images/spacer.jpg unknown discs made from sandpaper, slice of wood, circular Swedish bread biscuit 2002 England 28 Philip Jeck 1952 61 images/spacer.jpg To the Bridge work from 1998 record players 2002 England 54 David Toop 1949 64 images/spacer.jpg Sonic Boom: The Art of Sound, 2000 England 15 Ros Bandt 1950 106 images/spacer.jpg Musica Viva, La Romanesca 1982 England 22 Christian Marclay 1955 133 images/spacer.jpg Untitled his flatulance recording 2002 England 26 William Furlong 1944 153 images/spacer.jpg unknown 1967 England 26 William Furlong 1944 155 images/spacer.jpg unknown 1969 England 26 William Furlong 1944 156 images/spacer.jpg Audio Arts Magazine Audio Arts began, as a magazine of a new and special kind in 1973 and was the invention of two artists,William Furlong and Barry Barker. It was made possible by the newly widening availability of a specific technology, the cassette tape. What it set out to do, and what it subsequently discovered could be done, were thus consequential upon new possibilities of sound storage and distribution. What began as a simple magazine became a work of great originality and considerable flexability, a work which continues to grow and ramify, which has extended the scope of sound within the ambit of art and amplified and augmented the discourse through which art achieves its meanings. Whilst the written word is privileged in the discourse by its relative permanence, speech itself remains a primary mode of human communication, with its own irreducable features and characteristics, and central to the living continuum of what Michael Oakeshott called the conversation of mankind Founded on cassette 1973 England 26 William Furlong 1944 157 images/spacer.jpg Academic Board with Bruce McLean 1976 England 26 William Furlong 1944 159 images/spacer.jpg Live to Air 1982 England 26 William Furlong 1944 162 images/spacer.jpg The Sculpture Show 1982 England 26 William Furlong 1944 164 images/spacer.jpg Sound/Vision 1985 England 26 William Furlong 1944 165 images/spacer.jpg 0782 272121 six works on the telephone Cassette Publication 1986 England 26 William Furlong 1944 166 images/spacer.jpg Arris Boxed cassette publication 1986 England 26 William Furlong 1944 167 images/spacer.jpg unknown 1988 England 26 William Furlong 1944 170 images/spacer.jpg Radio Garden 1990 England 26 William Furlong 1944 171 images/works/furlong_Furlong1991.jpg Radio Beyond A 12 minute sound work commisioned for live European broadcast. 1992 England 26 William Furlong 1944 172 images/spacer.jpg Documenta 9, Audio Arts, Book lauch and performance. 1992 England 26 William Furlong 1944 175 images/spacer.jpg Audio Arts: Discourse and Practice in Contemporary Art 1994 England 26 William Furlong 1944 178 images/spacer.jpg The Oily Men of Mill Dam Bank 1995 England 26 William Furlong 1944 179 images/spacer.jpg Hearing is Believing Six soundworks commissioned for Broadcast, 1995 England 26 William Furlong 1944 180 images/spacer.jpg Image, Sequence of Time a commissioned multi-media work 1996 England 26 William Furlong 1944 181 images/spacer.jpg Hearing is Believing A real-time sound work. 1996 England 26 William Furlong 1944 184 images/spacer.jpg Sound Garden Commission 1998 England 26 William Furlong 1944 185 images/spacer.jpg Sound Corridor A new commission; 1998 England 26 William Furlong 1944 186 images/spacer.jpg An Imagery or Absence 1998 England 28 Philip Jeck 1952 195 images/spacer.jpg Vinyl Requiem. With Lol Sargent. For 180 record players, 9 slide projectors and 2 16mm movie projectors. Multiple record players, vinyl 1993 England 28 Philip Jeck 1952 203 images/spacer.jpg Matrix With Vergil Sharyka and Gerd Willschuetz. For record players, guitar, computer and video projector. Multiple record players, vinyl 1999 England 28 Philip Jeck 1952 208 images/spacer.jpg Off the Record: Black and Blue Installation and performance for 60 record players. Multiple record players, vinyl 2001 England 28 Philip Jeck 1952 212 images/spacer.jpg To The Bridge II Installation with 30 record players. Multiple record players, vinyl 2002 England 28 Philip Jeck 1952 213 images/spacer.jpg Ode to Joy Collaboration with Jah Wobble Multiple record players, vinyl 2003 England 28 Philip Jeck 1952 214 images/works/Jeck-1996-Offtherecord.jpg Off The Record Multiple record players, vinyl 1996 England 29 Christina Kubisch 1948 263 images/spacer.jpg Watching out, 1994 England 30 Carsten Nicolai 1965 329 images/spacer.jpg Major Group Show 1999 England 31 Francisco Lopez 1964 376 images/spacer.jpg unknown 2005 England 35 Scanner 1964 386 images/works/scanner-1994-electronic1.jpg The Electronic Lounge A monthly club, on the first Tuesday of every month, that initiated the idea of the sociality of music and culture, encouraging conversation, creativity and friendship within the framework of club culture. Continued until 1999 1994 England 35 Scanner 1964 387 images/works/Scanner-1995-iod.jpg I/O/D Hyperactive Electronic Zine In collaboration with Simon Pope, Matthew Fuller and Graham Harwood. Technically I/O/D was a Macromedia Director Projector with associated files that was small enough to be compressed onto one High Density disk. That we choose the size to be restricted by the limitations of the most mundane and cheapest storage device was important, because it meant that I/O/D was very easy for people to copy for their friends - or surreptitiously leave on the computers of their enemies. It also meant that because of its relatively small size it was quite feasible for it to be made available over computer networks such as the internet and on Bulletin Board Services. Distribution over the networks is in fact the major way in which I/O/D was moved around. Remember this was a time when internet access was very limited in comparison to the present day. I/O/D was specifically an anti-elitist contribution to the development of the nets as a gift economy. Consequently, it was also a way of producing some effects whilst avoiding getting too enmeshed with the humourless circus of reputation and career making that the techno-theory genre was fast becoming. 1995 England 35 Scanner 1964 388 images/works/scanner-1995-grand.jpg The Grand Ceremonial Theatre production at Lyric Hammersmith London Six-O-Six TCs production was a British première of a macabre mid-60s comedy of manners from the neglected founder of the Theatre of Panic , French-domiciled, Spanish playwright Fernando Arrabal. Directed by Gordon Anderson and designed by Shane RJ Walter, who was later to develop the enormously successful OneDotZero digital arts organisation. I collaborated on developing an eerie and unsettling soundtrack to mirrow the darkly humourous script. 1995 England 35 Scanner 1964 389 images/works/scanner-1995-Transgression.jpg Transgressions Set over a weekend in London, this event presented new music, art and performance. Featuring free performances and commissions from Wishmountain, Asian Dub Foundation, Dj Spooky in his debut UK performance, U-Ziq, Pierre Bastien, Alex Reece and Frances-Marie Uitti, I presented an installation over the weekend of 11th November, using rice, light and colour. An impermanent memorial to my close friend, Lee Newman of GTO / Greater Than One, who had recently passed away. 1995 England 35 Scanner 1964 390 images/works/scanner-1995-mtv.jpg Seven Adverts across Europe I was commissioned to create the images and soundtrack for seven MTV idents to be shown on screens throughout the day and night. I was filmed scanning the airwaves, walking through Hampstead Heath listening to other peoples phone conversations, setting up scanning equipment on the roof of a central London building, set to an unsettling soundtrack composed from radio static, abstract noises and found voices. Im not sure what viewers would have made of these idents over the months. 1995 England 35 Scanner 1964 391 images/works/scanner-1996-brood.jpg The Brood Conceived by Susan Stenger especially for the South Banks American Independents Festival , this event was a gathering of mutant offspring from the worlds of rock and electronics paying homage to their common ancestors with an exceptional programme of American experimental music. The Brood featured members of Pan Sonic, Band of Susans, Elastica, Gallon Drunk, Wire, performing works by La Monte Young, Alvin Lucier, Phill Niblock, Rhys Chatham. I performed a solo version of John Cages Fontana Mix whilst the others performed a completely independent piece. 1996 England 35 Scanner 1964 393 images/works/scanner-1996-rudee.jpg Rude Mechanic Artists featured: David Cunningham, Robert Ellis, Simon Fisher Turner, Bruce Gilbert, Koan, Kaffe Matthews, Scanner, Susan Stenger, Jimi Tenor In 1996 a symbiotic relationship was set up in the public gallery space of Beaconsfield between visual artists David Crawforth and Hayley Newman and sound artists Mika Vainio and Ilpo Väisänen - Pan Sonic. All four worked daily for five weeks linked by sound inputs and outputs. The live installation featured an industrial power climber, a video oscilloscope, Pan Sonics precious sound machine, the typewriter, and the original prototype for turbosounds earth-shaking floodlight PA system. Rude mechanicals were unskilled assistants used in early medical operations who performed rudimentary tasks such as restraining and muffling un-anaesthetised patients as well as catching their dismembered body parts and fluids in buckets. Using this occupation as a motif, Crawforth and Newman inhabited and evolved the physical environment and Pan Sonic monitored the sounds of that activity, feeding in their own analogue compositions. The process was animated by the input of invited musicians and artists, each making a six hour injection into the mutating sound environment. Contributors generously became absorbed within the rude mechanic process which strove to transcend the individual. 1996 England 35 Scanner 1964 395 images/works/scanner-1997-actual.jpg Actual Factual A national touring dance programme in collaboration with dancer Laurie Booth and visual artist Tim Head. Strips of audio tape were attached to motorized steel poles that rotated causing the tape to fan out. The soundtrack used the live physical sounds of the dancers as well as live improvisation. Sculpture produced in consultation with Tom Lomax 1997 England 35 Scanner 1964 398 images/works/scanner-1997-Incarceration.jpg Incarceration Principal Artists: Luke Losey, Dorigen Hammond, Fiona Sail, Micky Mann, Laurence Windle, Scanner This collaboration grew out of a desire to combine visionary potential and combined resources in the pursuit of innovative art that is political, empowering and entertaining. Taking over a disused former London Town Hall, we set up a series of rooms and spaces that explored issues of surveillance and the sensation of confiinement. 1998 England 35 Scanner 1964 399 images/works/scanner-1998-alpha.jpg Alphaville 1998 England 35 Scanner 1964 405 images/works/scanner-1998-snow.jpg Snowglobe London listings guide Time Out invited their favourite people of the year to create Snowglobe to celebrate the Christmas Spirit, with the intention of auctioning them off for charity in the New Year. Featured Jake and Dinos Chapman, Karl Hyde of Underworld, Siouxsie Sioux, Scanner, Clements Ribeiro, Peter Stringfellow and Paul Smith. 1998 England 35 Scanner 1964 409 images/works/scanner-1999-flood.jpg Flood Participating artists: Bobby Baker, Brian Catling, Chris Dorley-Brown, Brian Eno, Tim Etchells, Ronald Fraser-Munro, Alexander Garcia Duttmann, Hugo Glendinning, Daniel Gosling, Adrian Heathfield, Emma Kay, Lois Keidan, Deborah Levy, Graeme Miller, Suzanne Moore, Kira O’Reilly, Robert Pacitti, Mike Pearson, Peggy Phelan, Meloni Poole, Gilane Tawadros, things not worth keeping, Third Angel, Ann Whitehurts For Flood I sampled faces from mass media photographs of the Millennium celebration crowd scenes so that individuals at the periphery of these events took centre stage in a visual manipulation. By using the press and media representation as a locus point, I took the public image of this grand celebration, randomly picking figures and pulling them to the surface from the flood of celebratory bodies. These ‘invisible’ elusive characters were exploded from the image, allowed to escape. A micro interpretation of a macro event. Blown up to a level where they become no longer part of a group, an imaginary tale was told, lines written exploring the dreams and aspirations of this individual. The images created were reproduced on a series of free postcards getting wide distribution, back into the public stream, in an edition of 30,000. 1999 England 35 Scanner 1964 410 images/works/scanner-1999-sound.jpg Sound Polaroids Originally an installation as part of the Imaginaria ’99 show at the ICA in London, Scanner + Tonne took the work into another live context and continue to present the work internationally. The artists invited people to suggest points of sound interest in the city of London and collated together the eclectic responses. Both images and sound were recorded at these locations and this data was then processed using software that converts the pixels of an image into sound, giving the user the ability to paint with sound and compose with light. Such a graphical approach suggested the use of digital images taken across the city as photographic sounds, or ‘sound polaroids.’ Installed in a gallery context as a dual screen and sound system work Scanner and Tonne then actively took the show on the road and created live performances following a similar system. Arriving a few days ahead of the performance they digitally record the city with sound and image, capturing a moment in time from an outsiders viewpoint. This collected data is then transformed, arranged and processed into the final presentation before the public. Every particle of sound and image that is picked up, the signs of the city, is incorporated into the show, projected around the space, generating a new scenery, formulating a new context, imaginary, evocative, yet familiar to the local audience. What they experience is another type of view: the city seen by the artists. 1999 England 35 Scanner 1964 411 images/works/scanner-1999-surface.jpg Surface Noise Commissioned to create a work around the city of London this work took a red double-decker bus as it’s focus. Making a route determined by overlaying the sheet music from London Bridge is Falling Down onto a map of London, I recorded the sounds and images at points where the notes fell on the cityscape. These co-ordinates provided the score for the piece and by using software that translated images into sound and original source recordings, I was able to mix the work live on each journey through a speaker system we installed throughout the bus, as it followed the original walk shuttling between Big Ben and St Paul’s Cathedral. Through the brief space of a bus journey the work drew upon many of our common reserves of sonic recognition, mingling the folk memory of the nursery rhyme, the background roar of traffic and the private sounds we make secure in the knowledge that no one else is listening. 1999 England 35 Scanner 1964 412 images/works/scanner-2000-Audible.jpg Audible Communities Scanner + Tonne ,CD/CD-ROM catalogue Participating artists: Adrian Ward, Tom Fleming and Chiara Grandesso, Julian Baker Audible Communities is a series of sound toy utilities that exist as stand alone applications, the interaction between sound and image being one that continues to develop, both as art toys, games, interactive environments, utilities, soundbanks on a variety of platforms. These units of interaction bring together a new relationship to the creation of music and musical instruments, the enjoyment and participation of music and audience and the relationship between music and image (usually formatted as packaged music/sound.) 2000 England 35 Scanner 1964 415 images/spacer.jpg On Broad Street Catalogue publication with CD Participating artists: Merry Alpern, Guy Bar- Amotz, Margaret Barron, Tim Brennan, John Carson, Nathan Coley, Jeffrey Dennis, Fischli and Weiss, Kane Do, Kenneth Goldsmith, Joanna Griffin, Frances Hegarty and Andrew Stones, Pierre Huyghe, Tadashi Kawamata, Tracy MacKenna and Edwin Jansen, Paul Noble, Colin Pearce, Navin Rawanchaikul, Shimabuku, George Shaw, Angel Vergara, Luca Vitone, Richard Wentworth For ‘as it is’, Scanner has composed a unique sound work comprising samples from film soundtracks. You can pick up a walkman from Ikons reception and take a circular walk taking in Brindleyplace, Broad Street and the ICC. The walk lasts about 15 minutes. Scanner has selected specific soundtracks mindful of their resonant associations in the cultural memory of different generations. Excerpts from The Pink Panther or Taxi Driver will certainly induce certain characteristics or impulses for certain ages. Soundtracks were chosen to enhance and colour the journey through the architecture of the city, colouring the imagination with a cinematic eye. 2000 England 35 Scanner 1964 416 images/works/scanner-2000-soundcurtain.jpg Sound Curtain Installed in the popular rest room area of the museum, this work explores the invisible sounds of science. With speakers embedded in the ceiling behind metal grillage this form of ‘sound curtain’ is triggered by moving past a sensor. Sound is transmitted into the space from archive of pre-recorded sounds – blood rushing through the body, liposuction, an eye laser, a hard drive parking, a mini-disc motor, mobile phone interference. The visitor is offered an insight into a renewed awareness to their environment and realise how science itself speaks in its very own language. 2000 England 35 Scanner 1964 424 images/spacer.jpg 2 Bungalow Street A model of a bungalow – a holiday home – built from acrylic sheets, plywood and rubber, was designed by Tor-Magnus acting as ‘architect’ for the ‘client’ Scanner. This collaboration was a conversation between friends, about tastes and styles, colours and materials. The final work was ambiguous and playful, with both Tor-Magnus and Scanner altering the space, offering possibilities as components of a hi-fi system, reflecting Scanner’s practise as an amplifier/transformer of found sound, or as a 1:20 architectural model. 2002 England 35 Scanner 1964 426 images/works/scanner-2002-doughnut.jpg Doughnut Doughnut is a multi screen media installation about the drawing of a perfect circle. But the creator is a driver not an artist, the canvas is asphalt and the medium is a car. Doughnut is the term used by young fast car enthusiasts to describe a circle of burnt rubber made by spinning a rear wheel drive car on the spot. It represents bravado and skill on the part of the driver who is usually part of the car cruising culture, one of Britains biggest underground movements. The installation features a soundtrack constructed from a dialogue between Stubbs and audio artist Scanner. The work has been made in collaboration with Gina Czarnecki(Editing and Audio re-mix), Scanner (music) and Bedford Community Arts who commissioned the work with funding from East England Arts. 2002 England 35 Scanner 1964 430 images/works/scanner-2002-friendscan.JPG Friendscan Scanner + Friendchip.Participating artists: Mark Dean, Lise Autogena and Joshua Portway, Tony Ward, Nina Pope and Karen Guthrie, Thompson and Craighead, James Gooding, Carbon Lodge, Chu. Inspired by a handheld computer game from the early 1970s, Simon Says, this interactive work playfully uses sound and image in unison. Simon Says was one of the first games to incorporate music as a key game element, where you would have to remember and follow an ever accelerating pattern of tones and coloured lights. Here the game remembers your body movements for you. Your route across the grid is recorded and combined with the movements of previous visitors to create sound and images. May - September 2002 England 35 Scanner 1964 433 images/works/scanner-2002-listening.jpg Listening at the Pictures Anthony Perkins meets ET; Maryiln Monroe meets the Alien – fragmented dialogue collaged against a disorientating dark canvas of sound Scanner’s new soundscape examines our relationship with the sound of the cinema and its extraordinary evocative and manipulative power. Fragments of film dialogue are set against imagined soundtracks, creating fantasy films to disturb our senses. New stories are unleashed as surreal combinations explore the infinite imaginative possibilities of worlds colliding. Playing on rotation in between the movies, the installation infiltrates the Cinema’s soundtrack. Produced in collaboration with students from Reading Music Technology Department, original music by scanner and the students is woven into the final collage, painting a delicate abstract sound backdrop, both tiny and grand, against which the film dialogue plays. Taking sound art outside the gallery, the work fills the neutral time between adverts. As popcorn is vacuumed and new audiences arrive you will have a chance to listen to - The Sixth Shining Wizard Sense, Bill and Ted’s Alien Apocalypse, A Clockwork Bladerunner and 2001: An Aladin Odyssey. 2002 England 35 Scanner 1964 437 images/works/scanner-2002-enamel.jpg Enamel Scanner and Edith Garcia.Limited edition of ceramic plates printed with found texts of mobile telephone conversations overheard on public transport. Created in collaboration with American artist Edith Garcia ...I never said that I would call you last said you would call she didnt...I cant believe that...with such a weirdo too...yeah, Im on the bus right now... 2002 England 35 Scanner 1964 440 images/works/scanner-2003-jeveux.jpg Je Veux Ask an artist what he/she wants today, and he/she will answerfreely, without any hesitation or complex. Thus 231 artists have responded to to onestar presss request by deciding, each in his/her own way, to simply say I Want. The 231 responses to I Want. have been brought together in a single book that recalls all the books already in our collection (, which grows day by day, while it also articulates the desires of the artists who make up our world. First edition of 700 copies Cover: Paperback, color, glossy finish Binding: sewn bound Process: offset-printed Interior: black-and-white Pages: 238 January 2003 2003 England 35 Scanner 1964 442 images/works/scanner-2003-warhol.jpg Warhols Surfaces Scanner takes the sound as Warhol took the soup; creating a universe where the looping everyday becomes interesting in the blurred domesticity most people see as the very essence of plain, repetitive boredom. – Touching upon the fact that it does not matter how famous or ordinary you are: A sausage is just a sausage. Or is it? I guess it’s up to each individual to choose what to make of it. –Warhol and Scanner are, it seems…, just showing us the cans / scan Mathilde Schytz Juul Andy Warhol really believed in empty spaces. He constantly explored trivial moments: zooming in on surfaces in his pictures, offering fragile parts in his films, including all the “uhms” in his writings; catching the person exactly as he is manufactured at that very moment. He especially liked boredom, repetitiveness, copies, details. Scanner has been interested in the idea of the ‘sound polaroid’ for some time, capturing the sound of a person or a place for a particular moment, trawling the hidden noise of the modern metropolis as the symbol of the place where hidden meanings and missed contacts emerge. For this CD Scanner takes interview material with Andy Warhol from the early 1970s as the starting point for a soundtrack which attempts to take something very ordinary and make it extraordinary. In answering a series of simple questions, Scanner has dug around inside the material to bring out unusual acoustical moments, expressed in Warhol’s choice of words, his breathing, his pauses between words. Dissolving the words, he tranforms the artifice of Warhol’s voice and interview technique and explores the eloquence and ominipresence of the idea of bordedom surrounding the pop artist. As Warhol himself might have said about the work, “ Gee, uhm, it’s really up ‘there’. CD release on Intermedium Records Available at 2003 England 35 Scanner 1964 446 images/works/scanner-2003-qualia.jpg Qualia A collaboration with choreographer Wayne McGregor of Random Dance with the Royal Opera House and Royal Ballet. Making his debut on the big stage is Wayne Mc-Gregor, whose ballet Qualia sets 19 dancers on a dazzle of invention and self-discovery. At moments the choreography is in danger of seeming like a box of McGregors cleverest tricks - shapeshifting moves that flash through the dancers bodies, kaleidoscopic patterns of shape and line. But there is a genuine seam of strangeness in the work and, with the help of an eerily atmospheric score by Scanner, McGregor seems to put his dancers in touch with a future the rest of us havent really glimpsed. Judith Mackrell The Guardian December 2003 Wayne McGregor s Qualia, a big event for 19 dancers, looks at first to be a cerebral affair. Taking its title from the neuroscientists term for raw sensory experience, McGregor apparently set out to create some kind of kinetic model for recent discoveries about the brain. Though on first viewing it s not clear quite how this works, it does give him a wondrously busy canvas. McGregor uses the ballet body (pointe shoes, attitudes and all) but injects electric squiggles that make it manic. Edward Watson s fabulous opening solo is beautifully controlled, but he could be holding a bare light fitting for all his ticks and judders. Armies of girls in bum-skimming mini-dresses kick and shiver and click together like, well, like synapses snapping into action in brain tissue. Scanner s electronic score (reconfigured every night) locks every sinew into its driving, seething rhythms. The combined technical challenge of spine-snapping speed, off-centre balance and kooky detail is clearly relished by every dancer. This is hot, it s on the edge, and it s just what the Royal should be doing Jenny Gilbert Independent on Sunday December 2003 2003 England 35 Scanner 1964 451 images/works/scanner-2004-belsay1.jpg Belsay Hall Shelley Fox + Scanner. Installation as part of Fashion at Belsay hall The old castle Belsay Hall with its magnificent gardens is one of English Heritages most spectacular properties. Jerwood Prize winner Shelley Fox creates distinctive fabrics and responses that offer a unique and insightful view into her world. For this commission we wanted to evoke memories of past employees and inhabitants and in some way reclaim the interior. Shelley created false walls of padded fresh white linen whilst from within this soft room can be heard fragments of stories from original staff of the Hall, drawn from the Oral History Archive. Commissioned as part of Fashion at Belsay Hall featuring works by Paul Smith, Agent Provocateur, Stella McCartney, Jean Muir and others. 2004 England 35 Scanner 1964 452 images/works/scanner-2004-golden.jpg A Golden Age As part of a weekend of performances and installations, collectively known as 6000 Chairs, A Golden Age used the history and landscape of this South East London park. Archive recordings of steam trains collaged into the landscape, accompanied by a lilting melancholic soundtrack recalled the age of steam that tranformed the face of Britain. Railways connected the world long before the Internet. We take train transportation much for granted now, as we do the Internet, but both have offered radical geographical shifts in ways of thinking and movement of information and people across the globe. ‘A Golden Age’ reflected upon aspects of our history that play a valuable role in our contemporary lives, connecting the Industrial Revolution and the Digital Revolution. 2004 England 35 Scanner 1964 458 images/works/scanner-2005-Crime-1.jpg Crime and Punishment The front page of The Sunday Times on 2 January 2005 proclaimed the UKs police and crime figures to be the worst in Europe. Streets are deemed unsafe, anti-social behaviour is rife, city centre binge drinking is discussed in Parliment and private space is now criminally protected yet often breached. CCTV systems pepper the city centre, calls for tougher punishments are heard weekly, and alternatives to prison sought. This public billboard project focused on the concept of Life imprisonment and the fact that it means different things in different places. For example, in the USA it really means life, but in Germany it can mean 15 years. It was a suggestive work about punishment and the ways in which different cultures punish. 2005 England 35 Scanner 1964 463 images/works/scanner-2005-converge1.jpg Convergence I was resident in Caernarfon North Wales for some weeks over the year as part of May You Live in Interesting Times, Cardiffs inaugural festival of creative technology, developed between bloc and Chapter. The residency programme for the festival was supported and managed by Cywaith Cymru: Artworks Wales, the national organisation for public art in Wales. I created works available via podcasts at the website which explored the use of the Welsh language within the expanse of the countryside here, asking children about using Welsh in conversation, peoples favourite words, etc. I would travel on excursions across the country with the Hysbys team to remote towns and villages and various communities. Hysbys is a partnership between the Department of Lifelong Learning , University of Wales Bangor ; BBC Wales and the Welsh Language Board. It travels around north Wales, visiting various towns, villages and communities 2005 England 35 Scanner 1964 467 images/works/scanner-2006-night.jpg Night Haunts With Sukhdev Sandhu . Artangel invited writer and historian Sukhdev Sandhu to write a nocturnal journal unfolding over the course of 2006. His postings will appear sequentially at, a microsite specially designed by Mind Unit. Sandhus forays see him prospecting in the London night with the people who drive its pulse, from the avian police to security guards, zookeepers and exorcists. Acclaimed artist and musician Scanner has collaborated with Sukhdev and Ian Budden of Mind Unit to compose and sound design the site. In the course of his Night Haunts adventures Sandhu reflects on the nature of the urban night: does the quality of night change between 1am and 4am, and between the East End and the West? Has night life been gradually corroded and colonised by light and entertainment? What are the invisible economies that pulse through the sleeping city? Does the Thames change its character at dusk? Is authentic darkness impossible? Do we need darkness? The project is also realised in print, monthly in The Daily Telegraph newspaper. 2006 England 35 Scanner 1964 468 images/works/scanner-2006-surface.jpg Passing Beneath the Surface One of a series of projects that re-imagine a City of Sunderland, in association with /sLab, is a new digital media laboratory at the University of Sunderland based within the Department of Fine Arts. This work explores the idea of place and identity of the city of Sunderland, seeking to expose a range of urban places which reflect the changing nature of the city and its environments. It will be experienced through the medium of sound, via broadband networks and Podcasts and present interviews and location recordings over a period of time that can be experienced both locally and globally. 2006 England 35 Scanner 1964 469 images/works/scanner-2006-eagle1.jpg Eagle Ward As part of the 13th-century Great Hospital, the Eagle Ward is one of Norwichs most atmospheric buildings, a place of historical of architectural interest but also invaluably a history of the people who have lived, worked and moved through the space in the passing years. This installation uses sounds and voices to re-discover something of this past. By using music that would have been heard when the Eagle Ward was still in use , as well as voices of people that have lived in the area all their lives and some who have even worked in the Ward in the past, it attempts to present a symphony of memories. Glenn Miller meets bird song, Syd Lawrence duets with Bach. 2006 England 36 Steve Roden 1964 471 images/spacer.jpg Network 1994 England 36 Steve Roden 1964 501 images/spacer.jpg unknown 1997 England 36 Steve Roden 1964 503 images/spacer.jpg Encounters in the Garden 1997 England 36 Steve Roden 1964 506 images/spacer.jpg Cloud Moving 1997 England 36 Steve Roden 1964 517 images/spacer.jpg Unfolding Resonance w/ Val Bertoia 2000 England 36 Steve Roden 1964 549 images/spacer.jpg unknown 2005 England 36 Steve Roden 1964 552 images/spacer.jpg unknown 1998 England 36 Steve Roden 1964 555 images/works/roden-2006-serpentineweb1.jpg sounding architecture in october of 2005, i was invited to create a site specific performance for the serpentine gallerys 2005 summer pavilion designed by alvaro siza, eduardo souto de mora, and cecil balmond. i was fortunate enough to share the evening with paul panhuysen - and even more fortunate to do a duet with him at the end of the evening. the performance involved several elements - the first being 30 - 40 loops created from processed field recordings sent to me by the serpentine staff (these included sounds of the pavilion being set up, eduardo souto de moras talk in the space, and other sounds of the location - i also sent a cheap microcassette recorder to alvaro sizas office, but i never received the surprise recordings i had hoped for). the second being untreated sounds of the site recorded the day of the performance (including rain on the surface of the pavilion). the third element was a series of objects brought to the site as well as found on site and the site itself (brought to the site would include my arsenal of instruments and objects for performing: a lap steel guitar, whistles, harmonicas, rocks, pine cones, etc. - found on site would include stones, leaves, wood, etc. - i placed contact mics on the pavilion). the fourth element was a series of scores prepared using the building design as a model for various paths through a child s glockenspiel. these scores were played by various people who worked at the serpentine - non musicians - who were inserted into the audience areas (i also played one myself). i added several small speakers to the space receiving audio from a separate amp, to allow for smaller sounds to exist in different locations than the sounds running through the pa system. for about 25 minutes i improvised alone with all of the elements going through contact mics, guitar pedals, etc. - and then, for the last 10 minutes, all the electronic sounds faded away and the 5 of us in various positions inside the pavilion essentially mapped the space in sound with the glockenspeils quietly ringing, each following a different score. 2004 England 38 Joe Banks 1974 583 images/works/Banks_Joe-2005-SENSE1.JPG Sense Data and Perception After a hiatus of almost 7 years, this phenomenal sound artist returns with a 27-minute EP of new sonic research recordings. The six tracks include VLF magnetic field recordings of London underground journeys, and a foray into the piano. Disinformation has been researching and documenting sonic phenomena for a decade now, capturing the sounds of atmospheric and geomagnetic disturbances with customised radio equipment. The subsequent application of a bare minimum of processing serves to clarify the basic signal rather than shape it to some artistic end, to turn it into music... What emerges is the sound of the elemental forces, waves and energy fields that surround us. Joe Banks is not an acoustic scientist, however. He is more interested in the elusive psychology of the listening experience, the way we react to the sonic data, the fascination we experience on hearing the unhearable. In fact, apart from the two tracks documenting train journeys via unmixed electromagnetic field recordings, the 27 minutes of Sense Data and Perception is a good deal more musical than might be expected. On Kwaidan deep broken drones are fringed with stuttering inteference that sounds like techno hi-hat patterns, while Doppelganger dwells meditatively on a single reverberating piano note. These pieces frame the drier, more scientific work and make for an engaging listen, but its the latter pieces that youll keep coming back to. Theyre a bit like electron microscope images - illuminating, fascinating. Keith Moline, The Wire, August 2005 2005 England 38 Joe Banks 1974 584 images/works/Banks_Joe-2006-disinfobook.jpg The Analysis of Beauty Catalogue A high-quality 48 page perfect-bound paperback book (204mmx204mm), published to coincide with The Analysis of Beauty touring exhibition. Essays and commentary by Richard Humphries and Joe Banks, plus archive photographs and artworks covering almost a decade of Disinformation output. 2005 England 38 Joe Banks 1974 585 images/spacer.jpg The Analysis of Beauty The Analysis of Beauty by Disinformation references 18th century artist William Hogarths concept of the Serpentine Line, using outputs from sine-wave generators to create patterns filmed from the screen of a laboratory oscilloscope. The Analysis of Beauty creates illusions known as the Kinetic Depth Effects illusions of 3D form emerge despite the absence of any of the perspective, precedence or parallax cues traditionally thought to control perceptions of visual depth. 2005 England 40 Zbigniew Karkowski 1958 612 images/spacer.jpg SPL with MAZK (Masami Akita and Zbigniew Karkowski) 2000 England 40 Zbigniew Karkowski 1958 613 images/spacer.jpg Disruptor (with Helmut Schaefer) 1997 England 40 Zbigniew Karkowski 1958 614 images/spacer.jpg Or some computer music (with Le Depeupleur) compilation 1997 England 40 Zbigniew Karkowski 1958 616 images/spacer.jpg Datastream (with Edwin Van Der Heide) 1997 England 40 Zbigniew Karkowski 1958 622 images/spacer.jpg Traceroute (with Sensorband and Ulf Bilting) 1998 England 46 Chris Watson 1952 663 images/spacer.jpg Life in the Undergrowth - 2005 England 46 Chris Watson 1952 664 images/spacer.jpg The Life of Birds BAFTA Award for Best Factual Sound - 1998 England 46 Chris Watson 1952 665 images/spacer.jpg The Life of Mammals - 2002 England 46 Chris Watson 1952 666 images/spacer.jpg A Swallow’s Journey Sony Radio Award Nominee - 2002 England 46 Chris Watson 1952 667 images/spacer.jpg A Small Slice of Tranquillity - 2002 England 46 Chris Watson 1952 668 images/spacer.jpg A Robin’s Tale - 2002 England 46 Chris Watson 1952 669 images/spacer.jpg The School of Sound - 2003 England 46 Chris Watson 1952 670 images/spacer.jpg Hafler Trio From 1981 - 1987 1981 England 46 Chris Watson 1952 671 images/spacer.jpg Low Pressure The remarkable thing here, in Glen Cannich, was that I could walk through the foci of these wind sounds within a few paces, as if being part of some great instrument. The blast here was so strong that it took some time to fix the microphones securely - I felt surrounded by the full force of the elements being channelled through this site, and wanted the recording to reflect the bent double posture and sheer physicality I was experiencing. I cabled back 50 or 60m to a sheltered position and managed to run the tape for almost ten minutes before the microphones were blown over. - 1996 England 46 Chris Watson 1952 672 images/spacer.jpg Hazard - Wind - 2001 England 46 Chris Watson 1952 673 images/works/Watson-2002-Land.jpg Hazard - Land 1. Substation 2. Church 3. Old Lead Mine 4. Lock 5. Windmill 6. Stile 7. Kissing Gate Chris Watson All tracks were made starting from wind recordings made by Chris Watson. Except the sounds for track 1, which were recorded by Agnieszka Lewalski. Recordings made during the Touch 2001-2002 performances in London, Glasgow, Newcastle, Montreal, Leuven and Den Haag. wind recordings 2002 England 46 Chris Watson 1952 674 images/works/watson-2003-weather.jpg Weather Report Chris Watsons third release for Touch sees him plunge into the depths of human subconciousness. Minute sounds are sometimes amplified and extended, forging a life of their own. The three tracks are audio documentaries which serve well to show what beauty our surroundings can create. Under a hazy, humid, insect-infested environment, Ol-Olool-O floats through lion grunts, boar squeals, and the sharp chattering of natives in the distance. Derived from a massive 14 hour recording session in Kenya, this opener made me sticky, hot, and uncomfortable. The persistent buzzing of mosquitoes pan from left to right, giving the feeling of sitting (and sizzling) in the middle of an exotic wildland. Ruffles from bird feathers, and bellowing of animals characterize much of the first piece. After getting all sweaty, Watson cools things off with The Lapaich, collected from sounds taken over four months spent on the Scottish highland. Here, soft droplets of river water soon morph into a raging torrent. The collage of running water and chirping birds makes for a tranquil listen, although its not as interesting as the first track. The Lapaich carries a damp and cold mood, possessing a kind of hidden intensity within. Unlike many other environmental artists, Watson feels no need to process or drastically change the original sounds of the recordings. He instead relies on the natural interactions between the weather and its inhabitants. There is an intimate prettiness to the pieces, each evolving over long stretches of time (eighteen minutes), allowing room for change and development to occur. It almost seems as if Watson deliberatly allows for events to unfold, gradually fleshing out the layers and textures to form a carefully sculpted audio journey. Despite the strengths of the first two pieces, the strongest track on Weather Report comes at the end. Vatnajokull, a slow but constantly changing affair, provides the perfect soundtrack for time. Low rumbles are heard, delicately laced over icy drones and echoes. Recorded in Iceland, Watson managed to perfectly capture the sounds of colossal glaciers shifting and gliding, creating deep and hollow reverberations. With Weather Report, Chris Watson has successfully presented an engaging sonic experience, combining numerous contrasting elements interplaying together to produce a tranquil tapestry of sound. While minimalistic at parts, most sections consist of massive layering of drones. Those expecting music in the traditional sense may be caught off guard, but I was completely blown away by this pensive, and, at times, unsettling recording. Clocking at just under an hour, Weather Report provides a perfect escape from the noise and clatter of everyday city life. [Kevin Chong] - Brainwashed - USA - 2003 England 41 Peter Cusack 1954 678 images/spacer.jpg Where is the Green Parrot release from this subtle but complex composer- performer -instrument designer. More than musical, these are dramatic constructions with environmental sound, birdsong, conversation, narrative... the guitar shop section of two small boys go shopping is a masterpiece.. A record hard to describe since it deftly side-steps all the usual categories. - 2000 England 41 Peter Cusack 1954 679 images/spacer.jpg A Host Of Golden Daffodils Documents a 1996 live performance by Peter Cusack (guitar, bouzouki, whistling) and Nicolas Collins (electronics). - 1996 England 41 Peter Cusack 1954 681 images/spacer.jpg Your Favourite London Sounds 1998-2001 this is a collection of the sounds that Londoners chose when asked for their favourite London Sound. Its a soundscape of the City that has the benefit of hundreds of ears. One should be made for every Capital. Personally I would say this is a document not to miss, bringing out so much not only about London, but also about the way that memory works and how sound can mean - 2002 England 7 Kaffe Matthews 1961 699 images/works/Matthews-2005-Bedlond.jpg Sonic Bed - London Sonic Bed is a purpose built portable venue which plays music that moves for the prone bodies of an audience, who can come lie in the bed alone or together. Sonic Bed is a sonic and social experiment exploring our perception of sound. It presents an oversized king-size bed which looks like a big wooden tank with steps to climb up to get in it. Visitors are invited to remove their shoes and come lie on and enjoy specially constructed pieces moving up and down and around their bodies. Subtle, dynamic, at times beyond hearing, Sonic Bed plays music to feel rather than just listen to. Sonic Bed is an instrument, to be played by anyone who is interested as well as commissioned composers to make pieces for it. To create this music, a specially developed software interface has been built by and is being developed in collaboration with David Muth through the Music for Bodies research. This approach allows the maker to literally draw and record sounds through the space of the speakers built into the beds frame and beneath the mattress whilst lying in it . Sonic Bed contains a 12 channel sound system meaning that 12 independent sources of sound can be playing and moving independently at any one time. Pieces for Sonic Bed are made by Kaffe Matthews in the first instance, followed by workshops to facilitate anyone interested or commissioned composers. It is intended that this will happen in 12 countries around the world, with a new localized bed being fabricated in each country using materials and craftspeople of that place. The first such version is Sonic Bed_Shanghai, launched at the Xuhui Art Museum, Shanghai April 2006 as part of the British Council Sound and the City project. Sonic Bed is a unique art work, commissioned by Electra, supported by Arts Council of England and Women in Music, conceived and directed by Kaffe Matthews 2002 and realised in November 2005. 4 x wooden side panels. 1 x flame retardant f 2005 England 22 Christian Marclay 1955 708 images/spacer.jpg Christian Marclay - 1991 England 67 Tacita Dean 1965 738 images/spacer.jpg Foley Artist Foley artists make all the human sync sound effects in films, from footsteps, body movement, falls and kisses to the picking up and putting down of crockery. Foley Artist is constructed around an imaginary cinema soundtrack. The narrative to this film, that the viewer never sees, begins with an usherette leaving the theatre she works in by the fire exit after the opening lines of the play, Henry IV Part II, and walking along the front to the pub. So much of cinema sound is constructed, and the dubbing cue sheet lightbox details what is happening in each of the eight tracks of sound that are fed to different speakers within the room. When the foley artists are working, their sounds are outlined in red crayon on the dubbing chart and their activities visible on the monitor. But when they are not and are at leisure, they become subsumed by the piece that they are unmistakably the stars of. 8 track cinema soundtrack, 16mm magnetic play 1996 England 67 Tacita Dean 1965 739 images/works/Dean_Tacita-Deft.jpg Delft Hydraulics Delft Hydraulics was filmed in De Voorst, the northerly campus site for the eponymous marine laboratory in Holland. I had been very attracted to their wave machine but had to wait a year before it was used again by two Polish scientists with a grant from the European Community. Inevitably now disused and replaced by computer technology, the wave machine had been a tool to measure the theoretical wave and its impact on a theoretical surface in order to study coastal erosion. Throughout the day, a pump sent different shaped waves along the length of the tank. I always insist this film is shown very small and at waist height. Optical Sound 1996 England 67 Tacita Dean 1965 740 images/works/Dean_Tacita-Foley_Artist.jpg Sound Mirrors 16mm black and white film with optical sound, 7 minutes Courtesy the artist, Frith Street Gallery, London and Marian Goodman Gallery, New York/Paris The sound mirrors were conceived during the First World War when the concept of an air attack became the new danger to national security. They were built between 1928 and 1930 at Denge, near Dungeness as well as at two other sites along the Kent coast, as huge listening devices designed to pick up the sound of approaching planes, but were quickly proved unreliable when they could not discriminate between a passing boat or local traffic, and were then abandoned in favour of radar. However the sound they continue to hear is extraordinary, and the soundtrack to this film is entirely recorded within the 200 ft mirror. This work was originally commissioned by Public Art Development Trust, London for Fourth Wall 1999 - 1999 England 67 Tacita Dean 1965 742 images/spacer.jpg Mosquito (Magnetic) 16mm magnetic tape is the material used to record sound when making a 16mm film. 24 of the small square sprockets that run along the bottom edge of the magnetic strip represents 24 frames of picture which is one second in time. Mosquito (Magnetic) is one of a series of magnetic pieces I have made that visually transcribes a sound in terms of its length and so physically describes the passing of time. I have also made a series of bird cries, varying from the screech of a vulture which is only a few centimetres to that of an owl which is considerably longer, and another series made from sounds of the human body where likewise a kiss is shorter than a sneeze. A mosquito, with its unremitting buzz, only stops when it has finally settled on its frustrated prey, and was inspired by my journey to find Robert Smithsons Spiral Jetty where, with the coming of dusk, the air was so thick with mosquitoes that the sound of them hitting the windscreen sounded like rain. Magnetic track and chinagraph 1997 England 67 Tacita Dean 1965 743 images/spacer.jpg Trying to Find the Spiral Jetty This sound work documents my journey to try and find Robert Smithsons Spiral Jetty (1970) following faxed directions I received from Utah Arts Council. I went with someone who had no idea what he was looking for. I never intended making a work from this trip but it was a combination of the extraordinary quality of Rozel Point and the Great Salt Lake, and the fact that I can never be sure that I found the risen or submerged jetty that inspired me to partially construct the documentation of this journey. Recordings 1997 England 69 Nigel Ayers 1980 751 images/spacer.jpg Tissue of Lies - 1981 England 69 Nigel Ayers 1980 752 images/works/Nocturnal_Emissions-1981fruitlp.gif Fruiting Body Fruiting Body is one of Nocturnal Emissions´ harshest records ever, says Nigel Ayers, whereas Tissue (Of Lies) is more dreamlike, Fruiting Body is more your power electronics. (It) contains recordings of very banal workplace conversations; and the packs of dogs that used to run wild down Lilford Road. The records called Fruiting Body because the fruiting body of a dry rot fungus was growing out of the studio wall at the time. Phase I: Smear Campaign 7 Legs Punishment Dogs Model Control Organism Infected Phase II: LD-50 Breeding Ground Routine Surveillance Excercise Animal Byproduct Manifesto Moss Side The Erasure - 1981 England 69 Nigel Ayers 1980 753 images/spacer.jpg Drowning in a Sea of Bliss anthems of the meat generation Side One: Norepinephrine How Groovy You Were Hardcore Gloppetta Tongues Speak Want To Die Smoking Rat Machine Wrongly Wired Violence is Love Shant Do That Side Two: Herpes Virus Total State Demon Circuits Bloodbath Peace Through Strength Mechanical Induction Home Video Warhead Education For Consumption - 1983 England 69 Nigel Ayers 1980 754 images/works/Nocturnal_Emissions-1983-befehslp.gif Befehlsnotstand Segued Side: Thorn Doors Meaning of Life RTZ Genocide Bite them Back Cute Toy Beagle Spliced Side: Befehlsnotstand Are You Feeling Rabbits Dont Cry More Mumbo Jumbo (From the Lie Factory) - 1983 England 69 Nigel Ayers 1980 755 images/works/Nocturnal_Emissions-1983-chaoslp.gif Chaos (live) Recorded live at Ritzy Cinema, Brixton, Election Night 9 June 1983. - 1983 England 69 Nigel Ayers 1980 756 images/works/Nocturnal_Emissions-1984-shakelp.gif Shake Those Chains Rattle Those Cages Side B recorded live at the Ambulance Station, London 24 November 1984 - 1984 England 69 Nigel Ayers 1980 757 images/works/Nocturnal_Emissions-1984-nosaclp.gif No Sacrifice Side 1 No sacrifice Kween Save Thy Bog Side 2 Uprising - 1984 England 69 Nigel Ayers 1980 758 images/works/Nocturnal_Emissions-1985-lovelp.gif Songs Of Love And Revolution Side A: Power of Love Song In My Heart We Are Everywhere Sugar Cant Satisfy No Sacrifice (In Love and Revolution) Side B: Hit and Run Never Give Up Revolution Baby I Want you to Feel - 1985 England 69 Nigel Ayers 1980 759 images/works/Nocturnal_Emissions-1990-beyondlp.gif Beyond Logic Beyond Belief In a signed limited emission of 250 copies. - 1990 England 69 Nigel Ayers 1980 760 images/works/Nocturnal_Emissions-1993-quicklp.gif The Quickening Limited Emission of 250 numbered copies. - 1993 England 69 Nigel Ayers 1980 761 images/works/Nocturnal_Emissions-2000-imag12in.gif Imaginary Time Side A: Imaginary Time 99 (Revolutionary Industrial Trance Mix) Side AA: Skin Deep Captain Swing - 2000 England 71 Michael J. Schumacher 1961 794 images/works/schumacher-2005-london.JPG Room piece London 2005 Room Piece London 2005 consists of 43 sounds, each of which can be thought of as a voice in a large contrapuntal texture. Each voice alternates between periods of sounding and of silence, the respective lengths being determined by algorithms that are executed in real-time by the computer. The result is a continuous recontextualization of the constituent parts: when a voice falls silent, others are revealed, as another is added, the listeners entire focus may be shifted.Because of the large number of possible combinations of sounds and the complexity of the multiple timing algorithms, each passing moment in the unfolding structure of Room Piece London 2005 is unique. Part of the experience of listening to the piece is realizing that what one is hearing will never occur again, that each moment is a fleeting and unrecoverable experience. Given enough immersion in the installation, this increased awareness of the moment may be carried beyond the gallery and continue to inform the way one listens to the world outside.The sounds consist of the following 1. David Shively playing melodica 2. Aki Aktenbusch playing guitar 3. Malcolm Goldstein playing violin 4. the composer writing a poem with a fountain pen 5. Jane Henry playing the violin 6. workers in Haarlem, NL, hammering on stones 7. David Shively playing glockenspiel 8. the entrance foyer at the Museum of Natural History in New York 9. a pair of squeaky wire cutters 10. a recording of Michael Harrisons raga singing class played back on a cheap Panasonic tape recorder 11. inside the Pergoman museum in Berlin 12. the sounds of the surrounding countryside recorded from the composers hotel room near Salerno, Italy 13. the New York Philharmonic warming up for a performance of Mahler s Sixth Symphony 14. Anthony Burr playing bass clarinet 15. birds in a chimney in Sunset Park, Brooklyn 16. a toilet flushing (hotel near Salerno) 17. a Casio calculator being turned on and off 18. a clock in the Hals museum, NL 19. a radiator in an apartment on New York s Lower East Side 20. the composer cleaning a stovetop, Sunset Park 21. in between cars on a Thalys train, somewhere in Belgium 22. the motor of a Mercedes 240D, Haarlem, NL 23. an Art Blakey record played back over an old phonograph 24. a recording of Beethoven s Fifth Piano Concerto played back at 8rpm 25. a construction site in Haarlem, NL 26. a MIDI grand piano, played by a computer 27-43. various sounds created on Arp, Oberheim, Serge, Steiner-Parker and Yamaha synthesizers. - 2005 England 72 Toplap 2000 795 images/spacer.jpg slub premiere Slub are Alex McLean and Adrian Ward. Now in its fifth year of chart-topping block-busting smoothish sinusoidal waveforms, slub is blah blah blah blah - 2000 England 72 Toplap 2000 800 images/spacer.jpg Live coding duet (SuperCollider 2) Nick Collins and Fabrice Mogini. - 2003 England 72 Toplap 2000 804 images/spacer.jpg Live perl coding and drumming duet with Table and some live lsystem grammar coding by nebogeo - 2004 England 72 Toplap 2000 806 images/works/Toplap-2004-on-the-fly.jpg A Context-sensitive On-the-fly Audio Programm presented, Ge Wang, Perry Cook, Ananya Misra, Philip Davidson - 2004 England 72 Toplap 2000 808 images/spacer.jpg Lusco-Fusco : Paul Dirac Party - 2006 England 72 Toplap 2000 809 images/spacer.jpg Dorkbot christmas party - 2002 England 72 Toplap 2000 810 images/spacer.jpg supporting donna summer - 2003 England 72 Toplap 2000 812 images/spacer.jpg Kurator launch party - 2005 England 72 Toplap 2000 813 images/spacer.jpg Resonance Fm, London - 2006 England 72 Toplap 2000 814 images/spacer.jpg Untitled - 2006 England 56 Jem Finer 1955 832 images/works/Finer_2000-Longplayer.jpg Longplayer Longplayer is a 1000 year long piece of music which started to play on the 1st January 2000 and will continue to play, without repetition, until the 31st December 2999, when it will come back to the point at which it began - and begin again. In its present and original incarnation, as a computer program, it’s been playing since it began in the lighthouse at Trinity Buoy Wharf, London E14. It’s also playing in the planetarium at the Bibliotheca Alexandria, Alexandria, Egypt, the Powerhouse, Brisbane, Australia and in Rufford Park, near Nottingham, England. Plans are in an advanced stage for other listening posts around the world. Longplayer can also be heard globally via a live stream on the Internet. Development Longplayer was developed and composed between October 1995 and December 1999 by Jem Finer with the support of Artangel. A full account of this period can be found in the book, Longplayer, published by Artangel. Click here for a brief diagramatic overview. Underlying Principles Longplayer takes an existing recorded piece of music and uses this as source material, simultaneously playing 6 sections taken from it, each at a slightly different position and each at a different pitch. Its exactly the same principle as taking six copies of a record and playing them on six turntables, each one rotating at a different speed. To explain the score that creates this 1000 year loop of music its helpful to use the record analogy. Every two minutes the needles are placed on the record and allowed to play for the next two minutes. After this period the needles are picked up and placed on the record again - but this time slightly further in from their previous startpoint. If one goes back to the moment that Longplayer began, each needle was at the start of each record - at zero seconds. After the first two-minute period each needle was picked up and put down again at zero seconds plus a small amount. For each turntable this incremental amount is both different and unique. For the whole of Longplayers duration these amounts never change. This system can be expressed by the following equation: Play from position (at time t) for 2 minutes, where: position (at time t) = position (at time t - 1) + increment The increment, the amount each needle is moved on from its previous start point, is different for each turntable whilst t represents each two-minute period. How the music is generated Every two minutes this procedure is repeated and in this way each two-minute section gradually moves through the entire duration of the source music. The increments are carefully worked out so that no combination of the six sections will ever be repeated until exactly 1000 years has elapsed - at which point their start points will all be back at zero seconds, at the point where the piece first started. There is one area in which the record analogy doesn t quite work: with a record the music plays in a straight line: when you get to the end, the needle has to be picked up and put back at the beginning. Longplayer’s source music is actually a closed loop itself - its end is its beginning and vice versa. This means that when a section starts less than two minutes from the end, it plays across the start/end point and so the passage of each section through the music is in a continuous circle, never suddenly jumping back to the beginning. Taken together the six sections circle through the music like planets around the sun, each at their own speed, only very occasionally being arrayed in a straight line (or in the case of the music, all having the same starting point). This idea of each section starting at the same point and moving at slightly different rates generates a huge amount of different combinations - from the 20 minutes and 20 seconds of the source recording 1000 years of music is generated in real time. At the time of writing Longplayer exists as a computer program, it s source music being held in RAM - but the principle is exactly the same. The Source Music The instrumentation in the source music is primarily Tibetan singing bowls of various sizes, and gongs. With an eye to the future it was important to start Longplayer using sounds, and rules about how and when these should be played, that could be realized in as many different ways as possible. To tie it to the computer, or any other technology, would be to limit its chances of survival. It was also important to find ways in which the minimum amount of information and material could combine to reproduce itself into ever new forms. The logical conclusion was to look for sounds that would in combination create new sounds, yet could be reproduced not only by a computer but could also be played mechanically. Tibetan singing bowls answer both these demands in a simple way. Following the abstraction that a sound can be broken down into a number of sine waves of different frequencies and amplitude, it follows that sounds can be built up by the same principle. The bowls then, when struck or forced to resonate by rolling a piece of wood around their rim, function like oscillators in a synthesizer, as do the gongs, creating a range of sounds far greater than their constituent parts. These properties are enhanced by the range of overtones produced by striking (or stroking) the bowls in different places - or by filling them slightly with water - and add an unpredictable element to what will be heard. The Future The original and abiding ambition for Longplayer was/is for it to exist globally on its own radio frequency. At present it is being streamed on the Internet. At the time of writing research has started into the translation of Longplayer from a computer program to a sustainable mechanical device/instrument designed to last for at least as long as the first complete performance of the music. The first prototype, designed and built by Norman Withers, is installed in the Lighthouse. A device based on the record player analogy above using six custom built extra large turntables is now in development. A score for six (human) players and 250 tibetan Singing Bowls now exists. This first version of Longplayer is written in the programming language, SuperCollider2. A version written in SuperCollider3 - for Mac OS X - is now running though still lacks an interface. The source music was recorded in London in December 1999. Longplayer Remix Project A number of musicians / artists have been given 10 minute segements of Longplayer to use as raw material in any way they wish. To date Scanner, Pierre Bastien, Janek Schaefer, The Deviationists, Emma Stow, Iris Garrelfs, Chris Abrahams and Lloyd Swanton(from The Necks) and Douglas Benford aka si-{cut}.db have finished their pieces and more are on their way. A cd will be released in late 2005 / early 2006. Janek Schaefer has released his piece - Short Work on a split lp with Christopher Flores (Snail Article). Though Short Work is less than a second long it s rendered infinite by cutting it as a locked groove. More info at (from Accessed 09-10-06 Supercollider 2000 England 56 Jem Finer 1955 833 images/works/Finer-Centre-2005-IR.jpg The Centre of the Universe The Centre of the Universe, the concluding work from the residency, onearthasinheaven, takes the form of a book, on display in the Angel Row Gallery, Nottingham, and a website, part of the day to day data exhibition ( from July 20th 2005). - 2005 England 56 Jem Finer 1955 834 images/works/Finer-2005-Hole.jpg Score for a Hole in the Ground Original Proposal This was the original proposal, from February 2005 : In the temple gardens of Kyoto, suikinkutsu, water chimes, provide a meditive focus for the ambient sounds of the surroundings. Water, overflowing stone bowls, trickles down through a layer of loose packed stones until it drips into a buried bowl. The resonance of these drips is listened to through a bamboo tube or with the “naked ear”. It is this attention to the subtle and beautiful timbres of the drips within the resonant chamber that hones the concentration of the listener. In my proposal, the suikinkutsu is the starting point for a trajectory that leads through John Cage and the experimental music of the latter half of the 20th century, to an early 21st century post digital return to a physical, indeterminate piece of music, sited within the landscape. The countryside is shot through with holes in the ground; wells, mine shafts, fissures, bunkers, ventilation holes. In this piece of music the venue is a deep shaft in which there will be placed, at different heights, bowls of different sizes and tunings pivoted about their centre of gravity, the instruments. The players, the drips of water, will strike the bowls, ringing them like bells. As they fill with water their timbres will change, and the delicate equilibrium of their pivots will cause them to sway slightly, modulating the tones. Overflowing, a bowl will drip into ones below it. Amplification will be facilitated by a tube rising up from within the shaft, into a brass horn twenty feet above the surface. Akin to the bamboo tube in the suikinkutsu, the horn not only amplifies the sounds but forms a sculptural object, a focus in the landscape. The precise location is, as yet, unresolved. I am looking for a hole deep enough that it will take more than a lifetime to fill with drips, for a site removed from urban development, in the countryside, where the horn will harmonise with the surroundings. The performance therefore will be ongoing for decades if not centuries or millennia in a location tbc. This piece of music depends neither on the longevity of any energy source or technology, only on the ongoing existence of the planet and its weather systems. In its reference to a history of music, as alluded to above, it’s in a sense a completion of a cycle that has seen the increasingly digitized and expanded exploration of sound and music, indeed a disintegration of the boundary between the two, return to the prehistoric roots of music, the harmonics of the environment. To make any claims as to what this piece of music might do for the development of new music in the UK would be presumptuous. I can only say that I would hope it would have a resonance both within and beyond music, in its breaking with any use of technology, in its dimensions within sound, time and space. (Accessed 09.10.06 from - 2005 England 19 Janet Cardiff and George Bures Miller 1957 853 images/works/Cardiff-2001-40part.jpg Forty Part Motet Transforms the 16th century music of Thomas Tallis into a virtual architecture of pure sound. Spem in Alium, a choral work written for forty voices, has a soaring composition structured in overlapping layers. The spatialisation of this complex musical structure transports the listener into a transcendent realm. At the same time it is possible to experience the voice of each performer. Unlike the concert hall,audiences may wander among groups of singers who are evoked as an absent presence, a ghost choir. (Accessed 09.10.06 - Multichannel 2001 England 58 Bernhard Gal 1971 875 images/spacer.jpg Space a participatory performance collaboration with Lynne Brackley investigating the transformation of ordinary spaces into extraordinary ones, commissioned by Creative Partnerships London North. It involved people, string, sound and strange stories - 2005 England 58 Bernhard Gal 1971 876 images/spacer.jpg (Talking) Space to Space capturing radio emissions from the stars, reshaping it into an audio composition and broadcasting it back to the stars on Resonance FM. An extended version of this project has since then been listed for the PRS New Music Award in 2005. An extract is about to be released on10 vinyl by the German art label lich-tung - 2004 England 58 Bernhard Gal 1971 877 images/spacer.jpg Qui Le Bruit - 2004 England 58 Bernhard Gal 1971 879 images/spacer.jpg Spoor a site and situation specific 6-channel audio and photographic trail exploring aspects of urban space resulting out of a residency at Grafisch Atelier, s-Hertogenbosch (Holland). Also included public talk and performance. - 2004 England 54 David Toop 1949 910 images/spacer.jpg New and Rediscovered Musical Instruments - 1975 England 54 David Toop 1949 911 images/spacer.jpg Screen Ceremonies - 1995 England 54 David Toop 1949 912 images/spacer.jpg Pink Noir - 1997 England 54 David Toop 1949 913 images/spacer.jpg Spirit World - 1999 England 54 David Toop 1949 914 images/spacer.jpg Museum of Fruit - 2001 England 54 David Toop 1949 915 images/spacer.jpg Hot Pants Idol - 2003 England 54 David Toop 1949 916 images/works/Toop-2005-37th.gif 37th Floor At Sunset: Music For Mondophreneti The invitation to create music for the CD-ROM installation - Mondophrenetic - came from the Belgian team of producer Rony Vissers, artist/photographer Els Opsomer and writer/theorist Herman Asselberghs. Loosely inspired by Jean-Luc Godards 1967 film, Deux ou Trois Choses que je sais delle, the installation takes Els Opsomers photographs of high rise apartment blocks, shot in many different countries, as the focal point of explorations of globalism at the end of the 20th century, the beginning of the 21st century. Creating a soundtrack for Mondophrenentic raised a number of new challenges for me. The first of these was focussed on the issue of non-linearity. Music composed for a multi-media setting such as Mondophrenetic relinquishes control. Questions as to when it is used or in what context are decisions governed in the first instance by the programmer and designers, then ultimately by the user, whoever he or she may be. Different pieces of music may appear in unforeseen juxtapositions, be disrupted, or may be heard in unpredictable visual and textual contexts as the user navigates. Such outcomes have to be accepted and, to some extent, anticipated by the composer and built into the nature of the music. The second challenge was to create a kind of soundtrack that was not so far forward to demand attention as music in its own right, yet not so far in the background to be peripheral sound design. I wanted to create atmospheres suggestive of buildings as living organisms, creatures with nervous systems, without reducing the soundtrack to a catalogue of sound effects. In his novel, Highrise, J.G. Ballard described the subtle relationship of an apartment block s nervous system to the disintegrating ecology of the mini-society of its inhabitants. Apartment blocks look much the same, whether in China or the suburbs of Paris, yet the lives within them are very different. The sounds of lift shafts, ventilation and heating systems, the murmurs of human activity, radio and television, have a universality that becomes specific only in the finest details, a moment in time at the right place, maybe through the walls of the 37th floor at sunset. I also wanted to create music that suggested globalism and the absorption of global cultures into an environment of signs, a kind of easy listening or aetherial mix that is detached from any recognisable source other than the perpetual movement of hybridised culture in the 21st century. Information is a kind of architecture, though like music, its walls are intangible. David Toop June 2000 . Accessed 12.12.06 from - 2005 England 54 David Toop 1949 924 images/spacer.jpg Needle In the Groove with novelist Jeff Noon - 2000 England 54 David Toop 1949 926 images/spacer.jpg Unknown sound collages - 2001 England 54 David Toop 1949 929 images/spacer.jpg Siren Space tug boats, electronics, text and the solo sax 2002 England 54 David Toop 1949 931 images/works/Toop-2004-hauntedweather.jpg Haunted Weather: Music, Silence and Memory 2CD compilation accompanying the book of same title - 2004 England 54 David Toop 1949 932 images/spacer.jpg Breath-Taking with Akio Suzuki - 2004 England 54 David Toop 1949 933 images/spacer.jpg Doll Creature with Max Eastley - 2004 England 54 David Toop 1949 934 images/spacer.jpg Unknown - 2005 England 54 David Toop 1949 935 images/spacer.jpg retrospective of Bob Cobbings work - 2005 England 54 David Toop 1949 936 images/spacer.jpg Playing John Cage - 2005 England 92 Gregory Whitehead 1947 1040 images/spacer.jpg The Bottom of the Mind maginary conversation, 14:00, walking the circle via the existential phonograph - 1998 England 92 Gregory Whitehead 1947 1041 images/spacer.jpg Mind, Body and Soul imaginary conversation, 14:00, artist eats three big books - 1998 England 92 Gregory Whitehead 1947 1042 images/spacer.jpg Mr. Whitehead, Are You There? group love letter for mother radio, 5:26 - 1999 England 92 Gregory Whitehead 1947 1043 images/spacer.jpg The Marilyn Room radio play, (excerpt, 3:07), voices on excerpt: Henry Strozier, Leslie Nixon, duration of complete play is 56:00 - 2000 England 92 Gregory Whitehead 1947 1047 images/spacer.jpg American Heavy audio play, voices on excerpt: Jonathan Epstein, Corinna May, Allyn Burrows and Elizabeth Ingram, duration of complete play is 56:00 - 2001 England 92 Gregory Whitehead 1947 1049 images/spacer.jpg Resurrection Ranch docufictive travelogue (excerpt, 3:17), with Virginia Crompton, GW, and Karen Lee as Cat Slade, duration of complete program is 27:30 - 2003 England 92 Gregory Whitehead 1947 1050 images/works/Whitehead-2003-road.gif The Loneliest Road radio road movie, BBC 3, (excerpt, 11:08) music by Nick Zammuto and Paul Dejong. voices on excerpt: Karen Lee, Jon Swan, GW and Anne Undeland. duration of complete play is 88:30. - 2003 England 92 Gregory Whitehead 1947 1054 images/spacer.jpg Project Jericho docufictional report, (excerpt, 3:53), produced with Mark Burman, duration of complete program: 19:30 - 2004 England 100 Brandon LaBelle 1969 1135 images/works/Labelle-2005-ingredient.jpg Active Ingredient In collaboration with Ken Ehrlich. Come and join us for tasty morsels and cool drinks. We will be serving up fish tacos á la Hull, sumptuously prepared with participatory audio accompaniment. In person, or streaming live, along the beautiful River Hull corridor. This project took the form of a picnic to be staged at Hull Time Based Arts headquarters. The picnic functioned as a live event in which participants “perform” their role as consumers of information and food. Local economies were traced through the very act of organizing the picnic: purchasing food, shopping at local grocers, etc., provide dthe opportunity to inquire into local food distribution policy, structures, and economies—this was traced through a highly personalized method: by using our experience as “outsiders” in need of supplies, we came into contact with local structures, which will provide the picnic with the raw material of its performativity: through the very act of consumption, as a participant in the picnic/event, the individual body was underscored as implicit in the larger infrastructures of local economy/food distribution—the intake (and eventual outtake) of food products, lends support to the infrastructure of food economy, from agriculture to packaging to production to ultimate distribution and purchase of food products. - 2003 England 100 Brandon LaBelle 1969 1138 images/works/Labelle-2006-soundstage.jpg Sound/Stage Sound / Stage brings together live sound performance with specially constructed seating and staging. In conjunction with a performance by Mark Schreiber, a series of constructed mobile chairs allowed the audience to recline and enjoy particular views of the performance while inadvertently affecting the sound and its distribution through sensing devices responsive to movement. Through such an interaction, a series of changing perspectives was generated, where audiences, sound and its staging become active in the making of a social music. In celebration of the release of Background Noise: Perspectives on Sound Art by Brandon LaBelle (published Continuum Books). - 2006 England 21 Ryoji Ikeda 1966 1152 images/works/Ikeda-2000-matrix(dis).gif matrix [for acoustic dislocation] powered speaker MEYER HM-1 16 powered sub-woofer MEYER USW-1P 4 16ch HD playback system non-specific 1 specially designed space by Zaha Hadid Office 1 master HD data 1 - 2000 England 21 Ryoji Ikeda 1966 1156 images/works/Ikeda-2002-op.jpg op. op.1 [for 9 strings] (2000-01) 01 I 2:20 02 II 4:34 03 III 4:46 04 IV 3:22 Musique Nouvelles Ensemble: violins: Wibert Aerts, Red Gjecit, Veronique Lierneux, Eric Sluys violas: Dominica Eyckmans, Manuela Bucher cellos: Sigrid Vandenbogaerde, Frederic Detroch double bass: Pascal Smets conductor: Jean-Paul Dessy recorded by Philippe Colpin at RTB Belgium Radio and TV studio, Mons, December 13, 2001 mixed at Art Zoyd studio, Maubeuge and cci studio, Tokyo, January-February, 2002 assistance for score: Jerome Combier (2001-02) 05 op.2 [for string quartet] 15:22 (2002) 06 op.3 [for string quartet] 6:57 violins: Natsu Takehara, Yoko Kawakubo viola: Rei Shimada cello: Nagako Kato recorded at New National Thatre Tokyo, May 14-17, 2002 mixed at cci studio Tokyo, May-August, 2002 op.1 [prototype] (2000-01) 07 I 2:18 08 II 4:39 09 III 3:59 09 IV 3:30 violin: Wibert Aerts viola: Dominica Eyckmans cello: Jean-Paul Zanutel recorded at Art Zoyd studio, Maubeuge, March 19-21, 2001 edited and mixed by Ryoji Ikeda at cci studio, Tokyo, March-September, 2001 Total 51:47 op.1 was originally commissioned by experience de vol #3 No electronic sounds used composed and produced by Ryoji Ikeda © 2002 Ryoji Ikeda (JASRAC) - 2002 England 77 Hans Peter Kuhn 1952 1195 images/works/Kuhn-1992-5floors3.jpg Five Floors The installation took place in all five floors of a new built office building in London, right above the Angel subway stop. The visitors went by elevator from site to site. The seperation of the sounds between the single was so good, that no neighbouring sounds were heard. Each floor had its own sound- and lightworld.1st floor: Elements The space was completely dark and the audience could only be in a limited area around the entrance. Every now and then a bright flash and a loud noise appeared. The introduction of the elements of hearing and seeing.2nd floor: Formal On 8 columns in a diagonal line through the space 8 loud speakers were playing short impulsive sounds that travelled along the line at a high speed. Each move was followed by a pause of silence.3rd floor: Jungle In each of the 14 corners of the room a loudspeaker was situated. Sounds from the city played frequently. Sometimes one at a time, sometimes several or all of them simultaneously. Flourescent tubes and cables coming out of the outlets in the floor were lying on the ground.4th floor: Inside The only floor with a carpet. This made it be perfect as a meditation site, where one could lay down and listen to the sounds. 4 speakers at 4 different locations played back the sounds of heavy industrial machinery and the columns that carry the ceiling were lit in four different colours.5th floor: Silent Museum of Sounds The 5th floor was different from the others. It had 54 windows with wooden windowbenches which looked a bit like museum cabinets. An object that once in its former life made sounds was placed into each of the windows, lit by a small halogene lamp: a dead fly, a postcard of the Beatles, false teeth, a pin, an exploded cracker... No sounds were to be heard. - 1992 England 116 Brian Eno 1948 1272 images/spacer.jpg Kurts Rejoinder sampled Schwitters recording of Ursonate Album, 1977 England 113 Andrea Polli 1969 1355 images/works/Polli-2005-N.jpg N. an artistic visualization and sonification (direct translation of data to sound) of near real-time Arctic data. N. is an ongoing, evolving composition. Commission, 2005 England 116 Brian Eno 1948 1371 images/spacer.jpg Oblique Strategies - Edition 1 ...The original box, which we published in 1975, contained 113 cards, but since they some have been omitted and new ones have been added. Peter Schmidt died in early 1980, and since then Ive been the curator of the Oblique Strategies. They have been published three times in English and also in French and Japanese. They have also been produced as a floppy disc. No two releases are exactly identical - cards come and go. . - 1975 England 116 Brian Eno 1948 1372 images/spacer.jpg Oblique Strategies - Edition 2 Abandon normal instruments Accept advice Accretion A line has two sides Allow an easement (an easement is the abandonment of a stricture) Always first steps Always give yourself credit for having more than personality (given by Arto Lindsay) Are there sections? Consider transitions Ask people to work against their better judgement Ask your body Assemble some of the instruments in a group and treat the group A very small object -Its centre Balance the consistency principle with the inconsistency principle Be dirty Be extravagant Breathe more deeply Bridges -build -burn Cascades Change instrument roles Change nothing and continue with immaculate consistency Childrens voices -speaking -singing Edition of unknown size (500 or 1000 probably) 1978 England 116 Brian Eno 1948 1374 images/works/Eno-1996-Oblique4.gif Oblique Strategies - Edition 4 As mentioned in Brian Enos published diary, a fourth edition of the Oblique Strategies was produced in 1996. Unlike the 1975, 1978, and 1979 editions of the decks, this version was not commercially available; it was a project undertaken by Peter Norton and his family in conjunction with Brian Eno and published in a limited edition of 4,000 distributed to Peter Nortons close friends and colleagues. Since the fourth edition of the Oblique Strategies was a private edition and a gift, no copies of this deck are available. - 1996 England 116 Brian Eno 1948 1386 images/spacer.jpg Contemporary Data Lounge - 1990 England 9 Max Eastley 1946 1389 images/works/Toop-Eastley-1975-musical_instruments.jpg New and Rediscovered Musical Instruments David Toop and Max Eastley. In 1975, Brian Eno set up the Obscure Label. Its purpose was to provide a venue for experimental music, and make it more known and accessible to the public at large. By associating his name with it, and acting as producer of all ten releases, he enabled hitherto virtually unknown composers to enjoy a larger possible audience. Among those who he rescued from obscurity (pun intended) were Harold Budd, Michael Nyman, the Penguin Cafe Orchestra, and Gavin Bryars. - 1975 England 116 Brian Eno 1948 1390 images/spacer.jpg Generative Music I home computer software 1996 England 116 Brian Eno 1948 1391 images/spacer.jpg 3Music for White Cube2 - 1997 England 116 Brian Eno 1948 1392 images/spacer.jpg Self-Storage with Laurie Anderson and some of his Royal College of Art students - 1995 England 64 delire+pix 2003 1405 images/spacer.jpg fijuu Using a PlayStation-style gamepad, the player(s) of fijuu dynamically manipulate 3D instruments to make improvised music. fijuu is built using the open source rendering engine OGRE and runs on Linux. in the future fijuu will be released as a Linux live CD project, so players can simply boot up their PC with a compatible gamepad plugged in, and play without installing anything (regardless of operating system). This effectively turns the domestic PC into a console for game based audio performances. - 2006 England 64 delire+pix 2003 1406 images/works/Oliver-2006-q3apd.jpg q3apd q3apd transforms a virtual battlefield into a rich environment for aural composition. The state, position and orientation of software agents in a QuakeIII combat arena are used as instruments in a spatialised, realtime soundscape, allowing us to hear gameplay from an entirely new angle. q3apd asks, can the dynamics of gameplay be used as a score? - 2006 England 63 Simon Elvins 1981 1407 images/works/Elvins-2006-Notation.jpg Notation This is part of an ongoing exploration into sound, print and notation, and looks at ways of linking sound to the printed page. Using a pick-up shaped like a pen, tonal values of pattern and drawing are directly translated into a tonal scales of sound and music. Special thanks to Mathias Gmachl. Pencil on paper, electronic pick-up, Max/Msp 2006 England 63 Simon Elvins 1981 1408 images/works/Elvins-2006-Radio-2.jpg FM Radio Map Map plotting the location of FM commercial and pirate radio stations within London, made site specific by connecting only the stations that can be received in that location. This is done by drawing power lines in pencil on the back of the map, which conducts electricity from the radio to the front of the poster. Placing a metal pushpin onto each point enables us to listen to the sound broadcast live from that location. Screenprint, pencil, modified FM Radio - Edition of 20, prints available 2006 England 63 Simon Elvins 1981 1409 images/works/Elvins-2005-Record-Player-2.jpg Paper Record Player Fully working, manual record player made entirely of paper. To play the record the handle needs to be turned in a clockwise direction at a steady 331/3 rpm. The paper cone then acts as a pickup, amplifying the sound enough to make it audible. (Record shown, The Sound of Music 1965). Paper, Vinyl 2005 England 63 Simon Elvins 1981 1410 images/works/Elvins-2005-Silent-London-2.jpg Silent London Using information the government has collected on noise levels within London, a map has been plotted of the capitals most silent spaces. The map intends to reveal a hidden landscape of quiet spaces and shows an alternate side of the city that would normally go unnoticed. Blind embossed etching. Edition of 10 2005 England 63 Simon Elvins 1981 1411 images/works/Elvins-2005-sound-walk-2.jpg Sound Walk Documentation of how sound and music has shaped architecture and the landscape around us. - 2005 England 63 Simon Elvins 1981 1412 images/works/Elvins-2005-Direct-Line-1.jpg Direct Line Attempt to physically reconnect how we talk to each other using the simplest technology available, whilst at the longest distance possible. String, plastic - Tom Mower 2005 England 63 Simon Elvins 1981 1413 images/works/Elvins-2003-Sound-Book-1.jpg Sound Book Writings on the use of sound within Art and Design. Includes interactive typography and audio CD which can be played through the book when connected to a CD player. - 2003 England 38 Joe Banks 1974 2135 images/works/Banks-1996-Blackout.jpg Blackout - 1997 England 97 Brown Sierra 1998 1445 images/spacer.jpg rotating wave form Several metres of speaker wire Rotating wave forms is a sound installation which utilises the Doppler effect to create a constantly changing acoustic environment from a single and constant wave form split into four rotating speakers from a single sine tone source. Motor Show Rotating Sound wave, 2001, by Brown sierra (Pia Gambardella and Paddy Collins). The sound apparatus is home made with bits of speakers, motors, and control mechanisms, which grind out a monotonous tone, but there is a second reference to motion in the applied movement of the listener, which would modulate the pitch, a sort of Doppler Effect, as with emergency services sirens approaching or diminishing. Art Monthly 1999 4x Retort stands 4x Windscreen wiper motors 4x Speakers 4x Slip Rings 4x Slip ring follower arms 1x Sine tone generator 1x Amplifier 1or 2 Transformers Chop blocs 1x Four way 1x Timer switch 2001 England 97 Brown Sierra 1998 1447 images/works/Brown_Sierra-200x-Pattern.jpg Pattern Perception Pattern Recognition Four groups of three piezo sounders independently sequenced with differing simple patterns and tempos. The components are placed in responce to the shape and accustics of the particular space in which it is presented. It can be seen that a steady train of buzzes, when every buzz is the same as the other, every sequence constantly repeated. Yet no one hears it as a steady train, the listener can impose a rhythmic pattern of his own choosing, Two different listeners can be exposed to exactly the same train of acoustic pulses, yet hear them in entirely different patterns this can be seen as each individual forming their own unique compositions in their minds as they listen, The consequence of imposing a rhythmic organisation is to make some buzzes sound louder than others and to make some intervals seem longer than others although such impressions are an illusion, unwittingly one is projecting themselves into their perception of the environment. Within psychologiacl testing for pattern perception it is usual to use metronomic sounds of equal spacing volume and pitch, we have attempted to use four overlaid sequences to find out if the listener will respond differently to the sequence of sounds. It has been said that pattern finding is the occupation of science and pattern making the occupation of art. Pattern may be defined as any sequence of events in time, distinguishable from or comparable with another sequence or set. The first significant attribute of a pattern is that you can remember it, and compare it with another pattern . This is what distinguishes it from random events or chaos. sequenced alert electronics 12 Piezo buzzers. 4 Sequencers. 16 Batteries. 4 Battery holders. 4 Switches. 4 cardboard boxes. 2002 England 97 Brown Sierra 1998 1448 images/works/Brown_Sierra-2002-detector.jpg metal detector motor. clear Perspex table. metal detector. inspection light. retort stand and clamps. found metallic objects. 2002 England 97 Brown Sierra 1998 1449 images/works/Brown_Sierra-2002-relayed_pipes.jpg relayed pipes sequenced tones played through speakers inside 25 metre long high pressure mains gas piping. 8 June 1996 25 October - 2002 England 97 Brown Sierra 1998 1450 images/works/Brown_Sierra-1998-gri.jpg Gri Gri 1 This exhibit will consist of approximately 50 field crickets inside a Perspex container mounted on the wall in a bookshop. You will be able to see and hear these small creatures living loving scurrying and chirping, no microphones no sound processes and no samples, just crickets doing what crickets do. Inside the cabinet will also be copies of the magazine for the crickets to dine on. This collaborative work by Pia Gambardella and Paddy Collins has been designed specifically for workfortheeyetodo, due care has been taken to ensure that the exhibit will not be overly intrusive or excessively wearing to the listener, i.e. that it dose not annoy the neighbors or drive staff mad. The ideas behind the work stems from our interest in field recordings and our fascination with insects and their ability to create sounds with such a constant pitch and amplitude that they are reminiscent of another of our fascinations, audio test gear. Combined with the sequences and patterns of differing species they appear to us the forerunners to much avant-garde electronic music. - 1998 England 97 Brown Sierra 1998 1451 images/spacer.jpg tea 182 speakers pinned, facing a white wall in an empty room, residential domestic urban environment stripped of the paraphernalia of living yet still functioning as a living room for the resident and curator here life is not art and art is not life they coexist despite each other out side the door a tiny hall through the hall to a kitchen it still looks and functions like a kitchen. An additional wire from the electic kettle an intervention that leads to a electronic relay via an amplifier the signal is split five ways to the speakers across the hall the signal slowly switches across the room. The speakers are wired in five groups in sequence to the relay. An invitation to a banal incident is a flyer with the title time date and address of another opening but its an invitation to art with a tea bag no wine and beer here to deaden your senses and to sweeten the event. As the guests arrive the resident curator gives them a brief explanation then makes them a cup of tea additional bags are available for the bag less as the kettle boils the audience is invited into the white room to observe the boiling kettle thorough the speakers it takes three minutes the duration of a pop song, without the musical limitations if musical is the correct description. It has a natural composition but what hasnt as nature has its own laws. After a short pause, the water begins to slowly boil increasing to a bubbling crescendo then a click and hissing boil falls away and its time for tea. 180 speakers 1999 England 97 Brown Sierra 1998 1452 images/spacer.jpg window recorder Left for one week to react to their surroundings. We wanted to see if we could record anything. Electromagnetic fields, natural, man made, supernatural or other effects. 9 clear tape cassettes attached to a shop window with artificial skin plasters 2004 England 9 Max Eastley 1946 1790 images/works/Eastley-2001-thetimecd.jpg The Time of the Ancient Astronaut Spaceheads Andy Diagram (trumpet) and Richard Harrison (drums) started playing together in 1980 after meeting at a punk jazz festival. They played together in a band called Dislocation Dance, recording two albums and a number of singles. Following that project they worked with The Mud Hutters and Eric Random and the Bedlamites, touring with the latter as Nicos backing band before she passed away. One afternoon in 1989, almost by accident, they decided to jam without the rest of the group and quickly realized they could best accomplish their musical vision as a two-piece. Throughout the 90s they perfected their sound -- highly percussive jams steeped in delay and digital effects. True space music. Eastley s influence is apparent on The Time of the Ancient Astronaut, an album recorded live in one afternoon and released on BiP-HOp in 2001. Harrison s rhythms are much more restrained than usual, his furious tribal fusion drumming appearing only fleetingly throughout the record. Diagram s trumpet, as vibrant and psychedelic as ever, is perfectly balanced by Eastley s instrument, the arc, a nine-foot monochord played with a bow or rods. Interstellar Escalator is a fantastic representation of the album as a whole -- gorgeous and ominous ambient music that builds to an intense and noisy frenzy. Noel Morrison last updated: 10/04/01 - 2001 England 96 Trevor Wishart 1946 1639 images/spacer.jpg Machine 2 for choir and machine sounds 2000 England 96 Trevor Wishart 1946 1640 images/works/Wishart-197x-Tuba.jpg Tuba Mirum For psychiatric patient, bureaucrats, props, tape: commissioned by Melvyn Poore. Tuba, 3 mimes, costume, set, props, tape 1978 England 96 Trevor Wishart 1946 1641 images/works/Wishart-197x-Pastorale.jpg Pastorale / Walden 2 Performed in animated mechanical clock from which performers liberate themselves .A reaction to B.F.Skinners utopia Walden 2, a behaviourally programmed paradise. Complete film available for hire from Concord Films. Commission.Flute, Tuba, mime, costumes, set, props, tape 1979 England 96 Trevor Wishart 1946 1642 images/spacer.jpg Fidelio deals, comically, with results of automation Flute or Clarinet or Sax + mime, 6 suitcases and 6 portable tape-recorders 1976 England 96 Trevor Wishart 1946 1645 images/spacer.jpg Forest Singularity - 1977 England 96 Trevor Wishart 1946 1646 images/spacer.jpg Son et Lumiere, Domestic chest of drawers 1976 England 96 Trevor Wishart 1946 1647 images/spacer.jpg Landscape airborne musical instruments, hilltop vocalising, military fireworks and black ice cream 1970 England 96 Trevor Wishart 1946 1648 images/spacer.jpg Seaside beach art and white gongs in the sea 1971 England 96 Trevor Wishart 1946 1649 images/spacer.jpg Wicked Wizard of Whitworth - 1972 England 96 Trevor Wishart 1946 1651 images/spacer.jpg Fleeting Opera (episode one, Birthrite) was visual artist and performance composer Max Couper’s first opera for the Thames, created from The Couper Collection barges where he has worked for twenty years. This Opera was created with composer Trevor Wishart, Royal Ballet dancer and choreographer Tom Sapsford, and textile artist Sasha Kingston. Max Coupers last performance was a dance spectacle presented with his tugboat for the city of Antwerp in 1996. This Fleeting Opera, London’s first opera on the Thames, was performed on two consecutive nights of July 2000, first for public audiences alongside Battersea Park, and then for audiences by Lambeth and for members on the terraces of The Houses of Parliament. This was a promenade opera, towed into the incoming evening tides by Max Couper in his tug Pablo, with the audience walking slowly alongside on the riverbank. This ritualistic opera and ballet centred on a matriarchal pregnant soprano and two male singers of The Royal Opera, two dancers of The Royal Ballet, three musicians from The Orchestra of The Royal Opera House, and actress Judi Dench. They performed to the audience from two towed barges, with an onboard sound and light system. The performance was delivered in fleeting sequences and based around a computer generated soundtrack overlaid with live voice and instrumentation. The singers performed in different metres to one another in an invented language, and a trumpeter, violinist and double bass player accompanied them. Judi Dench delivered a metred prose in English, whilst the dancers interacted and interpreted. There were two winchmen that handled the barges whilst they were under tow. They alternately pull them together or release them, according to the interaction of the performers to one another. Birthrite was a contemporary ritual, created for the Thames, based around a pregnant matriarch who represents the spirit of the Thames as a force for life and renewal. This matriarch, Angelica (Mezzo-soprano Kate McCarney), has two admirers: Capo (baritone Jonathan Fisher), and Diablo (tenor Nicolas Heath). Capo is red-blooded; Diablo is diabolical and a chameleon. The matriarch and her admirers were singers of The Royal Opera. Each had an inseparable accompanying musician from the Orchestra of The Royal Opera House. There was a trumpet player called Trumpèt (Ruth Shaddock); she performed with the matriarch, Angelica. The Bull (double-bassist Tony Hougham) performed with Capo. The Fly (violinist Katherine Wilson) performed with Diablo. There was also a narrator on the second night, The Intriguer (Judi Dench). The dancers, Amazonia (Deborah Bull), and Atoll (Tom Sapsford) were the provocateurs and interpreters – they were the dynamic drive element linking all parts of the event together. Finally, there were two winchmen of great strength that handled the barges (Dean Leslie and Paul Mitchell). “Any opportunity to be part of Max Couper’s waterborne artwork that brings together opera, ballet, and the spoken word, I find irresistible. The last time any such serious artistic statement was created and performed for the river, was Handel’s Water Music in 1717. I passionately believe the Thames is underused. This is so valuable because it draws attention to it in a spirited way.” on 2 moving barges 2000 England 96 Trevor Wishart 1946 1654 images/spacer.jpg Two Women uses computer to recreate and transform voices of public figures - Mrs Thatcher, Princess Diana Commission 1998 England 96 Trevor Wishart 1946 1655 images/spacer.jpg American Triptych. uses computer to recreate and transform voices of public figures, Martin Luther King, Neil Armstrong Commission 2000 England 96 Trevor Wishart 1946 1657 images/spacer.jpg Spanner OBJECT OF THE PROJECT Given an arbitrary set of unusual aural and visual materials, and a set of strange instructions, devise a coherent performance using all of these. The project is really an exercise in creative or synthetic thinking and aims to break down conceptual barriers between the Arts, and between “Art” and “Reality”. PARTICIPANTS For a large group (40+) of participants, aided and abetted by (at least) one organiser and (at least) one animateur. SPACE The participants will be divided into groups of (c.) 8 people. So the number of participants, divided by 8, gives the number of working rooms required. In addition, a largish space is required for the initial storage of materials, and as a final performance-area for the final presentations. (The large space might double as one of the working rooms). MATERIALS Before the project can begin, the participants will be asked to bring with them to the venue various visual and audio materials. For the sound materials, decide on a format (CD, minidisk, cassette-tape, computer-data, etc.) acceptable to all the participants, and ensure all recordings are delivered in that format. Each group must have some means to play back the sound materials. There should also be a stock of general construction materials (such as might typically be available in a school, college, arts centre, or other venue) e.g. paper, card, pens, pencils, paints, glue, tape, string, cloth etc. etc. Musicians should bring their instruments. DURATION A whole day should be set aside for the preparation and presentation of the various group-projects. OUTLINE OF THE PROJECT 1) MATERIALS AND SOUNDS ARE COLLECTED, before the project, by each participant. The materials and sounds to be collected are specified in special lists (see later) and the assignment of material-collection (which participant brings what) should be masterminded by the Organiser. 2) MATERIALS AND SOUNDS ARE ORGANISED AND ASSEMBLED in the initial storage space. 3) PARTICIPANTS ARE DIVIDED INTO SMALL GROUPS (of c. 8 PEOPLE) 4) MATERIALS ARE ALLOCATED TO EACH GROUP. Allocation is done by a chance procedure. Each group must utilise all the materials allotted to it. 5) INSTRUCTIONS ARE ALLOCATED TO EACH GROUP. The instructions are also put together using a chance procedure. The group must (try to) interpret the instructions as a ‘serious’ gameplan (and not in a humorous way!). Instruments and Voices may always be used. 6) AT THE END OF THE PROJECT, EACH GROUP PRESENTS ITS PERFORMANCE TO THE OTHERS. DETAILS OF THE PROJECT 1) ORGANISING THE COLLECTION OF MATERIALS Materials, objects, sounds and texts to be collected and brought to the event are specified in the Materials Lists (see later). Deciding which participant brings what is masterminded by the organiser, to ensure that each participant is able to (and does) bring the material allotted to her/him. Once the date of the project has been fixed, and the participants have selected themselves, the organiser sends a Spanner letter/email to each participant (shown on a later page) requesting s/he brings various items. Each letter requests the participant to bring specific materials, objects, sounds and texts. As you fill in each letter, tick off the items selected for that participant on the materials lists. This provides a check on what materials have been requested already. (Note especially that some materials have more than one box to tick, as several ‘lots’ of the same material are required). Depending on what format you chose for the sound materials, ensure you have enough sound systems (1 for each group). Bear in mind the cost (and the heaviness or bulkiness) of the materials requested, the distance each participant must travel (and their mode of transport), and any other relevant factors, when allotting material-collection to participants. For example, it’s easier to find out which participants own a wheelbarrow before deciding who should be asked to bring one. Similarly, it’s unlikely that anyone will have 3 wheelbarrows, so 3 different people need to be asked to bring 1 wheelbarrow each (!). This preliminary organisation is vital. The project will only succeed if good quantities of diverse materials are brought to the event! You may not have enough participants to collect all the materials on the list. In this case … 1) Assemble large quantities of whatever materials you decide to use (rather than having small quantities of every material on the list). 2) Ensure you have the most varied categories of materials. Or you may have too many participants for the materials on the list. In this case, add new materials to the list, bearing in mind… 1) Any new material must be easily accessible (e.g. cheap to buy, or easy to collect at home or work or elsewhere). 2) You need a large quantity of it. Also, assemble yourself… 1) Quantities of glue, tape, string, (coloured) pens, pencils, paints, brushes, and miscellaneous materials (paper, card, cloth, etc. etc.) 2) 6 Large Hats (rigid hats e.g. bowler hats, top hats, strong straw hats or etc.) SPANNER LETTER / EMAIL Dear Every participant in the Spanner project is being asked to bring 4 lots of materials to this project. The project will not work unless each participant bring with her/him what is asked for. Could you therefore please bring with you, to the project …. Visual Objects …………………………………………………………………………………………………………………….. Visual Materials ….……………………………………………………………………………………………………………….. Sound Materials ….……………………………………………………………………………………………………………….. Text …………….…..……………………………………………………………………………………………………………….. Please also bring a musical instrument (or a domestic object that makes sounds …. electrical, mechanical, human agitated). Notes on Recording Sound Materials… a) Ensure you hold the microphone close to the source, to obtain a good level. b) But, don’t distort the sounds! c) More than 5 minutes, please. d) Don’t compose! No pitch patterns, rhythms etc. … just sounds. e) Bring your sound recordings in the form of a ……………………………. f) *Please bring a portable sound-system to play back your recordings. (*organiser delete where inappropriate) Spanner Project Organiser 2) ORGANISING MATERIALS, SOUNDS and INSTRUCTIONS a) Assemble collected materials, objects, sounds and texts in the storage space. Put all the shoes together in one pile, all the bread together in another pile, gather all the wheelbarrows in the same place, put all the dog-sounds together in one pile, and so on. b) Make two copies of each set of number tokens (see later pages), mount them on card, and cut out the individual tokens. Don’t mix up the two copies!! c) Use one set of visual-object number-tokens to label each set of visual-objects (e.g. Umbrellas might by number 1, wheelbarrows number 2, and so on). Use one set of visual-materials number-tokens to label each set of visual materials. Use one set of sound-materials number-tokens to number each set of sound materials. d) Put the other sets of number-tokens in three of the large hats. Put the visual-object number tokens in the 1st hat. Put the visual-materials number tokens in the 2nd hat. Put the sound-materials number tokens in the 3rd hat. e) Make one copy of each of the Music Format, Qualifying Format, and Style/Form tokens, mount them on card, and cut out the individual tokens. f) Place Music Format tokens in the 4th hat, Place Qualifying Format tokens in the 5th hat. Place Style/Form tokens in the 6th hat. 1 2 3 4 5 6 visual-objects visual-materials sound-materials Music-formats Qualifying-formats Style/Form g) Shake each hat to mix up all the tokens in it. 3) DIVIDING THE PARTICIPANTS INTO GROUPS OF c. 8 PEOPLE Each group should have around 8 people. Try to ensure a good mix within each group (e.g. if you have e.g. instrumentalists, or actors among the participants, ensure they are spread between the groups; if several institutions are cooperating, mix participants from different institutions; mix people who spend too much time thinking with people who act first and think later; manage managers ….) Assign a working-room and a sound-playback system to each group. 4) USING THE HATS, ALLOCATE MATERIALS TO EACH GROUP a) Decide how many types of visual objects each group will work with (e.g. if you have 20 types of visual objects, and 5 groups, you can allocate 4 types of visual objects to each group). b) Let us say that 3 objects are to be allocated to a group. Without looking at the numbers, draw three numbers from the Visual-Objects hat. If these are the numbers 3, 7 and 17, allot the visual objects labelled 3, 7 and 17 to that group. Continue, for each successive group, until all the visual objects have been allocated. c) Proceed in a similar fashion to allocate the Visual Materials, and the Sound Materials to the groups. d) Send the groups off to their rooms, with their allocated materials. 5) USING THE HATS, GIVE INSTRUCTIONS TO THE GROUPS a) Make one copy of the project sheet (see later) for each group. Hand out one copy to each group. b) For the first group… i) Pick a number-token from the Music-Format hat and read it out. The group should write this down at (A) on their project sheet. ii) Pick a number-token from the Qualifying-Format hat and read it out. The group should write this down at (B) on their project sheet. iii) Pick a number-token from the Style/Form hat and read it out. The group should write this down at (C) on their project sheet. iv) Select, at random, any one of the texts provided by the participants (and, if relevant, open it at an arbitrary page). Select one or two sentences of technically descriptive or critical prose and, leaving out any specific terms or storylines, read it out. (The aim is to find a text that might be used as generally descriptive of a ‘performance’ or activity in the widest possible sense … it may take three or four attempts to find a passage that can be used in this way). e.g. “A pair of lacquer-read vases above the bath help impose the discipline of symmetry so apparent throughout the house. Roland had the bath surround made up to his design, and asked for a blond wood to match the surround of the picture on the wall. He loves the picture now, but shamefacedly admits he once made his parents banish it to their attic as far too fusty and old-fashioned.” might become … “…. Impose the discipline of symmetry so apparent round the house …. Far too fusty and old-fashioned.” e.g. “How much simpler it is to be lectured by Shirley Conran in “Lace” (Sidgwick and Jackson, £7.95). She turns out a very professional example of the lucrative school of designer-label fiction, full of snob appeal, brand names, luscious sex and the fashionable themes of incest and sisterhood.” might become … “….a very professional example of the lucrative school … full of snob appeal, brand names, luscious sex and … fashionable themes” The group should write this down at (D) on their project sheet. c) Repeat this process for each group. d) Explain to all the groups that they must use all the materials allotted to them, plus (perhaps) their voices and any musical instruments they may play, and that they must try to interpret the instructions as a serious game plan … and not in a humorous way. THE WORKING DAY During the course of the day, the animateur should visit each group, paying special attention to those who fail to get started (conceptual, personal or other problems). Some groups think for too long - encourage them to try things out. Some people can’t see the point of it all - you have to encourage and enthuse. Some people are too literal – encourage them to think laterally, or metaphorically, or to draw structural parallels with other things. Some people like to be in charge, but this doesn’t always go down well with the rest of the group - try to ensure that everyone’s ideas are at least considered. Also, try to divert participants from ‘obvious’ or mundane solutions … have lots of suggestions, but be careful not to overrule the group, or (continually) particular members of the group … try to develop the ideas from the group members themselves. At the same time groups should not be allowed to avoid problem-solving by “doing anything … it doesn’t really matter”. The task is to transcend the instructions to achieve some kind of original synthesis and produce a coherent end-product. THE PERFORMANCES The final performances should be presented without any ‘explanation’ of what is (supposed to be) going on, what is aimed at, or what the instructions were. The goal should be to make a performance that is coherent in its own right, and regardless of the process that brought it into being. PROJECT SHEET USING ALL THE MATERIALS YOU HAVE BEEN ALLOCATED and, if you need them, materials such as card, glue, string, paint etc. provided by the organiser), and possibly voices or musical instruments, YOU ARE ASKED TO DEVISE ….. (A) ……………………………………………………. (B) ……………………………………………………. ……………………………………………………. EITHER ……………………………………………………. in the manner of ……………………………………………………. ……………………………………………………. ……………………………………………………. OR ……………………………………………………. in the manner of ……………………………………………………. ……………………………………………………. ……………………………………………………. ……………………………………………………. having the following STYLE, MOOD or FORMAT …. (C) …………………………………………………….…………………………………………………….……………………………….. bearing in mind the following …. (D) …………………………………………………….…………………………………………………….……………………………….. …………………………………………………….…………………………………………………….……………………………….. …………………………………………………….…………………………………………………….……………………………….. EACH GROUP WILL PRESENT ITS PRODUCTION TO THE OTHERS, at the end of the day, WITHOUT PRIOR EXPLANATION - 1977 England 157 Stephen Stapleton 1957 3932 images/works/Stapleton-2002-Thunder.jpg Thunder Perfect Mind Personnel Steven Stapleton David Tibet Colin Potter Chris Wallis Rose McDowall Anita Plank Alan Trench John Balance Joolie Wood Clive Graham Konori Suzuki Sleeve Notes Steven Stapleton David Tibet Colin Potter Chris Wallis Rose McDowall Anita Plank Alan Trench John Balance Joolie Wood Clive Graham Konori Suzuki PRODUCED, MIXED and EDITED by S. Stapleton Engineered by Colin Potter I.C.R. Studio, Tollerton, York Winter 1991 Cover by Babs Santini Calligraphy by Geoff Cox Crops falling from the earth to the ceiling These small arms and white belly And enormous undercarriage The wax crayon illuminati Our minds locked in dark sewer Each finding less than before Each counting the warm conclusions Of the six buttons of sex appeal Knowing full well that ice breaks when smoke rises Sucked into a whole The ever floating karma of fried blind dog of the street Our purpose for the one and only Green form eats small headed breaded shrimp Allowing several coats of makeshift lolly On a lolly covered felt Shook with fear from lightning Falling several times in the wrong place Soaking up blindly the wings of our depression Floating up shiny columns of grey green primrose algae The piston awakes to a small tiny fire within himself Forcing the unwanted part of his mind into tiny fractions Each plied with coconut scissors All content, yet somehow familiar to Mothers everywhere Its been days now since my childhood dreams were fulfilled With crystal canyons and opera myths - Its thousand legs dribbling oil like may rain Over all-coloured mortar from way back when This gorgeous thigh is resting under his elbow Reminds me of clotted cream All bloody from strawberry tobbacco juice Hard halo of polystyrene pillow talk Mothers milk cooking in the breat of paisley blue silk Like a mind in labour Bursting the waters of afterlife Drenched in the warm hot river Containing everything and nothing. Thunder Perfect Mind Accessed 24.07.2008 from 2002 England 139 Keiko Uenishi 1976 1728 images/spacer.jpg Aboard: Fillip2 created for a cargo-container. The piece was commissioned by and a part of its Six Sites for Sound. - 2005 England 142 John Wynne 1965 1756 images/works/Wynne-2005-Hearing.jpg Hearing Voices By Clive Bell John Wynne has created a gallery installation by recording the voices of eight speakers of click-languages in the Kalahari Desert in Botswana. The listener is surrounded by eight large portraits of the speakers, each one a photograph suspended in midair, of a person talking very close to a chunky studio microphone. Faces are partly obscured by the mic, and Wynne makes no bones about the vast technological and cultural gap between their world and ours. But photographer Denise Hawrysios portraits are also the loudspeakers through which we hear Wynnes music. Sound shifts around the room and each portrait, as in a fairytale, takes its turn at speaking to us. The click-languages themselves are dizzying in their strangeness and variety. Each sentence, though softly spoken, detonates and fizzes with tiny aural explosions made from every part of the palate or throat. I personally feel inferior to someone who can produce 80 different click sounds, quips a Westerner in Wynnes radio version of the piece. But Wynne underlines the fragility of these endangered languages by only giving occasional glimpses of actual words. The rest of the time we stand amidst a soundscape that he has created from the voices raw material: clicks are processed to generate bell tones, while vowels are massively extended into shimmering drones. The result is an ambient music, calm and beautiful, in which we have space to think about the issues underlying the piece; but it s also a shimmering, ominous sound which conjures the desert itself. This is impressive sound sculpture, in the sense of moulding something new from the plastic sonic material. By reading the translations of what the speakers say we get a sense of their lives - displacement, poverty, alcohol, road accidents, storytelling - but the visual information provided is minimal so we focus firmly on the sound itself. Wynne has also presented his Botswana material as a composed documentary for BBC Radio 3. Here there is a nice tension between everyday village sounds (cocks crow and children call behind a speaking voice) and the musical heat curtain, like a choir of insects, that Wynne has created by processing vocal clicks. His music is strong enough to stand on its own feet even without its context; but the knowledge that it s all been high-tech assembled from the speech of Africans living in one of the most deprived regions on earth gives it an ambivalent, yet almost magical tinge. Then there s a CD-ROM accompanying the gallery show, where a deal of information about the languages ic clearly laid out, and we get to hear the Bokamoso Pre-school Training Project Choir. Their swaying Christian harmonies seem to be driven by handclaps - but no, it s those clicks again. 8-channel photographic sound installation using flat speakers. 2005 England 142 John Wynne 1965 1757 images/works/Wynne-2006-soundcad.gif Sound CAD This piece was impossible to document: it was in total darkness, so there was nothing to photograph, and the sound was inextricably site-specific and dependent on 16 separate channels and a large subwoofer. These images are from the accompanying video installation by Moe Ekapob and Kevin Ling (see below). The sound installation originated in response to a CAD drawing made by Moe, one of the residency participants from the AA (Architectural Association), as an aid to the discussion of what we would do in this space. My initial idea was to try to make the equivalent of a CAD drawing using only sound, starting with a 3-dimensional ‘wireframe’ line drawing to trace out the dimensions of the space and then rendering the walls with ‘sheets’ of sound. The challenge was to find sounds which would remain localised as much as possible to the surfaces of the space but which were also sufficiently distinguishable from each other to allow the visitor to negotiate the space using only sound, in the total absence of light. Kevin Spending a lot of time in the space, I became acutely aware of the sounds from elsewhere in the building which filter through to and resonate in the basement space, so I decided to populate the Sound CAD with sounds recorded by Volker and the AA participants from the building itself. These elements, filtered through my subjective experience of them as I worked in the dark, added a dramatic element to the work which momentarily obliterates one’s ability to navigate the space and is uncharacteristic of my usual practice but it brought the space to life and announced its presence to the rest of the building. Moe2 The video component of the installation is by Moe Ekapob and Kevin Ling, who set out to work back from my ideas of rendering space with sound to investigate the notion of drawing within architectural practice and the perception of space through sound. If space is defined through CAD drawing as light illuminate by the computer screen, can we also use sound in a similar manner? Their animations are the result of incorporating concepts from the realm of sound within the development of architectural drawings. 16.1 channel 2006 England 142 John Wynne 1965 1758 images/works/Wynne-2006-230speakers.gif 230 Unwanted Speakers This 17-channel site specific sound installation was made for Hull Art Lab. Like Fallender ton für 207 lautsprecher boxen it made use of the aural equivalent of an optical illusion, although this time instead of a constantly falling tone, an apparently endlessly rising set of tones was used. The sounds circulating around the outer speakers were synthesised in situ in response to the ambient sounds in and around this former potato warehouse and were designed to blur the boundaries between the real and the synthetic. The sounds used on the central speakers were pure sine tones edited and arranged for 8 channel diffusion. Walnut Grained Vinyl Veneered Particleboard Construction 2006 England 142 John Wynne 1965 1759 images/spacer.jpg Fallender ton für 207 lautsprecher boxen I’ve been collecting speakers on the streets of London for many years. This summer, I filled my car with as many as I could squeeze in – about 45 – and drove to Berlin. Once there, I secured sponsorship from a recycling company and collected another 162 discarded speakers. In the studio, it became immediately apparent that each of these rejected pieces of consumer technology had a story to tell, a history which endowed them with a kind of personality. Although it was far from my original intention, I decided to arrange the speakers in what the curator, Wolfgang Schlegel, described as “a field of social tension” which would suggest a sort of narrative but also draw attention to the personalities of the individual speaker boxes, projected through their design, the marks of use and misuse, the modifications carried out by their owners, and even their smell. The huge speaker which appeared to be emerging from the wall (or was it crashing into it?) must have once lived in a pub, as it was sticky with old beer and smelled of stale cigarette smoke. The sound emerging from it was a set of very slow Shepard Tones, which give the illusion of falling continuously in pitch – forever. This is impossible, of course, because the sound would soon go below the frequency threshold of human hearing: Shepard Tones, as developed by Roger Shepard in 1964, are the aural equivalent of an optical illusion. Circulating through the other 206 speakers in 7 audio channels were fixed frequency sine tones tuned to the resonant frequencies of the gallery, as well as a set of sounds I synthesized in response to the ambient sounds of the building and the surrounding environment. When the falling tones crossed the frequencies of the fixed tones, a pronounced beating occurred as the sound waves moved in and out of phase with each other. Although a story of some sort was clearly suggested by the ‘personalities’ of the speakers and by their arrangement, the interpretation of possible narratives was left open. I wanted to create a feeling of suspension in time, of travelling but never arriving, but I wanted it to remain unclear whether this was a moment frozen in the middle of a disaster, a miracle, or something altogether more quotidian. Consequently, some visitors saw it as a concert hall scenario or a choir, others as a cityscape, still others as a political rally. Although most people immediately saw the humour of this absurd gathering, after a time some found the atmosphere contemplative, others unsettling. Associations were made with the Jewish Memorial in Berlin, with 9/11 and with wartime bombs. At the opening, Ulrich Jansen spoke to me about how strongly this collection of speakers brought back memories of all the music he’s heard in so many different places in his life. After my return to London, he emailed me the following thoughts: Speakers - there are really a lot of them during my life. Some of them I could have said were mine, some of them I wanted to own and some of them I really didn’t even want to touch. At the age of 16, I had a girlfriend whose parents had an open living room with an open fireplace and a classic big stereo. Sometimes if her parents were not home we played some of our stuff (I was into Rory Gallgher), and it was cool to hear the difference between my own little Universum Stereo Compact Amplifier System and this really big one. One day just before her parents were due to come home, I had this thought that if her parents realized that we played our music on their stereo, they might think that the speakers could go out of tune - I mean really get out of tune like a instrument. In our kitchen we had a little radio 40x15x15 cm and my father was very proud of it. It was made of wood imitating plastic. All day this little cube was yelling the news - there was very little bass and the high frequencies where a bit cut off. Sometimes we changed the station and with a little luck they played Popcorn. As trashy this song was, it was perfect for this kitchen radio. With the first money he earned, my brother bought himself 2 big Dual drei weg Boxen - 3-way speakers, wood or wood imitation, who knows. After a few months I found him in father’s workshop in the basement opening these speakers with a screwdriver, and there was something else inside this cube, a kind of rockwool, like house insulation. Later I heard that the real ones use sheep’s wool. Text by John Wynne and Ulrich Janson Falling tone for 207 speakers 2004 England 142 John Wynne 1965 1760 images/spacer.jpg James Kamotho Kimani The starting point for this piece is the voice of James Kamotho Kimani from Kiambu, a member of the Kikuyu community living in Nairobi. When I was introduced to him I recorded the brief ‘speech’ he made - half in Kiswahili, half in English - welcoming me to Kenya and enjoining me to “give greetings to people on your side”. This piece is my way of passing on those greetings and of thanking him for his hospitality. As phatic statements the greetings also interested me because they signify little more than the act of greeting: they symbolise the relationship between visitor and visited and are thus already some half way between language and pure sound. Back in the studio, listening to the recording of James, I was struck by the extraordinary depth of his voice and developed the idea of taking these utterances still further in the direction of abstract sound while at the same time using rhythmic composition as a means of anchoring them to their context. - 1995 England 141 Cathy Lane 1955 1767 images/spacer.jpg The Memory Machine The Memory Machine is a context, people and site specific interactive sound installation. It has been developed as a collaboration between two composers, Cathy Lane and Nye Parry who share an interest in sound, oral history, and memory. The Memory Machine is an ongoing project, which, at the time of writing, is part of the British Museums 250th anniversary exhibition entitled The Museum of the Mind; Art and Memory in World Cultures. Visitors contribute to the Memory Machine by leaving a memory via a telephone situated in the main part of the exhibition. These memories become part of an ever changing soundscape which mixes the personal memories supplied by the visitors with archive material. As they play back the memories are fragmented and transformed with different kinds of musical and sound manipulation processes and the result is heard in multi channel playback at the entrance and exit to the exhibition. This memory mix may stimulate and unlock other personal memories which will either be fed back into the Memory Machine or stimulate a mental space for reverie and remembering, stimulated by power of sound.. Accessed 15.11.06 from - 2002 England 141 Cathy Lane 1955 1768 images/works/Lane-2004-hiddenvoices.jpg Hidden Voices with choreographer Rosemary Butcher and video artist Martin Otter - 2004 England 141 Cathy Lane 1955 1770 images/spacer.jpg Scan with visual artist Vong Phaopanit - 2002 England 141 Cathy Lane 1955 1773 images/spacer.jpg Hidden Lives using material from the sound archives of Hackney Archives and Hackney Museum Commission 2003 England 137 Vicki Bennet 1990 1777 images/spacer.jpg The Remote Controller - 2003 England 137 Vicki Bennet 1990 1778 images/spacer.jpg We Edit Life - 2002 England 13 Paul D. Miller 1974 1779 images/works/Miller-2006-rebirth.jpg Rebirth of a Nation - 2006 England 137 Vicki Bennet 1990 1780 images/spacer.jpg Resemblage reworking The Luxs film archive - 2006 England 57 Iris Garrelfs 1969 2299 images/spacer.jpg Performance Project with Alexander Selski - 2006 England 9 Max Eastley 1946 1785 images/spacer.jpg Plants and Ghosts Siobhan Davies Dance - 2002 England 9 Max Eastley 1946 1786 images/works/Eastley-2004-buried.jpeg Buried Dreams with David Toop. 20-page booklet is printed on a mixture of normal and tracing paper and contains images by Max Eastley and paragraphs of fantasy prose by David Toop. Tracklisting: 1 Decoys and Scarers (4:58) 2 Burial Rites (8:03) 3 Life Without Movement (2:54) 4 Tsuji (0:55) 5 City Of Night (8:21) 6 Ignorance Of Distance (0:47) 7 Buried Dreams (5:21) 8 Cave Of Inscription (5:11) 9 Telematic Nomads (8:20) 10 Rising Up Before Us Like Things (6:12) - 1994 England 9 Max Eastley 1946 1787 images/works/Eastley-2004-doll.jpg Doll Creature with David Toop. Doll Creature is Max Eastley and David Toops first recording since 1994s Buried Dreams and only their third since 1975s New and Rediscovered Musical Instruments. Both are criminally long out of print. Buried Dreams in particular was a brilliantly rich and allusive mesh of strange ambiences, field recordings and samples - the result of a cumulative file exchange process conducted over a significant period of time. Doll Creature is at first hearing much more spare than before; if its composers have spent as long on its composition as its predecessor, then they ve been doing a lot more stripping away this time. Much of the action appears to take place at the microscopic level, as if watching insect movements under a magnifying lens while simultaneously listening via very sensitive microphones. Close by: the scurrying of ants racing to repair a nest; there: the clack of stones moved by stag beetles; there: the rubbing of metallic moth wings scraping against a mesh-encased lightbulb. Doll Creature appears to be a sonic catalogue of purposeful movements, undertaken with mysterious objectives in mind. These movements involve the sound of natural materials such as rock, wood and textile grazing which are knocked and scraped against each other. Where does this darkness originate? Toop s tone in both his written and sonic work tends towards the lugubrious, so too with this release which might might make a fitting soundtrack to Jan Svankmajer s Alice or the Brothers Quay s Street Of Crocodiles . Doll Creature is haunted - or possessed - by a plethora of sounds, both natural and artificial: from the hum of pylons to the calling of spirits, to what might well be snoring (a truly uneasy sound if ever there was one, the sound of the animal body unconstrained by consciousness). It intermittently feels like witnessing an archaeological dig at night --bones or artefacts half hidden, half revealed after the endless, patient brushing away of earth and dust. Buried Dreams came with oblique texts written by Toop (which can still be found on the Hyperreal website). So too with Doll Creature, whose sleeve carries a story of sorts: Doll Creatures drags his feet through salt marsh and leaf fall, skrikkk... skriikh, calligraphic tracks unfolding in his wake, blown into broken lines by harsh winds from the north. Seasons tick, sun falling like a slow fire bomb, moan rising as a ghost, in the reflection of a glass eye... It might be too obvious to interpret these soundscapes as mere accompaniment to the text. It s preferable to think of the two elements as parallel narratives, intersecting at points and then diverging again. Doll Creature is uneasy, unsettling listening. The dialogue between the two makes for a richer, more volatile experience which resists easy absorption, instead demanding concentration and a form of internal surrender. This resistance is an attractive quality: Doll Creature does not give up her (s/he changes gender partway through the text) secrets easily, but if the effort is made she ll gradually nestle herself into your ribcage. Whatever the nature of her secrets, they re surely only to be sought after sundown: a sort of sonic twilight is the brightest it gets. The listener would be well advised to take care when navigating these spaces. There s no knowing what other forms might be encountered in the darkness. Reviewer: Colin Buttimer . Accessed 7.11.06 from - 2004 England 9 Max Eastley 1946 1788 images/spacer.jpg The Ship Im a musician and a sound artist, and Im here on the boat to collect as many different sounds as I can: sounds the ship makes, water sounds, birdcalls, seal songs, that kind of thing. I do an awful lot of recording all over the place and I ve never heard anything like the sounds I ve heard on this voyage. We went to a kittiwake colony - a huge city of seabirds all nesting on the side of a cliff - and that was absolutely fantastic. (Max Eastley, Cape Farewell 2003 Voyage) - 2003 England 9 Max Eastley 1946 1789 images/works/Eastley-2005-glacial.jpg Glacial Sound-scape - 2005 England 20 Kim Cascone 1964 1792 images/works/cascone-200x-hidden.jpg with hidden noise with Keith Rowe. Kim Cascones brand of abstract electronica is as hand crafted as it gets. He writes his own software routines, creates his own patches and probably knits his own mousemats in an attempt to break free from the traps of making the same noises everyone else does. Perversely, this almost molecular level of control allows Cascone to build more chaos into his tools, and generate systems that operate under their own rules. His background as a film sound designer (most notably for David Lynch) might lead you to think of his music as being cinematic, but it really isnt (unless its film of cells replicating or some amino acids getting it on). On the face of it, his hookup with AMM guitarist Keith Rowe may seem unlikely, but Rowe s recent work with laptop ensemble MIMEO and Cascone s collaborations with guitarist Kevin Drumm point to the common ground this rather lovely square 3 CD maps out; though not a collaboration in the usual sense (Rowe gave Cascone a live recording to work on) there is a sense that the two mens worlds are meeting in the middle. On the single track, Cascone spins out a dronework of resonant buzzes, pulses and indistinct voices from his source material. Of course, Rowe is hardly the most conventional of guitarists; played flat on a table, the strings are alternately caressed, rubbed and thwacked by fans, brushes, bowes and knives in an aesthetic that would give Hendrix nightmares. Fed through Cascone s DSP wizardry, Rowe s guitar transmutes into gentle, hollow drones, fractured by tiny sounds like the cracking of ice; Cascone treats Rowe s occasional eruptions with windtunnel ambience, trailing off in fizzy distortions or chiming sinetones. Its dark, atmospheric stuff, like a field recording of sunspot activity or insects building nests inside an electricity substation, strangely meditative yet slightly unsettling. Give yourself up to it and its a deep, deep listen; when it s over the rain on the window or the hum of your fridge sound different, stranger, louder. Recommended. Reviewer: Peter Marsh Accessed 7.1.06 from check released date 2000 England 137 Vicki Bennet 1990 1798 images/works/Bennet_PLU-200x-britannica.jpg Recyclopaedia Britannica Surely if anyone could possibly be next in line John Oswalds plunderphonic crown, it must beVicki Bennett (aka People Like Us). With a background that includes work on labels like Staalplaat, Audioview and Solielmoon,shes been at it for a while now andluckily for us, somebody has finally seen fitto collect some of her best material and release this excellent and often hilarious best of compilation. While having worked closely with a variety of artists and musicians, including renowned American audio terrorists Negativland, the past few years have really seen Bennett come into her own; forging a path that heads boldly forward rather than just looping an endless circle. She challenges the cultural elite and thats exactly why we love her. For those unfamiliar with Bennett s work; imagine hearing a dj mix where the record changes every 2 seconds, mixingobscure German polka, children s records, BBC Radio Sussex, 80s synth pop, spoken word self-help programmes, radio call in shows, bad jazz records etc;everything and the kitchen sink has been re-assembled, re-arranged and re-interpreted to create a world that makes Alice in Wonderland look basically like, well Milton Keynes. Often with music like this, it s very easy to get caught up in the whole postmodern pseudo-intellectual diatribe of plunderphonic cut and paste aesthetics. For Bennett, however, her sense of humour is what really shines through. Instead of getting all heavy on us - she basically tells us what we already know - that fart noises, kazoos, yodeling and obscure German polka will always be funny, no matter how many syllables you prefer in your conversation. Bennett has continued to impress us with her technical ability and her wonderful sense of the ridiculous, especially when it relates to her particular world view of British culture (and let s not forget her brilliant cut ups from the Happy Valley Ranch). Recyclopaedia Brittanica is a wonderful release that should be a must for cut and paste connoisseurs everywhere, and like crisps - once you start indulging, you won t be able to stop. And let s face it - anyone who not only wrote but wholeheartedly admitted to writing adoring fan letters to Marc Almond and Genesis P-Orridge can t be all that bad, can they? Reviewer: Olli Siebelt . Accessed 7.11.06 from chk release date 2002 England 13 Paul D. Miller 1974 1799 images/works/Miller-2004-rhythm.gif Rhythm Science Do you fancy listening to e.e. cummings declaim against a backdrop of beats mixed down alongside Gertrude Stein set to DJ Wally? Are you waiting to hear Gilles Deleuze ruminating over Brion Gysins violin laid over Nicholas James Bullens doomy bass-scapes or Kurt Schwitters mingled with Bill Laswell and Scanner? Then grab your hat and wait no longer because DJ Spookys been given the keys to the Sub Rosa vaults and here he is with Rhythm Science, Excerpts and Allegories From The Sub Rosa Audio Archive. Do you experience a shiver of pleasure at the prospect of negotiating such peaks and troughs of high and low culture? Are you recoiling in horror at the sacrilege of such a conceit? Is the result respectful or insulting, ridiculous or sublime? Well, maybe it s a mix of all those, and a manifesto worth assimilating. This musical and sonic mix raises a lot of questions, and for once that s no oxymoron. Rhythm Science weaves cultural and temporal streams together to create a vivid, shifting tapestry of flow. In so doing he stakes a powerful claim to the democratising powers of the mix. For Spooky the mix form is ...a temporary autonomous zone where any sound can be you. The mix is all encompassing... Over the course of thirty three tracks and seventy eight minutes he undertakes an exposition of ebb and flow that surrounds the listener with an ever-circling, ever-mutating procession of character, shapes and rhythms. The range of voices alone make for fascinating listening: Gertrude Stein s If I Told Him, A Completed Portrait Of Picasso is a live looping, self-sampling wonder, Apollinaire is almost lost in static and William Burroughs is his irrascible, sage, ever-recognisable self. Some of the cultivated accents heard through the crackle of time convey notes of pathos, others weariness, vitality and so on. Such wonderful voices speak through the medium (sic) of electricity and the DJ. An oft-levelled criticism aimed at Spooky s output is that his rhetoric has too often outweighed the substance of his musical output.It s an argument that is disappointingly difficult to refute. However with Optometry and now Rhythm Science his work has grown to become challenging and engaging. Coincidence or not, the copious liner notes on this release are remarkably readable, witness: Stories have always fascinated us, and I guess that s why we use music to communicate so many of the things that we can t seem to get out in other ways... Rhythm Science begins and ends with Sussan Deyhim, underlining the circularity of the project. Consider placing this mix alongside Coldcut s seminal Journeys By DJ on yourshelf. Reviewer: Colin Buttimer .Accessed 7.11.06 from Yoshio Machida Afterimage mixed w/ Sussan Deyhim The First Reading / Tibetan Evening Music / Nuuk Posse Poesi mixed w/ Antonin Artaud alienation et magie noire / Dj Grazhoppa Milky Remix of Bill Laswell / Directions Encode mixed w/ e.e. cummings Let s From Some Loud Unworld s Most Rightful Wrong / Dj Wally Zeta Reticulli mixed w/ Gertrude Stein If I told him, a completed portrait of picasso / Charles Hayward Accidents and Emrgencies (instrumental) / Bill Laswell Oscillations (Vedic s live pop remix) / Vedic Kali Rising mixed w/ Tristan Tzara pour compte (phases, 1949) / Oval April Remix mixed w/ James Joyce anna livia plurabelle (finnegans wake) (needs to be louder....) / Oval vs Yoshiro Hanno April Remix and Oval vs Main SDII Audio Template / David Shea Satiricon mixed w/ Marcel Duchamp some texts from a l infinitif / Scola Hungarica Sanctus" / Jean Luc Fafchamps "Chrysanthemum haradjanii" mixed w/ Meira Asher and Guy Harries "Girl" / Darba Del Hameni "Jilala de Tangier" / Jean Luc Fafchamps "Ground" / Seefeel "Is It Now?" / Dj Wally "Bitchley s Kow Korn" mixed w/ "In Principio - extract from Easter Nocturnal Liturgy" / Scanner "Fuse" / William S. Burroughs and Martin Olson "The Five Steps" / Kim Cascone/Scanner "Atavistic Endeavor" / Scanner "Control Phantom" / Merzbow "Lux Automobile/Krokodil Rock Mix" / Yoshio Machida "Afterimage" mixed w/ Vladimir Maiakovski "Aventure Extraordinaire Arrivée a Vladimir Maiakovski, en été a la Datc" / Claude Debussy "d un cahier d'esquisses" / David Shea +Tobias Hazan "memoires d'un surfeur au bord du désert" / Disjecta "Bad Day for Wasps" / Matik "Indigo" / Giancinto Scelsi "Suite number 11" / Bill Laswell with Trilok Gurtu "Nothing" / Luciano Berio""Brin" mixed w/ Laswell's "Dislocation" / Brion Gysin "One Night @ the 1001" / Tibetan Evening music / Jon Hassel "Map of Dusk" / C.M. von Hausswolff "With the Flow Against The Current" / Jellaba Titara "Gnaoua De Abenb Binizi" mixed w/ Guillaume Apollinaire "Pont Mirabeau" / Nicholas James Bullen "Again and Again""mixed w/ violin from Brion Gysin recording "at 1001" / Gilles Deleuze "Mille Plateaux" / Nûs "lament" drum break mixed w/ Morton Feldman "Triadic Memories" / Nûs "lament" drum break mixed w/ David Toop "Tricyrtis Latifalia" / Mouse on Mars "Subnubus " / Lee Reynaldo's remix of ""Konstantin Raudive" / Patti Smith "Morning High" / Sussan Deyhim "The Last Reading" - 2004 England 9 Max Eastley 1946 1802 images/spacer.jpg - - 2000 England 9 Max Eastley 1946 1803 images/spacer.jpg Wind Flute Sculpture - 1999 England 9 Max Eastley 1946 1808 images/spacer.jpg Exhibition (details unknown) - 1987 England 9 Max Eastley 1946 1809 images/spacer.jpg Exhibition (details unknown) - 1986 England 9 Max Eastley 1946 1811 images/spacer.jpg Exhibition (details unknown) - 1980 England 9 Max Eastley 1946 1812 images/spacer.jpg Exhibition (details unknown) - 1979 England 9 Max Eastley 1946 1813 images/spacer.jpg Exhibition (details unknown) - 1976 England 9 Max Eastley 1946 1822 images/spacer.jpg Untitled live show - 1997 England 9 Max Eastley 1946 1829 images/spacer.jpg Untitled live show - 1995 England 9 Max Eastley 1946 1832 images/spacer.jpg Untitled live show - 1993 England 9 Max Eastley 1946 1836 images/spacer.jpg Whirled Music - 1980 England 9 Max Eastley 1946 1837 images/spacer.jpg Circadian Rhythm - 1978 England 9 Max Eastley 1946 1838 images/spacer.jpg On The Edge Dir. Jeremy Marre, series on improvisation BBC2 1992 England 9 Max Eastley 1946 1839 images/spacer.jpg The Pool dir. Jayne Parker - 1991 England 9 Max Eastley 1946 1840 images/spacer.jpg Clocks Of The Midnight Hours: The Work of Max Eastley - 1990 England 9 Max Eastley 1946 1841 images/spacer.jpg Water Wrackets dir. Peter Greenaway - 1979 England 9 Max Eastley 1946 1842 images/works/Eastley-19xx-TheArc.jpg the Arc Max Eastley: Images of Sound Interview by Fergus Kelley. (Avant, late 1997) Tell me about the instrument that you play – how you came to create the Arc? It actually started life as a sculpture, well, one of a series of sculptures – very large flat wooden bow shapes pulled into tension by steel strings which were fixed in trees and played by the wind. They were about ten feet long with metal resonators and purely acoustic. They had just been exhibited outside the Scottish National Gallery of Modern Art and I had them in my studio when Hugh Davies asked me to perform with him in a gallery where we were exhibiting. I just took one along, struck the string and flexed the bow, changing the pitch. Its ancestors are the musical bow, the Tromba Marina, which was alleged to have been used for signalling between ships, and the monochord, which is used to demonstrate the harmonic series. Subsequently I adapted one of the originals: made it smaller and in two halves so that I could transport it, put on a magnetic pickup and amplified it. That’s the basic form. The pitch range is much larger than conventional stringed instruments. You can pluck and bow the string, stop the string along its length and change the pitch by flexing the body of the instrument, so that quarter tones are possible. It’s very subtle, definitely not tone/semitone, it’s more like a voice. Add digital effects and you have a formidable array of resources. I’m always finding new things, it’s like another planet. It almost plays itself – maybe it remembers its beginnings as an Aeolian Harp. In what contexts do you use it? As a solo instrument in live performance and in recordings. I used it almost exclusively when I toured Japan with David Toop, and it features on our album Buried Dreams. I have just used it for a project with Martyn Bates recording Songs of Transformation, which are songs from the collection known as the Child Ballads. This sounds like an unusual departure? Well Martyn has already recorded two albums of murder ballads with Mick Harris, and he contacted me as he heard I was familiar with the Child Ballads. We exchanged tapes, arranged some meeting and recorded eight of them in one day. The songs were not radically changed in text or melodic line, but I improvised on the bow with some additional tapes of my installations. They sound very far away from the usual folk song genre? We tried to re-emphasise what is there already which is chilling, dark, beautiful, and frightening all at the same time, like a dream. It felt to me that I was painting psychic landscapes in which the voice unfolded these extraordinary narratives. Accessed 7.11.06 from - 1997 England 9 Max Eastley 1946 1844 images/works/Eastley-2003-pangeia.jpg pangeia instrumentos victor gama with max eastley and heitor alvelos. instruments onstage, three of them, with 200 people waiting. sculptural driftwood in low light, no sound. just an empty stage that looks like theater set with three of them waiting. and to be fair, they are a performance in themselves. i’d bought the album and knew the sounds, but their appearance is remarkable. one is based on a ceramic vase, with a glowing cover and little stacks of metals rings – a hollywood cast-off from some aztec version of a clockwork orange that never made it to the big screen. and the other two are strange wooden towers – with huge seed pods as sound chambers, with catgut stretching like guy ropes from the sky, bamboo and twine salvaged from the forest floor. after a while, victor gama walks on and sits cross-legged behind the small vase, and puts his fingers in his mouth. for the next ten minutes he sits there, rubbing spit on the top of the vase, setting off deep vibrating resonances, mucking about with little squeaks and the groaning frictions of thumb and glass. skip forward another ten minutes and the air is twittering jungle temple gongs in an asian halflight with nothing but the silence beneath him. skip forward half an hour and he is striding voodoo around one of the towers, striking the sides with twigs and branches, as blurring projections of birdflight and burning lines move behind him, as a stage-left eastley sits pulling more sounds from one amazonian bow that seems possible or even likely. a lot happens for one review. in press releases for his album, victor gama talks about how the very fact of building these instruments is central to the creative process, the character of the instruments defining the music that comes out – and you can see that, as he moves between the various instruments, they seem to lend themselves to certain moods and rhythms, shot through with flamenco, gamelan and myriad other influences. the fascinating thing is the diversity of the sound within this coherent whole, the subtlety of expression and tone – the way the ideas develop and reform in the space between the cyclical modulations of gama and max eastley’s strange sound games, leaving you no time to remember, but just to smile at the sheer poise and single-minded elegance of the whole beautiful thing. and then, near the end, he stops, walks to the front row and gives four people sticks, holds their hands, leads them unto the stage... it starts as an embarrassing moment – after an hour and a half this, to introduce audience participation feels like some panto gimmick. but i’m wrong – this is the best bit. he hits the strings at different points to show them how to make different notes, hitting the seed pod in the middle to demonstrate the percussive beats showing them the possibilities. and they start playing, disparate and self-conscious, and then victor gama leaves the stage – the rest of the people look confused, but eastley keeps playing, and so they do, and gradually a magic happens – they develop their own rhythms and synergies and within five minutes, something comparable to gama’s great arrangements is being rolled out by people who’ve never played the instruments before. that such complete artlessness can create a passable performance is astounding, and completely based on gama’s own self-effacing artfulness: creating the raw materials for others to surprise themselves with their own ability. it is a beautiful moment. victor gama and the pangeiart project are all about re-establishing connections – the various returns to various pangeias. re-establishing an identity for kongo and angolan music through collective performance, using music to bring together those divided by war, and, in the context of the rephlex gang, remaking the connections between the acts of physical creation and musical performance. and all of this is only worth saying because the end result is so compelling, so direct and affecting, but it is worth saying. in a context where music is being produced from every corner with little aim beyond itself and an inward-looking music industry, the industrious craft of victor gama is an important exception. here’s hoping the workshops of pangeia remain busy for many years to come. david j gunn. Accessed 7.11.06 from - 2003 England 131 David Cunningham 1954 1848 images/works/Cunningham-2005-exterior.jpg Exterior There are two microphones and two loudspeakers in the space. The sound of the space is magnified, amplified in real time. Apart from what was already there, the space is empty. This work responds acoustically to the physical proportions and dimensions of the space and also to the physical presence of the spectator, integrating the object of the work with its subject. This self referentiality is central to the installation - sound isnt used to illustrate, it is the idea in itself. Fragments of sounds within and outside the space are sucked in and relocated, bounced around the reflecting surfaces of the basement area. As with The Listening Room and other installations documented on this website, the system is arranged in such a way that when the microphone and loudspeaker begin to feed back the amplitude of the sound causes the noise gate to cut off the signal. The feedback notes resonate through the space accentuated by the reflective surface. As the sound falls below the threshold of the noise gate the system switches back on and the process continues. This double system consists of two systems, electronically separate within the same acoustic space. The electronic part of the chain is independent but the acoustic part of the chain is interdependent - the two systems hear and react to each other in ways that are not entirely predictable. The system will assimilate and adapt to any sound made in or near the space. - 2005 England 131 David Cunningham 1954 1853 images/works/Cunningham-2003-straightline.jpg Where a straight line meets a curve (with Karen Mirza and Brad Butler). Where a straight line meets a curve is a durational sculpture, of real and imagined activity shot entirely in one room. It is a film concerned with the objective reduction of space, a film about the recording and representation of space and the politics of the viewing space of film itself. Projected onto two adjacent screens, the visual material is constructed so that light and colour form relationships between and across screens continuously, redefining the viewers perception of the space presented through the images. Time is measured out in ways analogous to the coming and going of the everyday, exposing the passing of time to a (continuous) present. The work questions the usual strategies of the viewer, mediating between the mental image, the dimension of physical space, and the illusionistic space of cinema. The sound is constructed from the speech of the filmakers within the space broken down by a process of re-amplification and re-recording to a point where the resonant frequencies of the space have an equal value to any spoken content. A structure of loops and phase patterns internally resonating both within the filmic space and in parallel with the textual content of the intertitles. Through the framing and re-framing of images and the constructed relationship of sound, text and image, the film creates perspectual shifts and unexpected confrontations that confound our usual way of distinguishing between the actual and the representational. The often unacknowledged aspiration of the American avant-garde film has been the cinematic reproduction of the human mind. Structural film approaches the condition of meditation and evokes states of consciousness without mediation, that is, with the soul mediation of the camera - P. Adams Sitney. Karen Mirza is an influential figure in artist film and video, known both for her work and her curatorial practice. She has recently been appointed a director of the new LUX organisation, and has been a tutor in film and video at the Royal College of Art for several years. Her work has been screened at the Tate Modern, Dokument/Art Film Germany, the National Film and Television Theatre ? ‘Other British Cinema’, The LUX centre ‘Monuments and mise en scene’ where it preceded Kubrick’s ‘A Clockwork Orange’, the Whitechapel gallery and festivals in Australia, Holland and Germany. Karen recently completed a new body of work, ‘site/non site’ at Goliath visual arts space in New York. And is set to follow this with a site-specific project in Australia 2003. Through her activities as a spokesperson for experimental film, Karen has been asked to present her work at screenings in Paris [Dec] Berlin [Nov] and India [Jan 2003] as well as crating an evening for the London Film Festival. In collaboration with David Cunningham and Brad Butler, Karen is currently launching ‘where a straight line meets a curve’, her second film financed by the Arts Council. Brad Butler graduated from the Royal College of Art with an MA in Documentary Direction. He also has a first class degree in Anthropology from UCL. His documentaries have been screened on Channel 4 and the BBC, as well as the ICA, NFT, Hedah, Amsterdam. Mute Loops, D-Net, The Lux Centre for Film, Video and Digital Arts. Instit. Francais d’Architectur, Paris. Architecture Film Festival, Rotterdam, BBC British Short Film Festival, London. Experimenta Media Arts, Melbourne, Australia. New British Cinema, Cinema de Balie, Amsterdam, The Tate Gallery, London and multiple festivals across Europe and the US. In September 2000 he won and headlined BBC2’s talent 2000 competition, as well as winning the National Student Television Award in 1998. Brad has just directed his first feature length documentary in the US entitled ‘`The Tunnel’ to be launched in Dec 2002. Brad is actively linked to the DocHouse initiative in London and is co-curator of the light reading series. In 1998 Brad Butler and Karen Mirza established Building on their training as film specialists, their vision was to create a cross-disciplinary, multi platform studio for experimental film. have grown to become major activists in this area and have recently been asked to manage ‘Artslab’, a not for profit professional studio dedicated to film as a fine art practice. Artslab is set to launch in January 2003 and will be the only lab in the U.K. to offer the filmmaker hands on manipulation of the film negative in post production and will be a central meeting point for Independent filmmakers interested in the preservation of the film form. Where a straight line meets a curve - the musicology: The soundtrack is based around a vocabulary derived from key works by Alvin Lucier, Pauline Oliveros and Steve Reich. Three processes - why are some of these viable as music and others only seem to have survived as a historical one-off? Lucier developed the multiplication of room resonances in his I am sitting in a room (1970). This work is a self-sufficient statement which defines and initiates this process and leaves it to continue indefinitely. It is so conceptually well defined that subsequent use of this technique (particularly involving spoken voice) would appear to be rendered redundant. The particular circumstance of Where a straight line meets a curve was that all the film was shot in one room. During the filming Karen and Brad initiated a process of recording and replaying sound through the space as an attempt to further explore the physical, filmed and recorded space. Revisions of the spoken and textual content during the construction of the film/installation led me to appropriate this technique and use it in an attempt to bind the the spoken content to the visible space. This is aside from issues of how difficult it is to work musically with this process. Long durations are a prerequisite and all harmonic movement is predetermined. Without severe disruption to the process this is not a conventionally malleable musical vocabulary which perhaps explains my perception of the vocabulary as a historical one-off. The multiplication of room resonances in this work was developed through computer modelling of room acoustics, techniques initially developed for testing my installation work. In sections of Where a straight line meets a curve the basic model of the spatial acoustic is multiplied many times, allowing the resonant frequencies to articulate the source material - rather like exaggerating the sound of the space so much that it becomes a bell. David Cunningham 2003 - 2003 England 131 David Cunningham 1954 1857 images/works/Cunningham-1997-opensquare.gif Open Square Michael initiated Lydd/Galleri, a gallery working with sound and music based around the construction of a system of 25 loudspeakers built into the paving of a section of the enormous city square near the City Hall. The speaker system is driven from a small studio space underneath the square. Each individual speaker is under the control of an automated routing system from a control and routing system in the studio. For Open Square a microphone was positioned about 150m away from the speaker grid and the amplified sound of the square was fed to the speakers in real time. This gentle amplification was programmed to fade in and out in irregular intervals, one moment it would be there, another not. This situation allows an awareness for the casual visitor that something is very different acoustically. Often a minimal and subtle presence, the results could be at times startling - a loud bus starting up near the microphone position - the City Hall clock chimes with an audible and distinct delay - a sudden invasion of invisible pigeons. - 1997 England 131 David Cunningham 1954 1858 images/spacer.jpg The Listening Room - 1994 England 96 Trevor Wishart 1946 1896 images/works/Wishart-197x-sonicart.jpg On Sonic Art - 1975 England 96 Trevor Wishart 1946 1897 images/works/Wishart-197x-audibledesign.jpg Audible Design - 1974 England 120 Jonty Harrison 1952 1898 images/spacer.jpg Klang The title (Klang is the German for sound) reflects the onomatopoeic nature of the family of sounds providing the raw material for the piece - sharp, metallic attacks with interesting resonances rich in harmonics. The real starting point for Klang was the discovery of two earthenware casseroles, the sounds of which were recorded in the Electroacoustic Music Studio of the University of East Anglia during the summer of 1981. Material of two kinds was recorded - attack/resonance sounds made by tapping the lids on or in the bowls, and continuous rolling sounds made by running the lids around the insides of the bowls. Different pitches resulted from the various combinations of lids and bowls, and different qualities of resonance emerged according to the attack position. The microphones were placed very close to the bowls to maximise the movement within the stereophonic image. Other related material, accumulated over the previous three or four years, was also used. This included both concrete sounds, such as cow-bells, metal rods and aluminium bars, and electronically generated sounds, both analogue and digital. The final impetus to compose the piece came in June 1981 when the composer was invited by Janos Decsenyi of Magyar Radio to work in the Radios Electronic Music Studio in Budapest. As studio time would be limited he was advised to take a certain amount of taped material with him; the two weeks prior to the visit were therefore spent in preliminary work in the Electroacoustic Music Studio of The University of Birmingham. Most of the opening two sections of the piece were composed before going to Hungary. Although continuous, Klang falls into six short, fairly clearly defined sections:- 1. Introduction 2. Development 1 - duet 3. Development 2 - interruption of duet and increase in complexity towards the first climax 4. Development 3 - relatively static section 5. Development 4 - proliferation of material from Development 3 into glissando structures; build-up to the second 6. (main) climax, and slow release to: 7. Coda The listener can trace the development of the material from raw statements of casserole sounds in the Introduction, through more complex, highly transformed events in the four Development sections, back to the opening sound-world in the Coda. The most obvious transformation technique is mixing, using only slightly transposed versions of simple sounds. Besides mixing and transposition with tape recorders and a harmoniser, the main modifications were achieved by filtering and, most important of all, montage. This last technique is the principal means of controlling the timing and rhythmic articulation of the material and its organisation into phrases (which may be a single line or a mix of many layers which are edited together into the desired sequence). Klang was commissioned by MAFILM and composed in the Electronic Music Studio of Magyar Radio in 1982. It was awarded Second Prize in the Analogue Category of the Bourges International Electroacoustic Music Awards in 1983. It has been performed and broadcast in many parts of the world, including at the 1984 ISCM World Music Days in Toronto, Canada. It appeared on the UEA record label and has just been released on CD on the NMC label (London). In 1992 it was awarded a Euphonie dor at Bourges as one of the twenty most significant works from two decades of the Bourges Awards. Commission. saucepan-sampling, tape 1982 England 120 Jonty Harrison 1952 1899 images/spacer.jpg Sons transmutants/sans transmutant Commission forbrass quintet 1983 England 120 Jonty Harrison 1952 1900 images/spacer.jpg EQ EQ is the third in a series of works featuring saxophones: Q (1976) for soprano saxophone, string trio and electric organ explores the musical implications of cue (a signal to begin a musical event), queue (the players sit in a diagonal line across the stage) and Q (the width of a tuneable band of frequencies - in a filter, for example); SQ (1978-79) for saxophone quartet addresses space and the theatricality of performance; EQ (1980) for soprano saxophone and tape (perhaps more accurately described as a tape piece with soprano saxophone obbligato) revisits some of these concerns, particularly cue (the interaction of saxophone and tape), Q (a sweeping filter can be heard producing melodic material out of static harmony), spatial articulation and the physical and theatrical aspects of performance. Also, EQ is studio slang for equalisation - essentially sophisticated tone controls, and a fundamental device for sound modificaton in the studio. EQ was commissioned by John Harle with funds made available by the Arts Council of Great Britain; the tape was made in the studios of the University of York and City University, London. It won First Prize in the Mixed Category of the 1981 Bourges International Electroacoustic Awards and appeared on the Electrecord label, performed by French saxophonist Daniel Kientzy. It was re-recorded by Stephen Cottrell at The University of Birmingham (assistant engineer: Alistair MacDonald) for a CD on the NMC label (London). . 1981 Bourges International Electroacoustic Music Awards, Bourges, France - First Prize, Mixed Category soprano saxophone and tape - music theatre 1980 England 120 Jonty Harrison 1952 1901 images/spacer.jpg Articles indéfinis Contains the following pieces * Pair/Impair (1978) 11:48 * ainsi de suite... (1992) 19:17 * Unsound Objects (1995) 12:59 * Aria (1988) 10:54 * Hot Air (1995) 22:12 Just over twenty years ago, after a 45-minute introduction to the studio, I set out on a journey in the electroacoustic domain. As I was about to progress to a composition doctorate, I felt that I should know something about how electroacoustic music fitted into the broader picture of composition. I soon realised that it was more a question of how instrumental composition fitted into the broader picture of working with sound! The field of possibility in the electroacoustic medium being more or less infinite, the old certainties of the act of composition can no longer be sustained. Composing can no longer be restricted to formulating abstract relationships between material drawn from a limited array of musical sounds via an intermediate system of graphic (visual) symbols - a formulation which is frequently more firmly rooted in notational (notatable) relationships than in the perceivable relationships of sound. No - in the studio one works with sound itself and tests the results on that most fickle and yet most potent discriminatory organ of perception - the ear. Composition becomes concrete - a collaboration between composer and the organic sound matter which (like a kind of sonic DNA) carries clues to its behaviour in various musical contexts, and to which the composer must be sensitive or risk the musical consequences of a mismatch of local and global structures. This collaborative venture involves a shift of focus away from instrumental generalisations based on an acquired cultural memory of sonic exteriors. Listening inside sounds reveals interior structures which can give rise to new, external(ised) musical forms - no longer abstract, but abstracted from the material itself. Where this initial material is drawn from recognisable sounds, the sounds of our everyday experience, then the purely musical, spectromorphological relationships between sounds are complemented by a wider frame of reference: alongside Schaeffers écoute réduite we also experience expanded listening. [ cover art ] Little did I realise back in 1974 that my encounter with the electroacoustic medium would change my attitude to composition - and, indeed, to music itself - so fundamentally. Over this period I have travelled from formulaic throwbacks to structures built from spectromorphological connections and free associations of sound images. The pieces gathered together on this CD chart some of this journey. Jonty Harrison Birmingham, UK December 1995 - 1996 England 120 Jonty Harrison 1952 1902 images/spacer.jpg Évidence matérielle * Klang (1982) 9:00 * Sorties (1995) 15:14 * Surface Tension (1996) 13:01 * Splintering (1997) 19:51 * Streams (1999) 16:11 - 1996 England 120 Jonty Harrison 1952 1906 images/spacer.jpg Lament Douglas Doherty/Jonty Harrison Lament was composed in response to a joint commission from BRMB Radio in Birmingham and Radio Clyde, and was subsequently part of the Independent Broadcasting Authoritys submission for the music section of the Prix Italia in 1985. Bearing in mind the radio listener who might tune in by chance to the piece, we decided to utilise everyday sounds (which would have the advantage of being immediately recognisable) to attract the attention, but to compose these sounds musically. Thus whilst the musical content at first seems anecdotal, the structure and context are musical, giving rise to a work which can be interpreted on a variety of levels. The linking factor in this process is the notion of time - a prime concern of all composers (composition can, after all, be viewed as the organisation of time - and hence its mastery - by means of sound), here made explicit by many poetic references to it : ticking clocks, counting, the river of time (along with some borrowings from Hermann Hesse), etc - clichés, every one of them! Lament was composed in the Electroacoustic Music Studios of The University of Birmingham, with additional material from the Electroacoustic Music Studio at the University of Newcastle. Thanks are due to several people who contributed to the making of the piece: Brian Savin of BRMB, Alison Warne, Jan Smaczny, Geoffrey Warne, Jane Alderton, Sarah Griffin and John Whenham. Lament received a Mention in the 1986 Bourges International Electroacoustic Awards. tape 1985 England 46 Chris Watson 1952 2096 images/works/Watson-1998-outside.jpg Ouside the Circle of Fire 1. Waiting 2. Breathing In Cold Air 3. Horse Of The Woods 4. Song 5. At Dusk 6. Winter Flags 7. Machine Noise 8. Canopy 9. Song 10. Across The Iris Beds 11. Threat 12. Cracking Viscera 13. Deep Roar 14. Unknown Forest 15. Out Of Our Sight 16. Leaf Litter 17. Souls Of Dead Children 18. Forest Fire 19. Sleeping In Warm Air 20. Rattle Of Wood 21. Moonlit Fog 22. Contacts 1998 England audio/Watson-outside_the_circle_of_fire03.mp3 14 Project Dark 1992 2457 images/spacer.jpg Step 1, Step 2, Step 3 - 2000 England audio/ProjectDark-2000-Step_1_Step_2_Step_3.mp3 137 Vicki Bennet 1990 2111 images/spacer.jpg Jingle - 2001 England audio/Bennet_V_PLU_01-Jingle-2001_cd_album_tk1.mp3 137 Vicki Bennet 1990 2112 images/spacer.jpg Mr Rotovator - 2001 England audio/Bennet_V_PLU_02-Mr-RotorvatorPeople-Like-Us_01-Jingle-2001_cd_album_tk2.mp3 137 Vicki Bennet 1990 2113 images/spacer.jpg Another kind of - 2001 England audio/Bennet_V_PLU_Another-Kind-Of.mp3 137 Vicki Bennet 1990 2114 images/spacer.jpg Chistmas - 2004 England audio/Bennet_V_PLU_Christmas_Tate-Modern_2004.mp3 97 Brown Sierra 1998 2417 images/spacer.jpg Untitled Performance - 2005 England audio/brownsierra-2005-30thapril.mp3 56 Jem Finer 1955 2423 images/spacer.jpg Live Performance - 2005 England audio/Finer-Carole+Jem_at_14th_LMC_Festival.mp3 7 Kaffe Matthews 1961 2428 images/spacer.jpg Out with the Cold - 2003 England audio/Matthews-2003-Out_with_the_cold.mp3 135 Patrick McGinley 1976 2431 images/spacer.jpg Buzzing Intercom, Gospel Oak - 2003 England audio/McGinley-_Buzzing_Intercom_Gospel_Oak.mp3 143 Katherine Norman 1960 1991 images/spacer.jpg Trying to translate Audio accessed 15.11.06 from (Canadian Electroacoustic Community Achive) piano, digital sound / live electronics 1991 England audio/Norman-1991-Trying_to_translate.mp3 143 Katherine Norman 1960 1987 images/spacer.jpg In her own time Audio accessed 15.11.06 from (Canadian Electroacoustic Community Achive) - 1992 England audio/Norman-1992-In_her_own_time.mp3 143 Katherine Norman 1960 1990 images/spacer.jpg Trilling Wire Writing for performer and recorded sound offers its own interesting tension: while the recorded sound goes on regardless, unchangeable once the playback button has been pressed, the performer seeks a foothold for their own interpretation, emotions, temporal ebbs and flows - all the things that make a `liveperformance a trilling wire, to meander along precariously, confidently, gladly or sadly, dependent on realtime circumstances and yearnings. The title is taken from T.S. Eliots Four Quartets. ... The trilling wire in the blood Sings below inveterate scars Appeasing long forgotten wars. The dance along the artery The circulation of the lymph Are figured in the drift of stars ... Trilling Wire was commissioned as avirtuoso piece, by Jonathan Cooper, whose playing also features in the recorded part. The piece is dedicated to him with much affection.Audio accessed 15.11.06 from (Canadian Electroacoustic Community Achive) clarinet and recorded sound,Hardware Used: NeXT computer Software Used: Cmix, csound and other software packages 1994 England audio/Norman-1994-Trilling_Wire.mp3 143 Katherine Norman 1960 1986 images/spacer.jpg Bells and Gargoyles Bells and Gargoyles is a digitally created soundscape, made from recordings collected late on a stormy night in the Derbyshire village of Hathersage. The ancient church stands on top of a steep hill. Its bells mark times passing. Strange gargoyles jut out from the roof, infiltrating the night with their mysterious, disturbing presence. Walking alone, heart in mouth, the air seems full of spirits and outer reality becomes confused with inner imagination. Bells and Gargoyles takes a nocturnal journey, through a darkness which is eerie but not necessarily to be feared.Audio accessed 15.11.06 from (Canadian Electroacoustic Community Achive) Hardware Used: NeXT computer Software Used: Macintosh mixing 1996 England audio/Norman-1996-Bells_and_Gargoyles.mp3 143 Katherine Norman 1960 1983 images/spacer.jpg Anything from the minibar? A continuing collection of short computer-processed soundscapes, midway between music and documentary (and sometimes with tunes). Each celebrates thewonderof a particular time and place, and lasts exactly five minutes. Anything from the minibar? A hotel receptionist with a particularly interesting and lyrical North of England accent. The music picks out the inflections and inner melodies within her voice, and perhaps comments wryly on the stock phrases she employed. Audio accessed 15.11.06 from (Canadian Electroacoustic Community Achive) Hardware Used: SGI Indy Software Used: rt, Cmix, MixViews and various other software packages 2001 England audio/Norman-2001-Anything_from_the_mi.mp3 143 Katherine Norman 1960 1984 images/spacer.jpg Something Quite Atrocious Program Notes: Five-Minute Wonders A continuing collection of short computer-processed soundscapes, midway between music and documentary (and sometimes with tunes). Each celebrates thewonderof a particular time and place, and lasts exactly five minutes. Something quite atrocious Root surgery (mine, Im afraid). And all the time an inane radio competition in the background mixing with the sound of the drill and shooshing suction ...trying to make it sound like the sea....escape to another luck. Audio accessed 15.11.06 from (Canadian Electroacoustic Community Achive) Hardware Used: SGI Indy Software Used: rt, Cmix, MixViews and various other software packages 2001 England audio/Norman-2001-Something_Quite_Atro.mp3 143 Katherine Norman 1960 1985 images/spacer.jpg You need a cab? You need a cab? A surreal taxi journey across Toronto, starting from an aural viewpoint way above the traffic, then descending onto the street, careering around town in the company of a burbling radio and a extrovert cabbie, of Ghanaian origin via Hackney....Audio accessed 15.11.06 from (Canadian Electroacoustic Community Achive) Hardware Used: PC Software Used: CoolEdit and AudioMulch, plus a bit of cmix 2001 England audio/Norman-2001-You_need_a_cab.mp3 99 Dallas Simpson 1955 1994 images/spacer.jpg Water Power A phonographic binaural sound collage for headphones using recordings of the sea, a boiling kettle and steam traction engines. The work contains sonic allusions to the natural power of the sea, steam engine power, and the drip of water under gravity indicating hydroelectric power .Audio accessed 15.11.06 from (Canadian Electroacoustic Community Achive) - 2005 England audio/Simpson-2005-Water_Power.mp3 99 Dallas Simpson 1955 2444 images/spacer.jpg Bottle Disposal Field Recording 2004 England audio/Simpson-Bottledisposal.mp3 96 Trevor Wishart 1946 2319 images/spacer.jpg Vox Cycle Cycle completed 1988. A cycle of 6 voice pieces begining with the sounds of creation, and ending with the sounds of disintegration. - 1980 England audio/Wishart-vox-5-1986.mp3 57 Iris Garrelfs 1969 2312 images/works/Garrelfs-2002-parallel.jpg Parallel Textures based on the history of Reading for the Berkshire Record Office - 2002 England audio/Garrelfs-2002-parallel.mp3 57 Iris Garrelfs 1969 2310 images/works/Garrelfs-2003-dumplinks.jpg Dumplinks based on recycling issues and involving recordings made in the local business community Commision 2003 England audio/Garrellfs-2003-DUMPLINKS.mp3 57 Iris Garrelfs 1969 2304 images/works/Garrelfs-2005-changing.jpg Changing Spaces An evening comissioned by Creative Partnership London North exploring creative learning environments and how we use and react to space. All the evenings combine discussion and experimental exploration. On this occassion participants were invited to transform an uninspiring space into an inspiring one. It involved string, screams and a lot of fun. - 2005 England audio/Garrelfs-2005-changing.mp3 57 Iris Garrelfs 1969 2440 images/spacer.jpg Live in Brighton - 2005 England audio/Garrelfs-2005-liveinbrighton.mp3 video/Garrelfs-2005-live.mpg 57 Iris Garrelfs 1969 2305 images/works/Garrlefs-2005-Stimung.jpg Stimung with filmmaker Mario Radinovic, comissioned by Croatian TV and released as part of Specified Encounters on Bip-Hop - 2005 England audio/Garrelfs-2005-stimung.mp3 57 Iris Garrelfs 1969 2301 images/works/Garrelfs-2006-specified.jpg Specified Encounters moulded from dissected, transmuted voice sounds. - 2006 England audio/Garrelfs-2006-encounter.mp3 122 Throbbing Gristle 1976 2262 images/works/TG-CT-1976_Prostitution.jpg Prostitution But darling, mutilation is so passe . . . ITS A SICKENING OUTRAGE! Sadistic! Obscene! Evil! The Arts Council must be scrapped after this! So spoke Tory MP Nicholas Fairbairn of this gig. The Daily Mirror enjoyed it, too: Porn-pop art show! Distasteful and unartistic! Hare-brained schemes of a few trendy elitists! Thats from the Mirror Comment, and the outraged Tory MP quote is from the national press. Fairbairn also wants an explanation from Arts Minister Harold Lever in the House of Commons to tell the rulers of our fair land just how the Institute of Contemporary Arts, with its grant of £80,000 a year, was permitted to put on a show of such decadence that the whole of our pious national press were up in arms . . . Betcha dying to know what happened, aintcha? Okay, here s what . . . Some pornographic, photographs stuck on the wall , a few used tampax in glass cases, a great stripper and a lot of music is the gist of it. Seems like everybody in the audience was an artist, a painter, an actor or a writer. Oh, daaah-ling how are you? was the battle cry around the makeshift bar. Still, the drinks were cheap and the conversation was amusing and by the time a party load of kids decked out in latest punk fashion wear arrived, closely followed by the national press, things were starting to warm up. Throbbing Gristle, music from the Death Factory, were the first band to appear. The lead singer and bass player, Genesis P. Orridge, had ratty shoulder length hair that was shaved bald up the middle of his head, as if he had been run over by a crazed lawnmower. While he went into a rap about the decay of humanity Peter Christopherson took his place behind his tape machine, Chris Carter got behind his keyboards and Cosey Fanni Tutti settled himself on a wooden chair to handle lead guitar. After Genesis finished his opening speech of doom and destruction the band went into their, uh, music which consisted of lots of weird sub-psychedelic taped sounds rolling around random keyboards played plonk-plonk style, lead guitar that Patti Smith would have been ashamed of and moronic bass on a superb Rickenbacker by old Genesis P. Orridge himself. I went to get a screwdriver from the bar and came back just in time to see the band start mutilating itself. Genesis seemed to be really enjoying himself but most of the audience were bored. Oh, daaaaaaahling! So passe! Nigel said at the party it would be interesting and artistically fulfilling! Backstage Genesis talked about his obscenity bust over a bottle of Scotch and told me he was soon off to the States to see his hero and main influence - William Burroughs. He s living in an old people s home now, Genesis said. He s had contact with us for a long time now ... the obscenity charge was because we want to give the people information ... we want to stop the decay of civilisation through our music. Leaving Genesis backstage with his bloody face, his shaved head and his-plans to save the cosmos I went back to the audience to check out why so many kids decked out in punk outfits had come along to the ICA tonight. Surely they weren t interested in all this, uh, culture? NAH, MATE, one of them told me while adjusting the safety pin in his carefully ripped tee-shirt. We ve come to see Chelsea. They re on after the stripper. But LSD are on after the stripper. Yeah, they re billed as LSD but their real name s Chelsea. Got a great guitarist, they have. Good as Wilko, he is. Alright, thanks squire. Shelley the stripper comes on decked out in full Cherry Bomb outfit and she is GREAT! While looking a few years older than the fourteen summers that the MC had announced (ah, if only that were true) she is a true artiste and takes about four records to slowly get out of her ensemble. She really stretches it out. The crowd love her. Chelsea come on and by the end of their first number it s evident that they re coming from the same direction as the Pistols, Damned and the Clash, but at the moment their act suffers from the problem of the band not having played enough live gigs together. But what the four of them lack in polish they more than make up for in committed energy. They re aggressive, but through their music, not their actions. Meaning that they want attention from the audience but they want it because of their music and not because they re spitting over the people in the front rows. A good set of 1977 dole queue rock, only two of the numbers not written by the band. They re all from the London area, Billy the bass player tells me after the gig: We've known the Pistols for years, we could be that big if they gave us a chance. We've been turning up at venues with our gear and asking them if we can get up on stage and play but most of them tell us to piss off. We've been rehearsing in an office. There's a lot of people like that bird you just mentioned who are trying to ride on the bandwagon of all the kids that are playing in high energy bands at the moment. We want to play music we believe in, we don't want no thirty year-old manager telling us what to do. That's Chelsea. You'll be hearing that name again. Okay, promoters - book 'em. Tony Parsons, NME, 30 October 1976 Accessed 7.12.06 from - 1976 England audio/throbbing_gristle-1976_ica.mp3 122 Throbbing Gristle 1976 2254 images/works/TG-1976-bestof.jpg Best Of Volume I Side One --------------- 1) Untitled 1 1:13 2) Untitled 2 [MP3] 2:24 3) Untitled 3 0:56 4) Untitled 4 1:45 5) Untitled 5 [MP3] 15:37 6) Untitled 6 1:45 7) Untitled 7 1:13 8) Untitled 8 [MP3] 3:06 9) Untitled 9 1:13 10) Untitled 10 1:01 11) Untitled 11 [MP3] 9:09 12) Untitled 12 (with vocals) [MP3] 6:39 13) Untitled 13 0:27 Side Two --------------- 1) Untitled 14 1:00 2) Untitled 15 0:40 3) Untitled 16 [MP3] 10:30 4) Untitled 17 1:13 5) Very Friendly (Part 1) [MP3] 11:55 6) Very Friendly (Part 2) [MP3] 10:13 7) We Hate You Little Girls (ver. 1) [MP3] 2:47 8) We Hate You Little Girls (ver. 2) [MP3] 2:50 9) American Magician Talking 1:01 10) Neil Young - New Mama / Look Out Joe [MP3] 2:59 : All material previously unrelesased. This : tape was originally hand copied and sent to friends : Incorectly marked as a C60 on the tape linear notes. : All the tracks on the tape are instrumental studio : demos except Untitled 12 and Very Friendly. : The versions of We Hate You Little Girls are : instrumentals, at the end of ver. 1 applause and : cheering can be heard as well someone saying : thank you, at the end of ver. 2 Genesis can be : heard saying Its getting worse, in it? : The second last track on the tape is a recording : of an American magician explaining a trick. : The last track is a very distorted recording of two : Neil Young songs - New Mama starts, then is restarted : and runs into Look Out Joe - the recordings is taken : from Young s 1975 album Tonight s The Night Accessed 7.12.06 from - 1976 England audio/throbbing_gristle-1976-best_of_volume1-sideb-tk10.mp3 122 Throbbing Gristle 1976 2256 images/spacer.jpg THROBBING GRISTLE WITH ALBRECHT D Side One --------------- 1) 23 July 1976 Studio Jam (Part 1) [MP3] 30:52 Side Two --------------- 1) 23 July 1976 Studio Jam (Part 2) [MP3] 30:29 notes: A sixty minute studio jam, split over both tape sides. : Possibly hand copied by Albrect D Accessed 7.12.06 from 23 July 1976 1976 England audio/throbbing_gristle-1976-with_albrecht.mp3 122 Throbbing Gristle 1976 2243 images/works/TG-1977-secondannual.jpg THE SECOND ANNUAL REPORT 1. Industrial Introduction 1:04 2. Slug Bait - ICA [lyrics] 4:20 3. Slug Bait - Live at Southampton 2:45 4. Slug Bait - Live at Brighton 1:10 5. Maggot Death - Live at Rat Club 2:59 6. Maggot Death - Studio [lyrics] 4:34 7. Maggot Death - Southampton 1:37 8. Maggot Death - Brighton 0:57 9. After Cease to Exist - The Original Soundtrack of the Coum Transmissions Film 20:19 10.*Zyclon B Zombie [MP3] [lyrics] 3:52 11.*United [MP3] [lyrics] 4:04 Accessed 7.12.06 from - 1977 England audio/throbbing_gristle-1977-2nd_ann_zyklon_b_zombie.mp3 122 Throbbing Gristle 1976 2255 images/works/TG-1977-bestof2.jpg Best of Volume II Side One --------------- 1) Very Friendly (Studio) [MP3] 11:06 2) Very Friendly (ICA) [MP3] 4:01 3) Scars Of E (Studio) [MP3] 5:28 4) Slug Bait (Studio) [MP3] 4:41 5) Short Instrumental (Studio) [MP3] 3:28 Side Two --------------- 1) Slug Bait (ICA) [MP3] 4:19 2) 10p For A Pack Of Cigarettes (Studio) [MP3] 2:58 3) We Hate You Little Girls (Studio) [MP3] 2:03 4) Dead Hed (ICA) [MP3] 4:03 5) Dead Head (Winchester) 1:29 6) Whortle Of Sound (Winchester) [MP3] 13:17 7) The End (ICA) 1:28 Accessed 7.12.06 from - 1977 England audio/throbbing_gristle-1977-bestof2-side1-tk1very_friendly_studio.mp3 122 Throbbing Gristle 1976 2244 images/works/TG-1978-united.jpg UNITED / ZYKLON B ZOMBIE Note: Original pressing by Industrial Records had cream centre labels with : very blurred Death factory Logo and picture sleeve. : After approximately 20,000 sales re-pressing was taken over by Rough : Trade and the single was re-cut with message scratched in the centre : Salon Kitty on the ZBZ side and 437 666 OTO RE-CUT 4 NOV 79 and : 20,000 DOWN scratched in the United side. The centre section of ZBZ : with Coseys guitar was cut extra loud also as an improvement upon the : original version. This version still had the cream/white labels with : blurred Death Factory Logo. Some were sold without picture sleeves : though not many. Januaury 1980 Industrial Records re-released UNITED : with a new version of Zyklon B Zombie (5:10 long with train noises, : rain, and burning flesh eventually running into a locked groove) : with Black center labels and White and abstracted Death Factory logo. : There were 1000 copies only on WHITE vinyl with messages scratched in : the centre. On the UNITED side Memorial Issue on the ZBZ side The End : of The Line.A further 1000 copies of this version were pressed exactly : the same as the WHITE vinyl version mentioned above except they were : pressed on CRYSTAL CLEAR vinyl. Accessed 7.12.06 from - 1978 England audio/throbbing_gristle-1977-united.mp3 122 Throbbing Gristle 1976 2277 images/works/TG-1980-goldsmiths.jpg Goldsmiths College An Old Man Smiled, Russ, Subhumans, Heathen Earth, World Is A War Film, Dont Do What Youre Told, Do What You Think Accessed 7.12.06 from - 1980 England audio/throbbing_gristle-1978_goldsmiths_college_a.mp3 122 Throbbing Gristle 1976 2245 images/spacer.jpg D.O.A. THE THIRD AND FINAL REPORT : First 1000 on Industrial enclosed a card calendar with color photo : of small girl on bed. Another 1000 recut so that it looks like 8 : tracks equally long (false track spirals). : The Fetish release in the Five Albums boxset also has the false spirals. : Bonus CD Tracks *.Accessed 7.12.06 from - 1978 England audio/throbbing_gristle-1978-doa-valley_of_the_shadow_of_death.mp3 122 Throbbing Gristle 1976 2246 images/spacer.jpg 20 JAZZ FUNK GREATS 1. 20 Jazz Funk Greats [MP3] 2:51 2. Beachy Head [MP3] 3:42 3. Still Walking [MP3] [lyrics] 4:56 4. Tanith [MP3] 2:20 5. Convincing People [MP3] [lyrics] 4:54 6. Exotica [MP3] 2:53 7. Hot on the Heels of Love [MP3] [lyrics] 4:24 8. Persuasion [MP3] [lyrics] 6:36 9. Walkabout [MP3] 3:04 10. What a Day [MP3] [lyrics] 4:38 11. Six Six Sixties [MP3] [lyrics] 2:07 12.*Discipline (Berlin) [MP3] 10:45 13.*Discipline (Manchester) [MP3] 8:06 Note: Recorded at the Studios of Industrial in the weeks ending : September 1979. * denotes CD bonus tracks. : 5000 copies only on Industrial, first 2000 included poster. : Pass is Japanese label, licensed from Industrial. Accessed 7.12.06 from - 1979 England audio/throbbing_gristle-1979-20_jazz_funk_greats.mp3 122 Throbbing Gristle 1976 2278 images/works/TG-1980-sheffield.jpg Sheffield University Set included: Heathen Earth, Strangers In The Nite, We Said No, Flesh Eaters Accessed 7.12.06 from - 1980 England audio/throbbing_gristle-1979_sheffield_university_a.mp3 122 Throbbing Gristle 1976 2452 images/spacer.jpg Live - Oundle Public School - 1980 England audio/throbbing_gristle-1980_oundle_public_school_a.mp3 122 Throbbing Gristle 1976 2250 images/works/TG-1981-discipline.jpg DISCIPLINE a. Discipline (Manchester) [MP3] 8:06 b. Discipline (Berlin) [MP3] 10:45 Note: 45 RPM 12 with 2 live versions of the song Discipline : recorded in Berlin and Manchester. : Centre labels Cream with Black Printing. Glossy picture : sleeve of TG group stood outside ex-Nazi Ministry of : Propaganda in Berlin on front and |Val Denham holding : Hitler Youth dagger centre back. Message Techo Primitive : scratched on side A and Psykick Youth Squad on side B. : No enclosures. Grey, Cream and Black cover. Accessed 7.12.06 from - 1981 England audio/throbbing_gristle-1981-discipline_manchester.mp3 122 Throbbing Gristle 1976 2247 images/works/TG-1981-wehate.jpg WE HATE YOU (LITTLE GIRLS) / FIVE KNUCKLE SHUFFLE a. Five Knuckle Shuffle [MP3] [lyrics] 6:42 b. We Hate You (Little Girls) [MP3] [lyrics] 2:07 Note: A-side is 33 rpm, B-side is 45 rpm. : Came in double gatefold A4 size sleeve. Enclosures of text : by Jean Pierre Turmel, collages by G. P-Orridge. Cover : artworks by Yves Surlemont and Lou Lou Picasso. Yellow : centre labels with Black print. Cover Yellow, Blue, Black : and White. Five Knuckle Shuffle is Yorkshire slang for : masturbating. Sordide Sentimental ed. limited to 1560 cps. : Adolescent release in normal single bag with picture sleeve : design by Stan Bingo of Mortuary safes. Accessed 7.12.06 from - 1981 England audio/throbbing_gristle-1981-we_hate_you_little_girls.mp3 122 Throbbing Gristle 1976 2453 images/spacer.jpg What a Day - 2006 England audio/throbbing_gristle-2006-what_a_day.mp3 22 Christian Marclay 1955 2459 images/works/Marclay-2000-Guitardrag.jpg Guitar Drag - 2000 England audio/Marclay-2000-Guitar_Drag.mp3 116 Brian Eno 1948 2460 images/works/Eno-1999-Kite.jpg Kites III - 2000 England audio/Eno-2000-_Kites_III_(Extract).mp3 38 Joe Banks 1974 1946 images/spacer.jpg National Grid The principle is that the radio set-up allows me to pick up the sine-wave of AC electricity and then tune it just like a musical instrument - using an upper and lower side-band filter designed for interpreting morse-code transmissions. It went absolutely perfectly - from excruciating highs to real heart-stopping infrasonic noise crashes. I was microtuning interference patterns of 2, 1, maybe even 0.5Hz with ease, and controlling the radio by waving my hands around in the electrical field or walloping it. Accessed 15.11.06 from - 2000 England audio/Banks-Disinformation-2000-National_Grid.mp3 125 Denis Smalley 1946 2494 images/spacer.jpg Empty Vessels The Empty Vessels are some large garden pots from Crete and an olive jar from Turkey. Recordings of the air resonating in these vessels provided the starting-point for the piece. Since these recordings were done in a garden (my garden in North London), sounds from the environment were also captured by the microphones inside the pots, and changes in the timbre of these sounds resulted from interaction with the filtering effect of the resonant vessels. These “natural” transformations were extended through computer treatments, and they also suggested relations with very different types of resonant sounds. The garden palette was expanded by recordings made in the same environment without the benefit of the vessels’ transformations. The resulting work may be regarded as a journey which passes through the highly charged and more restful events, textures and spaces inspired by the empty vessels. Empty Vessels was commissioned by the French State and the Institut National de l’Audiovisuel / Groupe de Recherches Musicales, and was first performed in Paris in May 1997. - 1997 England audio/Smalley-1997-Empty.mp3 120 Jonty Harrison 1952 1910 images/spacer.jpg ainsi de suite... I had wanted for some time to compose a French suite, rather in the manner of the musique concrète tradition. Sounds from some rough-textured wine glasses, which had been transformed in the Studio Numérique of the Groupe de Recherches Musicales in Paris using predominantly time-domain manipulation (ETIR), brassage (BRAGE and BRAGGE) and spatialisation programs, provided a promising starting point. These individual sounds were onwardly transformed in the Electroacoustic Music Studios of The University of Birmingham, using a variety of digital signal processors (Publison, Yamaha, AKG), combined with a number of other sound sources, further transformed, recombined...and so on. I ventured into this pool of material from time to time in order to compose short, essentially self-contained movements. The reassembling of new, specific musical utterances from the same source material led to the idea that, by analogy, complete movements (which would inevitably contain a plethora of cross-references) could be assembled in various ways to create pieces of different lengths and pacings for different occasions, spaces...and so on. Over a dozen movements have been composed to date. Their different functions are characterised, to continue the link with the musique concrète suite, by French titles: à propos and résumé are, respectively, expository and recapitulatory statements of the basic array of sound-types found in the work, and the longest and most elaborate movements are designated commentaire; the first version of the work (Version Bourges 1990) contained only these movement categories. From 1991, with access to a Sound Tools system, I was able to achieve the seamless continuity of material needed for the family of gentler, more reflective and static movements which offset them. These interspersed movements are grouped under the general heading of (parenthèse), though some carry additional, descriptive titles such as réflexion, résonance and souffle dinsectes . The CD version (prepared for Articles indéfinis on the empreintes DIGITALes label, Montreal, and itself a revision of the Birmingham Version 1992) has eleven movements, whose durations range from 40 seconds to nearly 4 minutes:- 1. à propos 2. (parenthèse 1) 3. commentaire 1 4. (parenthèse 2) 5. réflexion 6. commentaire 2 7. souffle dinsectes (parenthèse 3) 8. résonance (parenthèse 4) 9. résumé 10. (parenthèse 5) 11. commentaire 3 A characteristic of this version is the overlapping of movements (movements 6 to 9 form a continuous whole, as do the final two movements), emphasising the more dramatic potential of the material. Overall, however, the work is not a vehicle for a dynamic or dramatic musical argument; I am more concerned to create a network of connections within a sound-world more conducive to dalliance than discourse. - 1992 England audio/Harrison-1992-etainsi.wav 114 Merzbow 1956 2512 images/works/Merzbow-2004-partikel.jpg Merzbow Vs Nordvargr | Partikel Exclusive to COLD SPRING, the King of Japanese Noise meets the Lord of Scandinavian Power Noise! Housed in a beautiful matt foldout digipak, this album takes specially recorded source work by MERZBOW, given the mighty NORDVARGR treatment. Heavy loops, rhythms, pulses and noise, mixed with ambient moments - this is absolutely essential listening! The finest collaboration ever created! Sold out! - 2004 England audio/Merzbow-2004-Nordvargr_Tachyon.wav 132 Sonic Youth 1981 2564 images/spacer.jpg Legend of the Blood Yeti with Derek Bailey - 1997 England audio/thurston_moore_and_derek_bailey-legend_of_the_blood_yeti_09.wav 116 Brian Eno 1948 2568 images/spacer.jpg Ambient Savage - 2003 England audio/eno-ambient_savage.wav 116 Brian Eno 1948 2569 images/spacer.jpg castro haze - 2003 England audio/eno-castro_haze.wav 116 Brian Eno 1948 2570 images/spacer.jpg groan wash - 2003 England audio/eno-groan_wash.wav 116 Brian Eno 1948 2572 images/spacer.jpg Innocenti Track 7 of the album THE SHUTOV ASSEMBLY - 1992 England audio/eno-Innocenti.wav 161 Justin Broadrick 1969 3001 images/works/Broadrick-2006-final-three.jpg Final - Three Track Listing Disc 1 1. (3:21) The Light Orchestra 2. (4:51) Seasick 3. (5:06) Negative Youth 4. (2:47) Laughing Stock 5. (3:59) Hollow 6. (3:04) Little Pictures 7. (11:06) Spinning Top 8. (3:12) Open Air 9. (2:40) Eden 10. (2:38) Golden 11. (3:30) Cascades 12. (5:59) After 13. (3:10) We Glowed 14. (3:59) Sorry 15. (1:54) Not Real 16. (12:16) Long Wave Disc 1 1. (3:35) Covered 2. (8:59) Barely Here 3. (6:36) Remnants 4. (6:08) Confusion 5. (5:55) Long Lost 6. (4:31) Not Real 2 7. (5:47) Trees 8. (5:12) Free 9. (4:22) To The Heavens 10. (6:09) All We Ever Do 11. (17:34) Northpole - 2006 England audio/Broadrick-Final-three_(outtake)Failure.wav 161 Justin Broadrick 1969 3000 images/works/Broadrick-1996-final-two.jpg Final - Two 2 Released: 1996 Label: Sentrax/Rawkus Format/CAT#: (CD) SNTX 3001 CD . . . . Track Listing 1. (3:25) ******* 2. (6:08) ,,,,,,, 3. (8:04) 4. (8:39) /////// 5. (7:59) _______ 6. (3:13) ;;;;;;; 7. (2:32) ======= 8. (24:43) ( ) 9. (7:34) +++++++ Notes * Yes, those are the track titles. * All songs written by Justin between 1993-1995 except tracks 4 and 8, which were written by Justin and Ben. Track 5 was written by Justin and D. Dalton. - 1996 England audio/Broadrick-Final-two-.wav 161 Justin Broadrick 1969 2997 images/works/Broadrick-1988-godflesh.jpg Godflesh Last performed in 2001 - 1988 England audio/Broadrick-Godflesh-2001-Voidhead.wav 161 Justin Broadrick 1969 2996 images/spacer.jpg Jesu Jesu is an experimental rock band formed in 2003 by Justin Broadrick following the breakup of Godflesh. Jesu was the name of the last song on the final Godflesh release, Hymns, and Broadrick decided to adopt it as the name of his new project. Jesus sound is heavily layered and textured, drawing from and incorporating an eclectic mix of influences, ranging from ambient music, post-metal and drone doom, to shoegazing, downtempo and industrial music. Their recent releases have been described as avant-pop and avant-garde doom. Accessed 27.07.2008 from - 2003 England audio/Broadrick--Jesu-2004Friends_Are_Evil.wav 131 David Cunningham 1954 2877 images/works/Cunningham-2000-thisisasentence.jpg This is a Sentence A game of image, representation and reference: is what you hear what you hear; is what you see also what you hear; is what you see what you see? This CDROM contains a game with language, sound and text-related fragments with the statement this is a sentence at its centre. A CD-ROM collaboration by Stephen Partridge and David Cunningham with the voices of: Bruce McLean Hayley Newman Gera Urkom with Julie Miller, The Sounds of these Words a Fields and Frames Production for Channel 4 Television ©1990 Jude Allen and Ian Bennett - voices, Dialogue for Two Players an Annalogue production for Channel 4 Television ©1984 texts by A.L Rees, Alan Woods and David Cunningham music by David Cunningham with Peter Gordon - saxophone, Sentences 1and2 I cant remember quite when I started working with Stephen. Thats a quality of collaboration in the media that weve used -the technology allows the work to be assembled at one remove. Even as long ago as 1974 the sound for Interlace was made in isolation from the picture. Or maybe it s a problem of definition -how and when an informal discussion becomes a formal piece of work. That s another kind of remove. There are general assumptions about collaboration -that the artists, collaborators or conspirators gather together and plan and plot the work. This about as true as the artist romantic and solitary starving in a garret. Our work and this collaboration is not like that. Stephen shows me work in progress or finished work -I give him tapes. Not necessarily in that order. We usually work at different times in different locations with differing intent. Individual ideas could coincide later. Sometimes years later. The informality is crucial. This ties in with one of my working principles -to create a situation that makes me do something that otherwise wouldn t have occurred to me. The only time I can remember sitting down together with Stephen to write a formal proposal for a piece of work we emerged with a very silly plan for a minimalist white dot in the middle of a television screen for what would probably have been a long time as we had no other ideas worth talking about. Both of us have a physical relationship with the technologies we work with and always seem to need something to do with our hands. This sentence will be misunderstood. My work within the various structures of music has brought me into a variety of collaborative situations, all of which require me to play different roles within differing hierarchies: the industrial words to describe these situations -producer, engineer, performer- only hint at a series of fluid working situations of psychological involvement, emotional involvement and the careful process of trying to create and capture a unique moment on tape. Besides having their own formalities, musicians normally have to be in the same room at the same time -that makes interpersonal feedback faster. Over the years I ve seen other collaborations -I spent many years as the music producer within the Nyman/Greenaway collaboration. They didn t seem to conspire much, especially in the later years when the music was often selected by Greenaway from existing work on the Nyman tape shelf often to the composer s (justifiable) annoyance. I do remember Michael s astonishment and delight when he noticed that child on the swing at the start of The Draughtsman s Contract was fortuitously swinging in time with the music. This of course happened here -before the Sentence series emerged I made a tape of some ideas for Stephen and filled up the other side of the cassette with out-takes from a movie score I was doing at that time. Of course that other side was the material he used -a choice that I could not have made. When I first saw it I was horrified -tacky music (I did it to pay the rent), but after that initial shock I enjoyed the way the music shifted this dry minimalist series into a different televisual vocabulary. We did work together, just once, in a video studio. It was great fun, no planning, not much discussion, just getting on with setting up bits of equipment, microphones and cameras and feedback. It turned into a very curious installation. There was an extraordinary taped result which we immediately mislaid. Something will come of it one day. Again -so how does 'Sentences' come about and claim itself as collaboration? Stephen and I have in common that we investigate things by doing the equivalent of zooming in on a tiny fragment and extrapolating the whole. But from that stage onwards we use different procedures, different ideologies. I try to intervene minimally, not to introduce anything external into the work -allowing the viewer to make of it what they will. Stephen, on the other hand, performs the observation for the viewer, his approach is more focussed in that way. Perhaps that's a obvious thing for a visual artist to do. These approaches are complementary, they create work which has a wider palette of rigour, laxity, games, observation and so on than either of us would find ourselves capable of individually. Within 'Sentences' my only formal visual input is a reworking of 'this moment' -a work I initially suggested as a collaboration, in part because it has some of the 'look and feel' of the other sentence pieces. Our roles in the collaboration seem to shift according to the piece of work. The work changes according to the nature of the collaboration. The technology moves on and this is shifting both of us into a different way of working together. This CD-ROM brings work from other media into a computer environment. The governing principles behind this work depend on various self-referential structural observations of the medium and the technology with which the work is made. When it comes to applying this aesthetic to computer-based work this approach becomes invalid. Because the very nature of a computer is to deny any intrinsic qualities -roughly speaking it's a complex adding machine -any process of exposure and deconstruction will simply expose the process of the software, the program, not the physical device itself. The strategies are changing. David Cunningham 1998 dedicated to Alan Woods 1956 - 2000 - 2000 England audio/Cunningham-2000-sentence.wav 131 David Cunningham 1954 2876 images/spacer.jpg water The music on this CD was recorded for film, television, dance or other purposes under a variety of conditions. Some pieces began as a speculation in the studio, some were made to picture and some are reworks or reductions of other work. The instruments are mostly acoustic sources usually subjected to processes which derive from the malleability of tape as a physical medium. Occasionally there is the sound of a recognizable instrument, but the rest of the sound is a false acoustic space of treated sounds looping, delaying, reversing and being stretched and overlaid in various ways. The choice of input material for these processes comes in part from the relationship of this music to context, to the slow and ambient nature of the film and television images it originally served as atmosphere, counterpoint or sub-text. Within these structures texture, continuity and acoustic space are as important as melody or harmony - an example is the way that many of the tracks fade in and out creating the possible context of an unheard continuity, a time-based frame which can imply unheard music before and after the known material. Here the listener is removed from direct reference to physical space, that being an act of imagination. One principle behind this (usually incorporated unconsciously), is to create the opportunity for the listener to explore a method of listening which is not based on the prescriptive nature of classical form or that of European art music. Whilst the aesthetic of a recorded orchestra suggests an acoustic reality, this music is, in part, attempting to alter that reality to suggest or imply an unknown or impossible acoustic space, to allow associations which are not possible within the concert hall such as a set of relationships between music and the natural world. Much of the music is created in such a way that the structure of the sounds is deliberately simple, allowing the illumination of aspects of the sound or texture that would not be so apparent with conventional melody, in a way attempting to explore inside the sound -this is best seen on tracks 1, 3 and 13, (and in a related way, track 8), where sounds are repeated at different pitches in such a way that the pitch is allowed to determine the length of the sound and the frequency of the repetitions, thereby revealing the time-based relationship of pitch to rhythm. These structures allow the possibility, if the listener should choose, to listen actively and analytically. This invention or re-invention of a structure of harmony based on the relationship of pitch to time is a logical extension of my compositional choice to work with sound as a physical medium, a recorded signal, rather than a historical prescription of notation, organisation and performance. If this is or has been film music it is not the narrative of the hollywood or bollywood epic, rather it has something to do with works which have a different structure; film as document or atmosphere, the European or Japanese art movie. track by track breakdown 1 stars 5.17 A reworking of existing material, loops made from elements of the multitrack master of the track Glide/Spin on the album Fourth Wall . Originally made for 5 Closedowns , my series of television pieces made in 1983. The images are all of reflections on slow moving water in bright sunlight. 2 the next day 2.23 See track 15 - an extension based on similar source material made, naturally enough, the next day. 3 once removed 1.54 A more minimal version of the technique used on track 1, the source is one guitar multiplied about 10 times at 4 different pitches. 4 the fourth sea 2.20 Made for Ashley Bruce s Fragile Earth documentary on the polluted Mediterranean. The fifth sea, recorded the same day, became the mirage on the greaves, cunningham CD (piano 506). 5 white blue and grey 4.58 A remix of an unused film soundtrack minus drums, bass, saxophone solo, etc. 6 shade creek 2.33 The first of a series of multiple guitar pieces made in 1986 in which my main concern was to usefully employ the failures and idiosyncracies of my ability on the instrument. 7 short winter s day 4.05 For Chris Rodley s 1992 documentary Naked Making Lunch on William Burroughs and David Cronenberg. 8 blue river 3.59 A reworking of material used in the Mediterranean documentary (see track 4). This forms the second release of an occasional series built around phasing repeating phrases; the first is one summer on the greaves, cunningham CD (piano 506). 9 beneath the vines 2.56 The fourth 1986 guitar piece, see track 6. 10 yellow river 6.04 Again made for 5 Closedowns , for this sequence the water reflected a yellow so saturated that it reproduces differently on every television set. 11 low sun 2.27 As track 7, for Chris Rodley's documentary, a slowed down remix of fragments of a song never mixed or otherwise used. 12 only shadows 3.20 Made for a restaurant scene in a work for television by Robert LePage. Reworked from an earlier track (see track 5) using the elements left out of that version. 13 a liquid hand 2.51 See track 3, a similar structure. 14 dark ocean 2.07 Derived from a series of delay loops of which others provided some of the music for Ken McMullen's film 'Zina' (1985). 15 the same day 7.01 Made for a gallery installation by Deborah King, within a 24 hour deadline, the theory being that it took less time to make a new piece than to search through old tapes for something suitable. On that particular day Grenville Davey was welding next door and his power drain affected the speed of my analogue tape recorders, creating a subtlety of tuning that would be impossible with digital machines. David Cunningham 1992 - 1992 England audio/Cunningham-_1992-water.wav 131 David Cunningham 1954 2875 images/works/Cunningham-1995-Artificial.jpg artificial homeland -angela jaeger and david cunningham his music is derived from slowed-down tapes, loops and treatments, a mix of composed music and improvisation, most of the instrumental material providing ambient backgrounds, dense harmonically shifting drones graced with angelas voice providing improvised but extremely melodic explorations of the harmonic structures. sometimes there are words, sometimes it sounds like words, sometimes something else happens to the voice. there is a second kind of structure where the emphasis changes and and the voice floats over and around strange rhythmic grids. angela jaeger: voices david cunningham: instruments with charles hayward: drumming on 4, 7, 12, and 15 track listing: 1 a silver thread 2 artificial homeland 3 beyond that star 4 wood and glass 5 fortuna 6 turning left 7 made of sand 8 unlock the hills 9 only for you 10 blue gold seven 11 forsythia 12 the hot day 13 time can make a difference 14 radioloop 15 river west recorded in london produced by david cunningham mixes by by david cunningham and angela jaeger jaeger/cunningham photograph garrard martin thanks to: william raban chris rodley ken mcmullen steven mallaghan jon tye and especially victor sol composed by angela jaeger/david cunningham except for the hot day jaeger/cunningham/hayward - 1995 England audio/Cunningham-_1995-artificial.wav 131 David Cunningham 1954 2869 images/works/Cunningham-1995-danger.jpg danger in paradise performed by: david toop: guitar, prepared guitar, bass, percussion, flute, alto flute, glockenspiel, voice, tapes, noises, rhythm tracks steve beresford: bass, piano, farfisa organ, prophet 5, trumpet, flugelhorn, euphonium, percussion, glockenspiel, voice, toy piano, melodica, noises, rhythm tracks, drumkit david cunningham: tape treatments with guests: lol coxhill: tenor saxophone guided missiles and soprano saxophone -interplanetary music and dub dawn roberts: voice -my other body maartje ten hoorn: violin -interplanetary music produced by david cunningham, david toop, steve beresford recorded september 1979, august and october 1981, january and april 1982 mixed june 1982, additional mixing october 1984, august 1995 track listing: 1 my other body 2 the fatal glass 3 next day 4 babycart to hell 5 snowdrops 6 the barkless dog 7 interplanetary music 8 parts of my body 9 bamboo house of dolls 10 interplanetary dub 11 we travel the spaceways 12 friendless animals 13 sea hunt 14 guided missiles 15 danger in paradise these recordings were originally released on cassette by touch in 1984 with the exception of parts of my body, released on a single by canal records in 1979 . The CD release has a misprint in the track order, tracks 7 and 8 are reversed , the listing above is correct. a commentary from richard cook When you listen to music -instead of merely letting it prattle in the eardrums -your instincts are driven to interpretation that should fuse something of yourself (assuming one is alive to start with) with the sound. If these vibrations in the air impart information, or provoke agonies, or quench spiritual thirst, or flicker at slumbering purposes -then you are obliged to be receptacle, confidante, curator. We must stop traducing music, for its power to help us may be waning as our miserable century staggers to its climax -we should stop, and listen over. What good is this hearing, if we do not listen too? That leaves us with only a great deal of time on our hands. As one contemporary composer has noted, even in the midst of a singularly hateful discourse on music, business and the general worthlessness of just about everything -without music to decorate it, time is just a series of schedules for paying bills. So listen over. This music, from General Strike is an apposite place to begin, for its example draws from the practice itself of listening intently -listening and acting on that listening. Most of it does sound like bits from other musics that have probably passed your way at some time or another, whether you were listening or not. Most of it is threads from rock or jazz, doowop and reggae, synthetically generated tone patterns and sounds as emotionally human as a babys cry. Its music that could comfortably be heard. It could plink genially in the background. I dont wish to be too descriptive about it, but some of it might have been drawn from a particularly industrious afternoon concert in an elves toyshop. The atmosphere which General Strike conjure together suits an old fashioned, cold war-ish scenario of technology. Their Interplanetary Music is the space pop of George Pal and The Day The Earth Stood Still , of computers built like Blackpool Tower in order to struggle through simple trigonometry, of The Jetsons and I.G.Y. They go no further than Expo 67, the world s last gasp of optimism. And although there are dark and disquieting moods set in this mosaic which their listeners have pieced together, it is made with a humour which is true to the spirit of adventure which those references apply. The sanitation merchants who make up most of the world s record-makers today would forbid our ears from hearing these strangely electric keyboards, earthworked textures, bizarre chatterings of percussion, and voices that seem like puzzled robots. Cataloguing the sound in that way makes it all seem a bit of a joke, but it isn t: laughter is encouraged, but it s serious music, made with a great deal more serious spirit than the great and disheartening mountain of music which today implores you to hear and not listen. For that reason alone, this collection IS dangerous. The motive for its conception has something more behind it than the need to sustain a career or succour an easily-satisfied requirement. As opposed to the wasteful music that shouldn t exist -the music that pretends to do more than decorate schedules and winds up becoming a timetable itself -the sounds of General Strike did not HAVE to exist, and that is their danger, their force. Their collection is a synthesis by Beresford, Toop and Cunningham of forms they have listened to, absorbed and acted upon -so it sounds like a series of exercise games, played for fun, hard but fair, serious in its choice of amusements. Look at the titles: dogs, dolls and snowdrops, but guided missiles and hell too. I will conclude without a resolution: this is music made up from diagrams which still becomes amorphous, made for provocation yet playable for ambience -the distinctions are yours to elicit. What you have to do first, of course, is listen. Richard Cook - 1995 England audio/Cunningham-_1995-danger.wav 131 David Cunningham 1954 2868 images/works/Cunningham-1996-ghost.jpg ghost dance -michael giles, jamie muir, david cunningham in 1983 as we began to work as a trio, ken mcmullen commissioned us to provide the music for his film ghost dance. the film was made in a very improvisational way, exploring the collision between ethnic cultures and western cities -the rich inner mythologies of the one and the alienation of the other -and the philosophies that were beginning to explore this odd melée and what it reveals about us. we approached the music in the same way, but more instinctively than intellectually, as is the nature of music. we produced bits and pieces of improvised music mostly using very simple non-tec instruments, hand drums, kazoo, thumb piano, bells, voice, found things, very simply constructed things and so on, which was then molested with technology till it was thoroughly macerated into some other hybrid shape. we would then take this as the basic material and try to make sense of it and develop it within the context of the film. giles, muir, cunningham 1996 . the recording contains analogue tape distortion, noise and hiss which, besides being unavoidable, at times form an integral part of the music. thanks to: ken mcmullen, robert hargeaves, mark lucas, jane thorburn, rob ayling - 1996 England audio/Cunningham-_1996-ghost_dance.wav 131 David Cunningham 1954 2873 images/spacer.jpg ext.night ext.night is a sixty minute ambience derived from a few fragments of guitar playing treated by looping, overlaying, permutating and playback at different tape speeds. this CD seems to work best when played very quietly. reports indicate that it is also an effective relief from migrane headaches. one morning in july 1992 I decided to make a barbeque ambience for playback later in that same day on a system of small speakers distributed around the yard outside my old studio in brixton. the small community of artists from the surrounding studios used this yard for barbeques in the summer. my studio, being the nearest source of noise would become, by default, a very minimal discotheque for the evening. my self-imposed discipline was to try and make a continuous background atmosphere entirely derived from about one minute of guitar recorded that morning and finish it before the barbeque was lit. this music is the result. as that evening continued I noticed that if the tape played back very quietly, below the level of peoples voices, their conversation became quieter. subjectively I felt that the quality and intensity of that conversation improved. this hypothesis was tested again a month later when the tape became the music for a bar I used to frequent and where I was becoming interested in lowering the overall level of noise in order to have a sensible conversation. background music in bars in england is becoming the loudest in the world and I don t appreciate having to lip read and shout all evening. - 1997 England audio/Cunningham-_1997-ext.wav 131 David Cunningham 1954 2874 images/works/Cunningham-1997-nothing.jpg nothing - owada owada are a three-piece band featuring 2001 Turner prize winner Martin Creed. nothing, owadas debut album, with 23 tracks representative of their live set, is long on songs and short on shit. without using too many notes and with hardly any superfluous words, owada break music down and build it up to make funny and straight, sad and happy songs. the album has its low and its high, and through thick and thin, big songs and small, it takes the rough with the smooth heavy-handedly and with a lightness of touch. owada are hot and theyre cold. they blow and they suck. owada are nothing. go into a shop and ask for nothing nothing (36:24) 01 hello 0:45 02 1234 0:15 03 thirty thirty 2:20 04 the new instrumental one 1:53 05 short g 0:08 06 feeling blue 3:02 07 up + down 0:48 08 short g 0:05 09 not yours 4:38 10 circle 2:45 11 30 seconds with the lights off 0:31 12 1-100 1:22 13 short g 0:06 14 101-200 1:25 15 low 0:29 16 high 0:30 17 long g 1:31 18 one whole song 2:20 19 x 2:50 20 the usual first one 1:45 21 1234 0:14 22 nothing 5:01 23 start middle end 0:31 produced by David Cunningham and owada; engineered by Ronnie Box; recorded and mixed at Helicon Mountain and David Cunninghams studio, London 1997 Martin Creed guitar, vocals, keyboards Adam McEwen drums Keiko Owada bass, vocals music by M.Creed, A.McEwen, K.Owada; except 02, 05, 07, 08, 11,13, 15, 16, 20, 21, 23 by M.Creed; 03, 04, 19 by M.Creed, A.McEwen words by M.Creed; except 09 by A.McEwen; 10 by Bob Smith CD design by owada floor by Piotr Uklanski at Gavin Brown s enterprise, New York, November 1996 thanks to Christabel Durham, Nesta Fitzgerald, Matthew Higgs, Jools Holland, Richard Holland, Simon Josebury, Paul Kresinski, Laurie Latham, John Sigmund, Lesley Smailes, Bob Smith and Val at Helicon - 1997 England audio/Cunningham-_1997-nothing.wav 131 David Cunningham 1954 2867 images/spacer.jpg the secret dub life of the flying lizards The source tapes for this CD were recorded in Jamaica by Jah Lloyd (Patrick Francis) as part of a series he made for Virgin Records Front Line label. The original tapes were not released and were offered to me by Front Lines Jumbo Vanrennen with the suggestion that I should remix the music. I accepted the project, expecting lots of time in one of Virgin s studios to play with the music and the equipment, only to be presented with a mono master tape of the music. So I began to invent (or perhaps re-invent) techniques of editing, looping, filtering and subtraction to deal with unremixable mono material (these were the days before samplers). the subsequent work took a long time; as I thought it might be something of an indulgence I only worked on it at weekends and evenings rather than let it interfere with other projects. The techniques used here expanded my vocabulary of musical electronic (as opposed to electronic music) treatments and appear in a very different form on records made at that time and thereafter, notably Fourth Wall my collaboration with Patti Palladin and my production work on Michael Nyman s records. The original players remain unidentified, Jah Lloyd used various combinations of musicians but did not indicate who played on which tracks. This year I added the preface and postscript using a similar approach as in 1978 but with the technology of 1995, partly to make the CD a decent length, partly to find out what effect a different technology would have, and additionally in recognition of the continuing influence this work has had on my approach to the recording studio. David Cunningham may 1995 - 1995 England audio/Cunningham-_the_secret_dub_life_of_the_flying_lizards-_Preface.wav 96 Trevor Wishart 1946 2319 images/spacer.jpg Vox Cycle Cycle completed 1988. A cycle of 6 voice pieces begining with the sounds of creation, and ending with the sounds of disintegration. - 1980 England audio/Wishart_1988-Vox_Cycle_Track-1.wav 157 Stephen Stapleton 1957 3937 images/works/Stapleton-1984-Brained.jpg Brained By Falling Masonry 1984 12 BE L.A.Y.L.A.H. Antirecords LAY7 1st pressing edition of black vinyl copies in regular sleeve B-side runs at 33 rpm Track Listing Side A 1. Brained by Falling Masonry [lay30] [ud036] [ud038cd] [ud069] Side B 1. A Short Dip in the Glory Hole [lay30] [mi-mort4] [ud038cd] Vinyl Etchings Side A: EDNA WAS SECRETLY THRILLED LAY 7-A/36185-1 Side B: WHEN NORMAN FUCKED HER TOASTER LAY 7-B/36186-1 Personnel Steven Stapleton David Tibet Diana Rogerson Jim Thirlwell Roman Jugg Nicky Rogers L. Calland Sleeve Notes Brained by Falling Masonry guest vocals, J. Thirlwell vox organ, R. Jugg mixed by N. Rogers A Short Dip in the Glory Hole guest vocals, L. Calland mixed by D. Kenny covered up by Babs Santini Nurse With Wound David Tibet 93 Crystale Quimm Steven Stapleton Accessed 24.07.2008 from 1984 England audio/NurseWithWoundwithfoetus-alvinsfuneral.wav 157 Stephen Stapleton 1957 3935 images/works/Stapleton-2003-She.jpg She And Me Fall Together In Free Death 2003 June 12 US Beta-lactam Ring Records MT040b 1000 Black vinyl copies in gatefold sleeve (Spine of some copies lists catalogue number incorrectly as MT043) 2003 June 12 US Beta-lactam Ring Records MT040ART 25 Black vinyl copies in handmade sleeve including copy of Hostess Twinkie Mixes 2003 12 US Beta-lactam Ring Records MT040b 513 Black vinyl copies in gatefold sleeve Second pressing Track Listing Side A 1. She and Me Fall Together Like Free Death Side B 1. Black is the Color of my True Loves Hair* 2. Chicken Concrete (For Missy E.) 3. Gusset Typing Personnel Steven Stapleton Colin Potter Sleeve Notes Steven Stapleton Colin Potter Little girl voice on * Alice Potter Cover sculptures Steven Stapleton Photographs Andria Tibet Mixed by S. S. Engineered by C. P. Recorded Feb 2003 at the Watertower Preston Related Items The Hostess Twinkie Mixes No. 1 - 25 - Nurse With Wound Accessed 24.07.2008 from 2003 England audio/NurseWithWound-sheandmefalltogetherlikefreedeath.wav 157 Stephen Stapleton 1957 3934 images/works/Stapleton-1980-Meeting.jpg Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella 1980 12 UK United Dairies UD01 500 Numbered black vinyl copies in regular sleeve Some lettered copies 1990 est. 12 UK UD01 Bootleg copies of this album exist and can be distinguished by the fact that they have a blank elliptical space in the top left corner of the back cover where the original copies are numbered. Also the quality of the images are not as good as the original and the text on the back is largely unreadable. There is also no insert. Track Listing Side 1 1. Two Mock Projections (6:17) 2. The Six Buttons of Sex Appeal (13:06) [cmedd1161] [ihm2] Side 2 1. Blank Capsules of Embroidered Cellophane (28:21) [ihm2] Personnel John Fothergill Heman Pathak Steven Stapleton Nadine Mahdjouba Nicky Rogers Peter Hennig Sleeve Notes Instruments: Guitar Organ, Percussion, Cello, Piano, Flute Synthesizer etc. Special thanks: Peter Henning, Nadine Mahdjouba This album is dedicated to LUIGI RUSSOLO. Even more thanks to ...... ......Nicky Rogers for the commercial guitar........nice.... Accessed 24.07.2008 from 1980 England audio/NurseWithWound-chancemeetingonadissectingtable-02-thesixbuttonsofsexappeal.wav 147 Cornelius Cardew 1936 2625 images/works/Cardew-1968-Treatise.jpg Treatise - 1968 England audio/Cardew-Cornelius_Memorial-Concert_1-03_Treatise.wav 131 David Cunningham 1954 2072 images/spacer.jpg But Everybody Loved Dominic Lynch C. Technological and Audial Space: Works that are concerned with and refer to the audial space created by recording technology - 1982 England audio/Cunningham-1982-but_everyone.wav 116 Brian Eno 1948 3964 images/spacer.jpg Discrete Music 1975 England audio/Eno-discreet_music_(excerpt).wav 46 Chris Watson 1952 2571 images/spacer.jpg Nag Nag Nag - 1979 England audio/Watson-Cabaret_Voltaire-Nag_Nag_Nag.wav 125 Denis Smalley 1946 1918 images/spacer.jpg Wind Chimes The main sound source for Wind Chimes is a set of ceramic chimes found in a pottery during a visit to New Zealand in 1984. It was not so much the ringing pitches which were attractive but rather the bright, gritty, rich, almost metallic qualities of a single struck pipe or a pair of scraped pipes. These qualities proved a very fruitful basis for many transformations which prised apart and reconstituted their interior spectral design. Taking a single sound source and getting as much out of it Dennis Smalleyas possible has always been one of my key methods for developing sonic coherence in a piece. Not that the listener is supposed to or can always recognize the source, but in this case the source is audible in its natural state near the beginning of the piece, and that ceramic quality is never far away throughout. Eventually, complementary materials were gathered in as the piece’s sound-families began to expand, among them a bass drum, very high metallic Japanese wind chimes, resonant metal bars, interior piano sounds, and some digital synthesis. The piece is centered on strong attacking gestures, types of real and imaginary physical motion (spinning, rotating objects, resonances which sound as if scraped or bowed, for example), contrasted with layered, more spacious, sustained textures whose poignant dips hint at a certain melancholy. Wind Chimes was composed in the Electroacoustic Music Studio of the University of East Anglia (UK) in 1987, with computer sound transformations carried out on the digital system of Studio 123 of the Groupe de recherches musicales (GRM) in Paris (France) in 1986. It was premiered during the Electric Weekend at the Queen Elizabeth Hall in London in September, 1987. This piece was first released in 1990 on the Computer Music Current #5 compact disc on the Wergo label (WER 2025-2). Wind Chimes was commissioned by the South Bank Centre, London (UK). Accessed 10.08.2007 from Commission. electroacoustic composition 1987 England audio/Smalley-1987-Wind_Chimes.wav 125 Denis Smalley 1946 1915 images/works/Smalley-1991-valley_flow.gif Valley Flow Commission.electroacoustic composition 1991 England audio/Smalley-1991-Valley_Flow.wav 269 J. Milo Taylor 1972 4112 images/works/101_things_jmt-portrait.jpg Another Type of WorkSong (for Huddie Ledbetter ) Lead Belly was born in Louisiana somewhere around 1888. Living the often violent life of an itinerate musician he found himself twice imprisoned for murder. In 1933 his reputation reached the Lomax family, who, after no small personal tragedy of their own, were traveling the Southern states, recording American work songs, ballads and blues in prisons, penitentiaries, and brothels. Moving around the country in their Ford sedan, John, and his sons John Jr. and Alan, set about recording such artists as Woody Guthrie, Muddy Waters and Jelly Roll Morton. They came across Lead Belly in the Louisiana State Penitentiary at Angola, and with their state-of-the-art acetate disc recorder they cut several sides together over the next few months. They soon parted ways; Lead Belly to a fifteen year career as a solo artist, and the Lomax’s continuing their collection of folk musics for the archives of the Library of Congress, and the Works Progress Administration. Despite the difficult relationship between the academic Lomax’s and the hard-living blues artist, it is through this short-lived collaboration that Lead Belly’s work reached a wider audience, of which I count myself a part. My father, following a period of time working in the Caribbean after leaving school in 1964, had become interested in what was still at that time called ‘negro music’. A Presto vinyl record (PRE 689, 1965) containing a selection of Lead Belly’s early Lomax recordings, is one of the earliest artifacts of any kind that I remember from my childhood. For this project, I was interested in engaging with a populist folk tradition, in the hope such a strategy would enable me to think about electroacoustic composition in a new way. The sound material selected, was by necessity, lo-fidelity (A short promotional film made by Lomax and Lead Belly, found on YouTube). The surface noise in the piece, the glitches, and crackles, are inherent to the source material, and are intended to reference the sounds of old blues records, and to address issues of the value of distribution of heavily compressed audio on the internet, thought of here, as a repository of cultural memory. The piece was entirely constructed from Lead Belly’s voice and signature 12-string guitar. - 2008 England audio/Taylor-2008-Ledbetter.wav 137 Vicki Bennet 1990 3930 images/spacer.jpg Untitled Performance 2001 England video/Bennet_PLU-2001-live_at_Interferance.mpg 120 Jonty Harrison 1952 1907 images/spacer.jpg Ottone - for Ali Ottone (Italian for brass) begins - literally - where my earlier piece for brass quintet, Sons transmutants/sans transmutant, leaves off. The throbbing sound of pulsed air is now expanded by electroacoustic means, heralding a deeper exploration of the timbral/spectral world of brass instruments than can be achieved purely acoustically. The ability of the electroacoustic medium to examine sounds at very close quarters, to get inside and deconstruct individual instrumental sound objects is here exploited to create a larger-scale work lasting almost twenty minutes. The timbral extensions, which range from transformations of straight brass sounds to the sounds of creaking doors, squeaking balloons, my younger daughter and spinning coins (brass is a slang term for money in the North of England!) stay in the domain of the tape part, with the live performers rarely venturing far from normal playing techniques. At various points, windows are created, through which reminiscences of Sons transmutants/sans transmutant can be clearly heard, and there are some significant moments, particularly towards the end of the work, in which the tape becomes overtly instrumental. Overall, Ottone moves in a kind of orbit around the nucleus of the brass quintet, a tendency underlined by the spatial dimension of the work: the players are required to move to different locations in the hall for certain sections, emphasising the changing relationships between the components of the ensemble, and approaching (albeit in a fairly rudimentary way) the ability of the electroacoustic medium (especially in diffusion) to exploit spatial considerations to the full. Ottone was commissioned by the Fine Arts Brass Ensemble, with funds made available by West Midlands Arts. It was composed between January and May 1992 and the tape was made in the Electroacoustic Music Studios of The University of Birmingham. It was first performed in the Adrian Boult Hall, Birmingham in November 1992, conducted by the composer. I am grateful to Dr Andrew Lewis for his assistance during the making of the tape and for diffusing the tape at the premiere. Ottone was selected for performance at the 1993 International Computer Music Conference in Tokyo, Japan and has been recorded by the Fine Arts Brass Ensemble for CD release on the Merlin label. brass quintet and tape. 1992 England 120 Jonty Harrison 1952 1908 images/spacer.jpg Pair/Impair Pair (even) - the balance between opposites (left/right, high/low, dry/resonant); equilibrium; the concept of stasis. Impair (odd) - the contradiction of pair; the element of imbalance which carries us out of stasis; the dynamic concept. Pair/Impair - an extension of the relationship between dynamic and static musics (and their confusion) - a relationship which in itself can fluctuate between the dynamic and the static. Pair/Impair was composed in 1978 in the Recording and Electronic Music Studio of the University of East Anglia. It received a Mention in the Analogue Category of the 1980 Bourges International Electroacoustic Music Awards. tape 1978 England 120 Jonty Harrison 1952 1909 images/spacer.jpg PulseRates BEAST (Jonty Harrison, Andrew Lewis, Dan Rodger, with additional material by Robert Dow and Alistair MacDonald) PulseRates was commissioned by Birmingham City Council to celebrate Sounds like Birmingham - UK City of Music 1992. The piece grows out of sounds which can be heard in the city of Birmingham itself (the fish market, New Street station, city buses and their brakes, the hammering and drilling from building sites), which intermingle with more overtly musical sounds (ranging from the sounds of actual percussion instruments to a more avant-garde electroacoustic sound-world, from a texture reminiscent of ambient acid house to something more akin to a systems piece). In the electroacoustic medium, composers and listeners are uniquely able to move between real, unreal and surreal sonic environments. All three are present in PulseRates, the organisation of which, though primarily musical, can also be interpreted programmatically: just as the citys industrial past provided the foundations for the communities living here, so the sound of machinery of all kinds, symbolising the energy of this industrial past, provides the foundations of PulseRates; in the course of the work it is transformed into the cultural (and multi-cultural) energy which has so strongly come to symbolise Birmingham in the late twentieth century. BEAST wishes to thank the following individuals and organisations for their help in making this work possible: Selwyn van Zeller of the Museum of Science and Technology; Lucas Aerospace Ltd; Westley Richards and Co. Ltd; The University of Birmingham; Anthony Sargent and Catherine Manners of Birmingham City Council. tape 1991 England 125 Denis Smalley 1946 1913 images/works/Smalley-2000-sources.gif Sources/scènes The idea of a principal sound source as provider of the central material and concept unites three works on this CD, and is embodied in their titles — Tides, Empty Vessels, and Base Metals. In each case a characteristic sound acts as a central reference as well as ‘irrigating’ the piece. But it also inspires and guides the choice of other sounds and the play of relationships among them, thereby influencing musical form. In Empty Vessels it is the sound of air resonating in large garden pots along with recordings of the surrounding environment. In Tides it is two water recordings — a closely recorded water texture which furnishes the ‘pool’ sequences, and a recording of the approaching sea which gives the second movement (Sea Flight) its wave forms. Finally, in Base Metals, the resonances of a family of metal sound sculptures provide the rich reservoir of colorful sound spectra which enable harmonic and timbral evolutions. This idea of sources and their musical development is central to the more abstract preoccupations of the composer’s agenda, as a vehicle for creating families of relationships, and as a means for building musical logic and coherence. But the invisible world of acousmatic imagery also conjures up scenes in the imagination. Such ‘scenes’ can be quite close to reality. This is the case with Empty Vessels where nature, environment, the elements and broad exterior spaces are graphically featured, often without much alteration. However, recording techniques can considerably transform our aural view of the sounds: exaggerated magnification can turn peaceful bees into a threatening swarm, or allow us to perceive the finer timbral changes of raindrops falling on a hollow ceramic pot. Empty Vessels can be regarded a series of episodes which have a visual and experiential logic as a well as making musical sense. This is the closest my music gets to composition based on the soundscape. In Tides the water-based proposition is clear enough, but the more literal references are left behind as the concepts of ‘pool,’ ‘current,’ and wave-shaped morphologies are developed more abstractly. With Pentes the only clear link with the real world is the Northumbrian pipes, and so this piece is only scenic by analogy and metaphor — its spectral energies and motions. With Base Metals, too, the imagery is evoked by spaces and motion, quite remote from reality, although the energetic metallic impacts, which act as reference-points, are a type of sound we are all familiar with. Quite noticeable in all these works is the absence of a human presence in the sonic fabric. With the exception of the pipes in Pentes, a few distant traces of human activity near the start of Empty Vessels, and possibly some reminders of instrumentally instigated timbres in Base Metals, the listener-spectator is left to observe and experience the scenes and spaces, alone. Between and beyond the loudspeakers virtual, metaphorical worlds approach and encroach in sonic flow, and are revealed for imaginative contemplation. Denis Smalley, London (UK), November 2000 - 2000 England 125 Denis Smalley 1946 1914 images/works/Smalley-2004-interior.gif Interior Impacts An important distinguishing feature of the five works on this compact disc is the relationship between gesture and texture. Musical gesture, derived from our experience of physical gesture, is concerned with the tendency for sound-shapes to move towards or away from goals in the musical structure; it is concerned with growth, temporal evolution, sense of forward direction, the impact of events, dramatic surface. Texture, however, is more about interior activity, the patterns inside sounds, about encouraging the ear to contemplate inner details; it is often more about standing still and observing the behaviors of sounds rather than pressing onwards through time. Gesture can be textured, and textures can be formed from gestures — the interplay and balance between them lie at the heart of our experiences in musical time. Denis Smalley, Norwich (United Kingdom), September 1992 - 2004 England 125 Denis Smalley 1946 1916 images/works/Smalley-1994-neve.gif Névé Neve was inspired by a walk on the Fox Glacier in New Zealand, and takes structures and imagery related to glaciers as its starting-point. However, the sound materials also suggest their own developments, relations and diversions. The work is a continuation of Valley Flow (1992), which was also influenced by environmental images and materials. The Neve is the mass of hardened snow which feeds the source of a glacier and whose compaction initiates glacial flow. The surface expanses of smooth material conceal organic processes and pressures beneath. A Corrie (from the Gaelic coire - a cauldron) is an armchair-shaped hollow with steep sides and back wall, formed as a result of glacial erosion on a high mountainside. This form is often reminiscent of a mortar in which one grinds spices and grains, and the sounds derived from recording the frictional motion of a large Indian mortar and pestle provide the basis for the second movement. Since the Neve material is also featured, an analogy linking interior space and the environmental is suggested. A Sandar (from Icelandic) is an open, coastal plain of sand and gravel with streams of melted snow flowing across it, stretching out from the mouth of a glacier. To begin with, this movement concentrates on fragmented, pressurized debris and outwash activity but soon spreads out into larger harmonic vistas. Neve was commissioned by the Group de Musique Experimental de Marseille, and the main sound transformations were carried out in their studios in April 1993. Accessed 13.11.06 from Commission. electroacoustic composition 1994 England 125 Denis Smalley 1946 1917 images/works/Smalley-1993-tides.gif Tides Commission. electroacoustic composition 1993 England 124 Morphogenesis 1985 1942 images/spacer.jpg Solarisation Solarisation is a collection of five excerpts from practice improvisational meetings that Morphogenesis carried out on a regular basis between 1991 and 1993. It shows the group coalescing into fairly regular roles of foreground and background, where the background is typically a steady-state drone of some kind, and the foreground is some kind of amplified tiny sounds, percussion, or perhaps a radio broadcast. Within this framework there is of course a wide variety of possible sounds, and Morphogenesis manages to produce and exploit several combinations. Entropy, for example, features a quiet background drone with gongs, prepared piano, and a news broadcast, evolving through an extended unprepared piano interlude to a zither-like sequence with undulating waves, returning to piano chords in the lowest register and wheezing rattles. Seeds of Crystallisation starts with a brilliant enveloping, almost rain-like sound, brings in a table-top guitar, gongs, hisses, electronic roars, and almost recognizable recordings, before it finishes with loud electronic sweeps. Everything evolves organically, with layered gestures seamlessly integrating one to the next, and with no overt virtuosic displays, the group manages to concoct previously unheard sound worlds, indescribable and enveloping, but with enough sonic detail to keep the work interesting across multiple listenings. ~ Caleb Deupree, All Music Guide. Accessed 7.12.06 from - 1994 England 124 Morphogenesis 1985 1943 images/works/Morphogenesis-1998-charivari.jpg Charivari Music The second album by Morphogenesis finds the British improvising group continuing its exploration of unrecognizable sounds. Between the electronics that all group members play and the homemade instruments of Michael Prime (water machine and biofeedback) and Clive Graham (amplified springs), the listener is somewhat disoriented, adrift in a sound field of unknown origins. However, the music evolves in a very organic fashion, without the sudden harsh transitions that characterize some contemporary improvisation. Most of the pieces on this album were taken from group sessions between 1993 and 1996, when the group consisted of seven members, but because of the disparity in sessions, the lineups are amalgams of various members and instrumentation. Shorepoints is the one exception, having been recorded live at the London Music Collective Festival in 1994. Each piece does have its own character. Buttons, featuring guest player Andy Weir, uses external recordings from opera and radio, as well as almost plunderphonics-style quick changes that dominate the sound world for brief windows. The two Stentor pieces focus on percussive sounds, while Preview Piece examines drones and sirens, and is generally more atmospheric. Charivari Music is defined as a serenade of discordant noises, made of kettles and horns, designed to annoy and insult. This ironic title is a good description of this Morphogenesis release, but for listeners with open ears the effect is exhilarating. ~ Caleb Deupree, All Music Guide. Accessed 7.12.06 from - 1998 England 143 Katherine Norman 1960 1988 images/spacer.jpg Oranges and Lemons Oranges and Lemons Waiting at a tourist attraction (a Roman fort) where there was an outside gift-shop and icecream kiosk. Listening to the repetitive jingle of the till, the childrens chatter, the sounds of people as they enjoyed doing nothing much.Audio accessed 15.11.06 from (Canadian Electroacoustic Community Achive) Hardware Used: SGI Indy Software Used: rt, Cmix, MixViews and various other software packages 2001 England 125 Denis Smalley 1946 1995 images/spacer.jpg Pentes Audio accessed 15.11.06 from (Canadian Electroacoustic Community Achive) - 1974 England 56 Jem Finer 1955 2004 images/spacer.jpg Jem Finer, GTR Improvisations on guitar and laptop running particle guitar system coded in SuperCollider 2 - 2003 England 2 Bill Fontana 1947 2005 images/spacer.jpg Primal Soundings tape 2004 England 90 Ron Kuivila 1955 2006 images/spacer.jpg Outgoing message Watching the clock, waking to an alarm, waiting for the phone to ring, waiting for your call to be answered, refusing to pick up a ringing phone, all of these moments of suspension and discontinuity have a Pavlovian force. Our responses to such stimuli are not cerebral but spinal. The dial tones, ring and busy signals of the world?s telephone systems comprise and odd collection of simple musical gestures, immediately and inescapably recognizable to arbitrary and potentially confusing others. For example, the charming 10/8 pattern of the Italian dial tone can be disconcerting to those of used to the drone tones found anywhere else in the world. Other pecularities can be found. The frequencies used for the North American dial, ring, busy (350 440 480 620 Hz) spell out a pelogish scale of a major third, a quarter tone sharp fourth, and a somewhat flat minor seventh that appears when the pitches are played in sequence and becomes the telephone when they are played together. Outgoing message is based on those signals electronically synthesized to the exacting standards of all the best telephone systems. It also includes eccentric telephone bell ringing, the preemptory beeps of several hundred quartz watches, and an extended solo for switched sine waves derived from an earlier work, The Beatification of the Facsimile Tone. - 2002 England 90 Ron Kuivila 1955 2007 images/spacer.jpg The Beatification of the Facsimile Tone Beatification of the facsimile tone is a tuned space possessing a kind of melodic reverberation. Within it, the smallest incidental and environmental sounds elicit sustained responses but repeated sounds quickly wear out their welcome and are ignored . A single sine tone is processed through three comb filters tuned in the ratios 7/8,1/1, and 3/2. (The actual pitches are a concert D and A together with a C one quarter tone flat.) The pitch of the sine tone slowly wanders, creating crescendoing beating patterns whenever it crosses a harmonic of C, D or A. Two other sine tones slowly rise and fall at different pitches derived from the set of pitches to which the comb filters respond. Whenever the instantaneous level and rate of change of their waveforms are within prescribed limits, they trade places. This creates modulation patterns similar to those heard from FAX tones and modems, but with the odd property of being in tune. Yet another sine tone appears and disappears making a simple, irregular rhythmic articulation. Emerging out of this texture are nine statements drawn from the International Personality Profile that one could attribute to a computer. Technology aspires to banality. At the moment of its disappearance, a FAX tone signals you are connected. I imagine this piece as a kind of elegy to physicality. - 2002 England 90 Ron Kuivila 1955 2008 images/spacer.jpg Technoirama (obsessive/compulsive) As the title suggests, this pair of studies intertwine the expansion and contraction of time structure (the concept of irama) with the perfect regularity of electronic pulse. Both are based on a pattern of controlled acceleration (shamelessly appropriated from Jim Tenneys Spectral Canon for Conlon Nancarrow) where a fixed duration is systematically subdivided in a logarithmic fashion. In this system, the duration of the first two events ([1,2]) is equal to that of the 2nd, 3rd, and 4th ([2,3,4]) events. This relation continues to arbitrarily fine subdivisions: [1,2] = [2,3,4] = [3,4,5,6] = [4,5,6,7,8] = [5,6,7,8,9,10] .... The precise length of a duration n is: (4/log(2) )*log(n+2/n+1) seconds. Subdivisions assemble into a steady structural duration (4 seconds in these pieces), but it is impossible to count the interrelation of the subdivisions themselves.. These two studies explore the feel of these subdivisions through the interaction of a performer with a computer generated audio track. (obsessive) In obsessive, a click track subdivides four seconds in to 2, 4, 8, 16, 32, 64, 128 and 512 pulses while a snare drum tries to keep up. The pattern of subidivision is: pulse track 2 4 8 16 32 64 128 256 snare drum - 2 4 8 16 8 4 2 (/) Following obsessive, there is a long glissando/deceleration that replays all of the subdivisions in order of increasing duration. These are routed through a set of filters to create the sound of a series of glottal stops. (compulsive) In compulsive, the process of acceleration through subdivision recurs, but it is slowed down by irregularly expanding time interval being subdivided. The performer plays the table with three distinct gestures loosely inspired by Mark Tansey s triptych, A Short History of Modernist Painting . - 2002 England 45 Jonah Brucker-Cohen 1976 2013 images/spacer.jpg Musical/Devices Collaborate in a musical composition with other people using any mobile telephone. Internet Radio A vintage radio device that interfaces with the Internet. - 2002 England 93 David Lee Myers 1949 2019 images/spacer.jpg Environs 2 - 2002 England 24 Vito Acconci 1940 2073 images/spacer.jpg Now Do You Believe The Dirty Dogs Are Dead? D. Urban Reference: Works focusing on the relationship between the individual and the urban environment - 1982 England 53 Meredith Monk 1942 2074 images/spacer.jpg Biography, Education of the Girlchild Accessed 29th July 2007 from 13 Performers. 6 Voices, Electric Organ, Piano 1973 England 26 William Furlong 1944 2083 images/spacer.jpg Spoken For/Spoken About Recorded and constructed sound 1998 England 26 William Furlong 1944 2084 images/spacer.jpg Mute Dialogue - 1997 England 95 Bruce Nauman 1941 2093 images/spacer.jpg Raw Materials Language has always played a central role in Bruce Naumans work, providing him with a means of examining how human beings exist in the world, how they communicate or fail to communicate. For Raw Materials, he has selected 22 spoken texts taken from existing works to create an aural collage in the Turbine Hall. Removed from their original context, the individual texts and voices become almost abstract elements, taking on new meanings as they are rearranged as part of a single work. Raw Materials also draws on Naumans fascination with space, and the ways it can alter our behaviour and self-awareness. The Turbine Hall has been organised so that visitors encounter bands of sound that run in strips across its width. No other physical changes have been made to the space. Sound becomes a sculptural material in itself, one that orchestrates and measures its surroundings. The Turbine Hall is filled with voices, some clearly audible, others indistinct, which merge with new, found sound from the voices of visitors. In Raw Materials, Nauman has transformed this cavernous space into a metaphor for the world, echoing to the endless sound of jokes, poems, pleas, greetings, statements and propositions. Accessed 20.11.06 from - 2004 England 35 Scanner 1964 2107 images/spacer.jpg The Sounds of Love - 2002 England 35 Scanner 1964 2137 images/spacer.jpg Breakthrough - 2006 England 46 Chris Watson 1952 2230 images/spacer.jpg Bang! - An Open Letter with The Hafler Trio. SIDE A 1. Supressed Noise 2. Inherent Agression 3. All Largely Propaganda 4. A Sound and Colour Analogy 5. Acoustic Lens Fascimile 6. BANG! 7. The Morality Of Sound 8. The Location Of Detached Sounds SIDE B 1. Psychophon Installation Test Tape 2. Location Screening Exercise 3. The Limitations Of Science 4. Echoes In The Bodies 5. Robolised Atomium Dawn Chorus 6. A Demonstration Of The Non-Medical Use Of Microphones 7. Owl Ionisation Recording 1968) Accesssed 7.12.06 from - 1984 England 46 Chris Watson 1952 2231 images/spacer.jpg Soundtrack to Alternation, Perception and Resistance- A Comprehension Exercise with The Hafler Trio. SIDE A 1. Untitled SIDE B 1. Untitled Chris Watson Reissued as Walk Gently Through The Gates Of Joy KUT 2 on The Grey AreaAccesssed 7.12.06 from LAY 13. BE 12 L.A.Y.L.A.H. 1985 England 46 Chris Watson 1952 2232 images/works/Watson-1985-sevenhours.jpg Seven Hours Sleep with The Hafler Trio. Accesssed 7.12.06 from LAY 17. BE 2xLP L.A.Y.L.A.H. 1985 England 46 Chris Watson 1952 2233 images/works/Watson-1986-brain.jpg Brain Song with The Hafler Trio. SIDE A 1. Blanket Level Approach 2. Captation #7- Transilient Membranes SIDE B 1. Buggy Whip Flings 2. Captation #9 - Sareköbe 3. Strata Definition Test #10 Chris Watson This record is respectfully dedicated to Norman, Tony Jackson, and Sue Smeeton. Thanks to Ema Maynard. Prepared for Interaction, Camden Arts Center, 11-12/86 in association with Arkwright Arts Trust. Limited edition of 1000 copies. Includes a booklet with an essay by the artist. This is Knagen Series #2.Accesssed 7.12.06 from - 1986 England 46 Chris Watson 1952 2234 images/spacer.jpg The Sea Org with The Hafler Trio. Accesssed 7.12.06 from - 1986 England 46 Chris Watson 1952 2235 images/works/Watson-1986-threeways.jpg Three Ways Of Saying Two - The Netherlands Lectures with The Hafler Trio. SIDE A 1. First Way Of Saying Two SIDE B 1. Second Way Of Saying Two 2. Third Way Of Saying Two Accesssed 7.12.06 from - 1986 England 46 Chris Watson 1952 2236 images/spacer.jpg A Thirsty Fish with The Hafler Trio. Accesssed 7.12.06 from - 1987 England 46 Chris Watson 1952 2237 images/works/Watson-1996-stepping.jpg Stepping Into The Dark 1. Low Pressure 2. Embleton Rookery 3. The Crossroads 4. River Mara At Dawn 5. River Mara At Night 6. A PAssing View 7. Bosque Seco 8. Sunsets 9. The Blue Men Of The Minch 10. High Pressure 11. Gahlitzerstrom 12. The Forest Path Chris Watson Recorded by Chris Watson Edited by Chris Watson and Jon WozencroftAccesssed 7.12.06 from - 1996 England 46 Chris Watson 1952 2238 images/works/Watson-2005-number.jpg Number Zero 1. Invocation - Kami, (The Celestial) Jupiter Sight Wood East Spring Dawn 2. Introduction - Man, (The Warrior) Mars Speech Fire South Summer Morning 3. Development - Woman, (The Balance) Saturn Taste Earth Center Late Summer Noon 4. Climax - Madness, (The Trickster / Fool) Venus Smell Metal Autumn Dusk / Sunset 5. Conclusion - Demon, (The Super-Natural) Mercury Hearing Water North Winter Twilight Chris Watson Released in cooperation with Zev and .K. Null Traditional Noh correspondences for their 5 part cycle of plays. Kazuyuki Kishino (K.K.Null): electronics and electro-percussion produced January 2004. Chris Watson: location sounds recorded in East Africa. Zev: 25 binary-acoustic files produced January 2004. Final mixes produced by Zev March 2004Accesssed 7.12.06 from - 2005 England 46 Chris Watson 1952 2239 images/spacer.jpg The Galapagos Islands - An Audio Diary Accesssed 7.12.06 from - 2005 England 46 Chris Watson 1952 2240 images/spacer.jpg Alcedo Volcano Accesssed 7.12.06 from - 2006 England 46 Chris Watson 1952 2241 images/spacer.jpg Siren A field recording of a sung performance of Tim Buckleys Song To The Siren, in a North Sea harbour. Edition of 1000 copies, in oversized wallet, with fold-out sheet featuring texts by Finlay and Watson.Accesssed 7.12.06 from - 2006 England 46 Chris Watson 1952 2242 images/works/Watson-2006-storm.jpg Storm Previously available at Touch 25 live events during October 2006. Chris Watson writes: During December 2000 several significant storm fronts developed across the North Sea and Scandinavia. Benny remarked to me that he had recorded some of these on the Baltic coast and proposed a collaborative cd project based around our mutual interests in the rhythms and music created when the elements combine over land and out to sea. We spent the next few years gathering recordings on our respective coastlines and islands during the very active weather windows during the autumnal equinox and winter solstice. This was focused around our following one particular cyclonic system, which veers over Snipe Point on Lindisfarne to the Isle of May in the Firth of Forth, and finally descends upon Öland and Gotland where Benny listened in with a favourite pair of Sennheiser omnidirectional microphones.Accesssed 7.12.06 from - 2006 England 122 Throbbing Gristle 1976 2248 images/works/TG-1980-heathen.jpg HEATHEN EARTH (the live sound of T.G.) 1. Cornets 4:38 2. The Old Man Smiled [lyrics] 6:39 3. After Cease To Exist 7:17 4. The World Is A War Film 7:46 5. Dreamachine 7:44 6. Still Walking 4:56 7. Dont Do As Youre Told, Do As You Think 7:33 8. Painless Childbirth 1:05 9.*Adrenalin 3:59 10.*Subhuman 2:53 Note: 2 versions on Industrial, one ordinary, and one blue : transparent vinyl, ltd to 785. Recorded live in Industrial : studio 16 Feb. 1980. * denotes CD bonus tracks. Accessed 7.12.06 from - 1980 England 122 Throbbing Gristle 1976 2249 images/works/TG-1980-subhuman.jpg SUBHUMAN / SOMETHING CAME OVER ME a. Subhuman 2:53 b. Something Came Over Me 3:43 Note: Simultaneous release with Adrenalin/Distant Dreams (Part : Two) Centre labels of TG lightening flash logo with White : central stripe and Red flash. No Death Factory logo. : Message White Stains scratched into Something Came Over : Me side. Picture sleev in Black and White. : Sold in camouflage printed plastic bag. Accessed 7.12.06 from - 1980 England 122 Throbbing Gristle 1976 2251 images/works/TG-1981-dead.jpg MISSION OF DEAD SOULS 1. Dead Souls 5:04 2. Guts on the Floor 6:04 3. Circle of Animals 5:26 4. Looking for the OTO 5:05 5. Vision and Voice 7:11 6. Funeral Rites 5:20 7. Spirits Flying 8:16 8. Persuasion U.S.A. 7:26 9. The Process 0:39 10. Discipline (reprise) 3:01 11.*Distant Dreams (part two) 5:30 12.*Something Came Over Me 3:43 Note: The last live performance, San Fransisco 29 May 1981. Re-released : 1983, first one in Stereo according to jacket. * denotes bonus CD : tracks. Accessed 7.12.06 from - 1981 England 122 Throbbing Gristle 1976 2252 images/works/TG-1981-intheshadow.jpg IN THE SHADOW OF THE SUN Soundtrack to Derek Jarman film of the same name. Accessed 7.12.06 from - 1981 England 122 Throbbing Gristle 1976 2253 images/spacer.jpg UNTITLED 3 1. What A Day [MP3] 2. P.A. Destroyer Note: A special 3 CD for those who purchased the New Years Berlin 2005/2006 : shows Uber Ticket featuring 2 live tracks from the second set in TGs : show on 29th June 2005 in Turin, Italy. Hand numbered and limited to 200 copies. : CD is recorded as a single track. Accessed 7.12.06 from - 2006 England 122 Throbbing Gristle 1976 2257 images/spacer.jpg PART TWO - The Endless Not At the request of TG the each of the initial CD pressing will include ONE of a series of FOUR different TG Totemic Gifts in either copper, bone, rubber and wood.The gifts are built into the PART TWO CD jewel case. The Totemic Gifts were handmade under Peter Christophersons personal supervison in Thailand. Each of the Totemic Gift CDs comes in an edition of 1000. PART TWO Track Listing Vow of Silence Rabbit Snare Separated Almost A Kiss Greasy Spoon Lyre Liar Above The Below Endless Not The Worm Waits Its Turn After The Fall Total Playing time : 67:25 Accessed 7.12.06 from - 2007 England 122 Throbbing Gristle 1976 2258 images/works/TG-CT-1975-coumdensation.jpg coumdensation mucus Genesis P-Orridge and Cosey Fanni Tutti (As Coum Transmissions). No one really knows what is best, or right anymore. So we have to decide for ourselves. We have to discover what we really believe in. Thus COUM performances in all media are also discussions in visual and sound terms about just what IS valid, and what thee rules are. Everyone can perform, though not everyone wants to of course. Its all a matter of time, patience and flexibility. COUM hope to give people an idea of what they themselves can manage, and that is valuable. They want to put things in perspective, to proclaim the joy of discovery in art, music and performance, to end self-limiting ideas of competence a situation of general development. COUM hope to show people what they can manage. So COUM is a family of people, not only who have PhDs, University and Art College degrees, but also people who left school at 15 to work in factories. Collectively increasing their awareness and adaptability as a performance group on all levels. COUM do not make explanatiion explicit in their performances, music and exhibitions. They do not impose their ideas. They feel an audience, whatever its nature has a responsibility to work on what it sees and hears. However, afterwards they are happy to discuss the subtleties, private obsessions, clues, satires and suggestions incorporated with disguised opinion that is obviously open to debate. One problem always present is, how direct can you be without destroying the parallel to human subconscious behaviour and dream worlds with which COUM wish to deal? Accessed 7.12.06 from - 1975 England 122 Throbbing Gristle 1976 2259 images/works/TG-CT-1973-photosofactions.jpg Photos of Actions 1973-76 Accessed 7.12.06 from - 1973 England 122 Throbbing Gristle 1976 2260 images/works/TG-CT-1971-catalystb.jpg Catalyst A new concept: is it a group or a theatre group or an art form sui generis? COUM is all these. We never close? Frying tonight - flying tomorrow. There are seven of us, or more. To coumunicate we must talk the same language. WE TRY -WILL YOU? If humanity is but a question, COUM is the question mark. It snowed during our last (indoor) decomposition - because we caused the snow: with such power we will alert the world - will you help? We ask audiences to give everything because nobody knows all the answers. Least of all COUM. We are the question mark, use COUM to phrase the question. COUM. Accessed 7.12.06 from - 1971 England 122 Throbbing Gristle 1976 2261 images/spacer.jpg Coum Dearest Giancarlo, As you probably know, we as COUM Transmissions are blacklisted (banned) unofficially but effectively from doing any actions in Britain, or any static exhibitions in British Galleries. They say our work is pornographic and degenerate. E enclose a few cuttings about our latest exhibition at thee I.C.A. Since then we have done some SECRET actions in London without any publicity, at Goldsmiths College, ACME Gallery and so on but its very hard. We have been raided by Scotland Yard police eight times at our studio and house. Nevertheless we have made our first film. Its 20 minutes long and called AFTER CEASE TO EXIST. It was shown in Holland at thee Beethoven Festival in Arnhem this Autumn. We have also made a limited edition LP record which should be ready by thee end of October that is called SECOND ANNUAL REPORT. And ECART Gallery have brought out a book about our trial for sending indecent/obscene mail art to people called GPO v GP-O. We Received copies of Flash Art you sent. E have put you down for a free complimentary copy of thee book Edited with Colin Naylor for Macmillans ion London. Its called CONTEMPORARY ARTISTS and is a large and useful Directory of 1200 artists with curriculum vitae statements, critical texts and photographs. Enclosed is a photo from our latest action which was a secret action in London again. We cant always give locations because thee police will raid and arrest us if they find out where we work. Please can you perhaps print it in your news columns? Michael Morris is here from thee western Front and dealer. Do you have any ideas who would be interested in our work and objects, actions photos and publications? Well, E hope you will keep in touch and that life is not as hard for you in Milan as it is here for Cosey Fanni Tutti and me. Cosey sends you a kiss, cari saluti, Genesis P-Orridge pp COUM Accessed 7.12.06 from - 1977 England 122 Throbbing Gristle 1976 2263 images/works/TG-CT-1972-alienbrain.jpg World Premier of The Alien Brain Accessed 7.12.06 from - 1972 England 122 Throbbing Gristle 1976 2264 images/works/TG-CT-1974-nme-promo.jpg Thrills Mutations AND HEREWITH one of those engaging free plugs which we sometimes deliver when the wind is in the right direction and our normal bitter sardonism is temporarily muted into a kind of vibrant glow. The reason for the above poesie is the existence of a band called Coum (pronounced Spermatazoa), whose spokesman and chief idiot, name of Genesis POrage, visits these offices occasionally and phones even more frequently. That, in itself, wouldnt achieve much - were hard, y know hard - but recent reports from Brussels, where this extraordinary band have been enjoying some kind of smash success, and the on-the-record praise of one J.Peel (They re mad - but we need more of this kind of madness) have prompted us to plug this band, whose act (we haven t actually seen them, mind you) as apparently based around bicycle wheels, nude dancing and the kind of anarchy which moved Brussels chief classical music critic to declare, in tears, They ve changed my life. Henceforth, I will think of myself and Life in entirely different terms. New Musical Express 9 February 1974 Accessed 7.12.06 from - 1974 England 122 Throbbing Gristle 1976 2265 images/works/TG-CT-1974-coming.jpg Couming Of Age COUM present for you cOUMING OF aGE A PHOTOGRAPH IN EXACTLY SEVEN PARTS FOR UNCLE BILL B 1). Swift Swing Serenade for Valentines Day 2). Well Wished Oil Well 3). Arctic Banana Gobble 4). Rumba Echoes 5). Copyright Queen of the Silver Screen 6). Dogbreath Bleach 7). Disintegration of Fact and the Seven Year Itch STARGAZING Cosey Fanni Tutti Rev. Lelli Maull General Idea John Lacey (the Visitors Shadow) John Barrie Smith Foxtrot Echo Hermine Demoriane AND The T.V. Children Set Design by COUM TRANSMISSIONS and the VISITORS SHADOW Accoumpaniment Musick by:--: Nico, Terry Hunt, John Cale, Lou Reed, Vera Lynn Special effects by:--: T.V. Children and Wicked Wrestler and Monks of Notre Dame Review by Rusty Kneecaps Itall. Dedicated Especially to Big Jeff Rutting. Ankle straps by George Formby. Costumes by Cosey P-Orridge. Swing by Your Kneck. Flares by IRA. Torches by and By. Windows by John Late. Lies by Neil Megson. Especially coumissioned and coumceived for the wonderful OVAL HOUSE THEATRE and Never forget that infamous and nasty COUM guarantee of disappointment sweetie. Accessed 7.12.06 from - 1974 England 122 Throbbing Gristle 1976 2266 images/works/TG-CT-1977-gilmore.jpg GARY GILMORE MEMORIAL SOCIETY Coinciding with their visit to Monte Cazazza, Genesis and Cosey found the Gary Gilmore furore at its height. They all photographed each other in blindfolds as though they were in front of a firing squad, complete with a real loaded gun pointed at their hearts to get better reactions. Postcards made of the photos were mailed immediately after Gilmores execution to the warden of the Utah penitentiary and several newspapers Accessed 7.12.06 from postcard 1977 England 122 Throbbing Gristle 1976 2267 images/works/TG-CT-1977-vile.jpg Vile magazine Accessed 7.12.06 from - 1977 England 122 Throbbing Gristle 1976 2268 images/works/TG-CT-1978-scenes.jpg Scenes Of Victory Accessed 7.12.06 from - 1978 England 122 Throbbing Gristle 1976 2269 images/works/TG-1977-nagshead.jpg Nags Head I wish Id gone home ANYONE who reads the juicier Sunday and popular newspapers will know the name of Throbbing Gristle. One may have asked in passing: Who are these weidies? I still dont know who they are, or why they should have attracted such publicity, and I went out of my way to see them perform at the Nags Head pub in High Wycombe on Friday. Well, I say perform because just at the moment I seem to be lost for words to describe what went on. I make no apology for saying I am a lover of heavy, noisy, jarring ear-splitting music. I m young and strong and I can take it. But I had a job to keep my pint in my stomach as I listened to the muck which was Throbbing Gristle s claim to fame. An ape with his hands severed can thump just as violently on a bass guitar as Genesis did. I thought that was bad, but when he picked up his electric violin and suddenly the place was full of agonised cats. I can t be sure that he was trying to sing, and I couldn t make out every word he screamed into the microphone, but it sounded like I should have ignored the man and gone home. Our Photographer gave up early. I wish I d followed him. But I waited, and watched dumbfounded as Cosey Fanni Tutti bared both her chest and her ignorance of music, and Genesis poured artificial blood over his head and spat it onto the stage. Landlord At least he did stop playing for a while - but only to shout obscenities at the audience and throw a table across the hall. Then he invited half a dozen youngsters from the cat-calling and jeering audience onto the stage, and he handed them the instruments. They sounded better than Throbbing Gristle, even though they couldn t play a note. Those youngsters paid 75p to go into the hall and listen to the stomach-churning travesty of music which Throbbing Gristle was oozing into the Nag s Head. The landlord, Mick Fitzgibbon, told me that the youngsters were about ready to throw Genesis P-Orridge, plus his equipment, boldly through the door. I ll never have them back here, he said. The kids were threatening to punch the promoter, and I don t blame them. However Gig Reserves, the promoters, want to make amends to customers of the Nag s Head. They promise that next weekend s band, Phil Ram, is good, and not to be missed. I think I ll go along to make sure. Keith Baldock, Midweek, 16 February 1977 Accessed 7.12.06 from - 1977 England 122 Throbbing Gristle 1976 2270 images/spacer.jpg Highbury Roundhouse THROBBING GRISTLE are hard to categorise or describe, and they probably wont like any of the comparisons that follow, but: If you were looking at them from a Seventies art-rock cum punk/New Wave viewpoint, the closest you could get would be to say they sounded like Suicide or Pere Ubu (although theyre less orthodox/rhythmic than either of these two USA groups). If you wanted to convert a hippie, youd have to throw in references to Hawkwind and maybe a bit of the weirder Gong. For the intellectual market, name drop John Cage and Eno (for young intellectuals). Disco fans could be amused by the electronic rhythmic pulses a la Donner Summer. Ultimately, they maybe sound like a straight band trying to play a song while taped sound checks of all the aforementioned people are played over the PA and someone fiddles with a radio in the background. All of which makes them sound very unsaleable, but they re not (maybe). I like rock n roll, mainly, with overtones of intelligence thrown in. This ain t rock n roll by any means, but I kind of like it and there s no reason why it shouldn t sell on a large scale. I mean, no one ever thought Tangerine Dream or Can would make money. But for the moment, they only get the occasional funny gig like this one (check out the Rat Club gig soon), where they played to an audience of, I dunno, maybe 20 people? They come on and blast the audience with blazing white light which persists throughout the set and makes it difficult to look in the direction of the stage. The numbers roll from one to the next. Strange songs about licking blood and stuff, and one which tells us there ll be no rock, no boogie, no . . . They play for one hour exactly (it s timed). After they stop, a young black kid asks another, Ain t there any reggae tonight? The Throbbing Gristle album will be out soon. Sandy Robertson, Sounds, 15 October 1977 Accessed 7.12.06 from - 1977 England 122 Throbbing Gristle 1976 2271 images/works/TG-1977-ratclub.jpg Rat Club At Rat Club we arranged PA on lots of tables at all different levels, all tables covered in red cloth. So looked like electrical luxury goods on display in shop window. Jules Baker, a friend, made us a huge TESCO paper shopping bag, which we had standing near thee amps so it looked all out of proportion, like goods for sale, not like a rock PA. We always put all amps and equipment in centre of stage spotlighted. Thee heart of TG. We are placed, Cosey on one side of stage, she always sits down when playing guitar. Me on other side of stage. And Chris and Sleazy in centre stood with backs to audience manipulating machines. At Rat Club we had huge black polythene curtain behind red table sculpture to set it off. Then we always hang a 4 feet diameter wooden TG sign made by Monte Cazazza behind us. Like a big version of our TG Flash badges and stickers. Genesis P-Orridge letter in Anarki and Kaos 3, February 1978. THE RETURN of Tesco disco - another noise (industrial) in a different supermarket… Throbbing Gristle began with a mutated White Christmas (Bing Crosby of course); technically doctored/dissolving - the familiar into the unknown. The sonic assault begins. Its hard to describe precisely the elements of the sound, easier the effect… How about the story of the black kids that hung over the railings outside the Hackney Studio, digging the fact that Throbbing Gristle sounded just like the factories all around? (Factoid). No? How about a comparison: the electronic distortion of Sister Ray (where the Velvets cranked everything up and off the board) matched with the throbbing crescendos/all over wash of the most intense acid music? Sometimes they can be very friendly: tonight was one of their worst nights as they reflected the mood of the audience. Areas of doubt: no visuals - for sure uncompromisingly concentrating you on the music, but hard to attend to without. Little movement from the group. Also their intellectual/artistic rationale is clear and has been explained already, and to be respected: are serious, dedicated and talented. What remains unclear in their assumption of the power focus is the moral base: orientation hard to discover. Could say that doesn t (so strong) a reflection act as a reinforcement/endorsement? Contributing to the horror-show instead of combating it? I don t know - go and see for youself. Jon Savage, Sounds, 7 January 1978 Accessed 7.12.06 from - 1977 England 122 Throbbing Gristle 1976 2272 images/works/TG-1978-architect.jpg Architectural Association TG play this Friday at Architecural Association. Thee idea is we are in a large cube, cage of scaffolding about 8 feet above ground in a yard which is surrounded by brick builings. Yard floor is painted white, large 7 feet high mirrors lie at angles in yard. Black polythene roof on cage. To hear us play you have to look out of all thee windows of old brick buildings, or lean off flat roofs (they HAVE got railings). We hope to get a video camera inside cage with us, so to see us you have to go back inside builings which will have monitors all around corridors and rooms but no sound, just image. Its at night, so well have halogen lamps with us, so large shadows will be cast across yard onto mirrors, people looking also in mirrors all fragmented and fused. Very Industrial as its outdoors, night, right next to Tottenham Court Road and theatre section/traffic section of central London, at roof level both sound sources will blend. Genesis P-Orridge, private correspondence dated 1 March 1978. Accessed 7.12.06 from - 1978 England 122 Throbbing Gristle 1976 2273 images/works/TG-1978-film.jpg Film-Makers Co-Op PLAY GAMES with peoples minds and you risk having something very nasty on your hands, as Throbbing Gristle probably know only too well. I could be very cool and say theyre simply reiterating the blinding machine scream of early Kraftwerk (circa Stratovarius ), literally bombarding the audience with painful, frightening noise. But there s something else going on, something that isn t very nice. Coincidence or intent. They play beneath a red, black and white logo that is just one step removed from the sort of runic symbols used by various right wing organisations. Their PA is two H -shaped speakers on either side of the stage; HH, 88, Column 88 - the interpretation is tenuous, but it is there. And a young roadie dressed completely in black guards the stage. I could, of course, be wildly off course in this, or Genesis P-Orridge s infamously weird tastes could be leaning towards bizarre totalitarian chic. Having removed the audience s inhibitions with art-porn movies (I missed the one with the guy getting castrated with a pair of scissors), they might have expected something to happen. They managed to play half an hour or so (I lost all sense of time) before the gig was truncated by violence. (See Our Man On The Floor In A Pool Of Blood for account). Waves of stomach-churning noise, intestinal gurgles of oscillator and phased percussive synthesiser rhythm filled the room. It was a hurricane of loud, inhuman and disorientating noise roaring around the eye of the stage. Intimidating bassy growls vibrated the room and wild vocalese and spine-snapping guitar flailed out from the stage. It took on the atmosphere of some Fluxus happening rather than the usual passive musical recital. A sensory overload of awesome noise that places the audience in a very volatile situation. The fracas appears to have stemmed from a couple of stupid morons who couldn t handle Throbbing Gristle's provocative music. But even the group seemed loathe to accept the situation their music forced the audience into. As the room began to resemble a furniture warehouse being attacked by poltergeists, they stopped playing with one final disgusted scream of white noise. Stunning but dangerous music. John Gill, Sounds, 15 July 1978 Accessed 7.12.06 from - 1978 England 122 Throbbing Gristle 1976 2274 images/spacer.jpg Cryptic One Club A youth club under a church. A cramped cellar, lots of arches. The stage is 15 feet deep and six feet wide. Twenty at most of the audience can see it. A few more can see part of it. In a corner lager is being sold for 50 pence a can. The writing on the wall doesnt say a culture never falls to pieces, it just gives birth, but thats only cos I d forgotten my chalk. It was hot, crowded, murky, NOISY now and then, silent but mostly decadent. Minutes before nine, Genesis P.Orridge introduces (one by one, good lad) Throbbing Gristle, and himself as David Brooks. Bruce Forsyth has nearly finished, he mumbles, his voice treated and blotted. To-night is family evening. We usually play for about an hour. Genesis P.Orridge is the ultimate rock comedian. Throbbing Gristle s set was funny. A remote parody of a rock (or whatever) group seriously performing bleached, blank, carefully-composed junk. A remote parody of anyone from David Coverdale s White Snake to the Tom Robinson Band. Throbbing Gristle understand rock music s terrible tedium and the thin line between white noise and Thin Lizzy. T.G. used tapes, guitars, radios, tv s, voices, fingers, rings, a bass, eyes, intensity, a violin, stupidity, gullibility, electronics and stimulants to spew out a rotting, decaying noise. A seagull hiccoughing and amplified? The Stranglers backwards? As musical as Pere Ubu? Or Yes? No. Inevitably, when people improvise moments of repeated sound are attained (unlike a rock gig where the whole thing is stiflingly preplanned). Some parts of this T.G. would sound good on record. This doesn t mean that they succeeded or failed; just that they functioned. Orridge stiffly stalked the space between amps, instruments and walls, blindly strumming a bass, distorting and macho roles, teasing the sense of control, singing nonsense that could have meant something, sawing a violin, and shing a bright light on the dumfounded, wide-eyed audience. Their response was pride, fear or defiance. It was funny. I didn t laugh out loud. But I smirked.The ultimate poseur, I thought, is someone who dances to Throbbing Gristle. And Throbbing Gristle went on and on … just like a rock group. Paul Morley, NME, 18 November 1978The full line up for the evening was: Throbbing Gristle Cabaret Voltaire Metabolist Robert Rental and The Normal The time of the Cryptic One gig was a very important time for all the industrial scene altogether. All the interested parties were there that night. People and groups that have since become infamous against the hard core underground scene. It was an electric night, very alive and thumping energy from wall to wall and from roof to well below ground. A great shift and a great surge forward happened that night.... Suffice it to say it was special in MANY many ways to all the people who attended - Cosey Accessed 7.12.06 from - 1978 England 122 Throbbing Gristle 1976 2275 images/works/TG-1979-guildhall.jpg Guildhall Set included: Wall Of Sound No Bones Ice Cool Down They Make No Say Hamburger Lady Day Song Saw Mill Accessed 7.12.06 from - 1979 England 122 Throbbing Gristle 1976 2276 images/works/TG-1979-butlers.jpg Butlers Wharf A grey winters afternoon amongst the towering and decaying Thameside wharves seems a fitting venue for Throbbing Gristle to play. They chose Butlers Wharf on the south side of the river for their recent concert, playing on a low stage on the third floor using two simple fluorescent lights for illumination. The concert opened with a tape of the archetypal funk/disco muzak over which an echoed female voice went explicitly through the tract covered by the Donna Summer - Love To Love You corpus of recordings. As the tape reached its conclusion Cosey Fanni Tutti and Peter Christopherson picked up electric cornets and sent long, ringing notes out into the room, echoed and delayed to build up into broad streaks of sound. Throbbing Gristle s use of brass in this way is interesting in that it adds a contrasting element to their instrumental armoury. It has a bright, clear quality which they exploit to the full in sharp contrast to the dense, muddy frequently disturbing textures which they more habitually work. It was these latter qualities which supplanted those of the brass work. As Cosey switched to guitar and Peter to his custom-made multi-cassette player and keyboard, Genesis P-Orridge added bass and Chris Carter synthesiser to create a murky abrasive music that jarred and provoked. The individual constituents become subordinate to the whole: distorted and treated vocals (live, delayed and - I believe - taped) blurred into stabbed keyboard rhythms or wedges of bass and guitar colour driven deep into the heart of the sound. Most of the traditional assumptions of the rock n roll format are discarded (overt rhythm and melody, the voice mixed to the fore, for example) but that is not to say that the final results are formless or unfocussed. After a brief interlude composed solely of voices, a synthesiser rhythm was set up and Cosey returned to the cornet. Her soaring notes cut across the top of the rhythm (which was doubly reinforced by Genesis bass work) to establish a good humoured and bouncing soundscape through which dark clouds of tapes, bass and more synthesiser swept. They were only really able to impose their character on Genesis bass postscript after he concert playing had stuttered to a halt. Through all this the benign voice of a hypnotist was heard gradually awakening us from our trance, telling us that we could learn to relax in this way and - by now the musicians had finished and the tape of the voice was working solo - that we d enjoyed the experience. Taken individually, the elements from which Throbbing Gristle construct their music are often surprisingly simple. Yet through the skillful deployment of these elements and the technology available to them they are able to create a unique music. Their willful dismissal of traditional musical rules no doubt alienates a large number of people. However, for those prepared to listen, they are capable - as this concert clearly demonstrated - of producing a strong and powerful music Ken Ansell The gear: Genesis P-Orridge (bass): Roland bass, Morley fuzz-wah, Simms Watts echo, Roland Studio Bass 100 combo. Cosey Fanni Tutti (cornet and guitar): Singha cornet, guitar, HH echo, Roland flanger, customised pedals and Roland Jazz Chorus 120 combo. Peter Christopherson (Tapes, keyboard, cornet): Customised multi-cassette keyboard deck, Corton cornet, Roland Jazz Chorus 120 combo. Chris Carter (synthesisers): Roland SH1 and SH5 synthesisers, 2 cassette decks, 2 Prokit mixers, Roland Space Echo, WEM Copycat. Musicians Only, 12 January 1980 Accessed 7.12.06 from - 1979 England 122 Throbbing Gristle 1976 2279 images/works/TG-1980-so36-berlin.jpg S036 Club UNLEASHED IN THE EAST: In berlin, by the wall, Throbbing Gristle will play their first ever gig abroad. 100 feet from the terrors of the Eastern bloc, the electronic wunderkinder will introduce their new compact selves; the four members appear on stage with nothing but a mysterious black suitcase each. This new streamlined handluggage style will enable TG to conquer Italy, Japan and America in the coming year in a series of hit-and-run kamikaze missions. And you thought they were kidding... Sounds, 8 November 1980 Sets included: Stained By Dead Horses Trained Conditions Of Obedience Zeros Death Nomon Raudive Bunker Experiment Denial Of Death Funeral In Berlin Trade Deficit Accessed 7.12.06 from - 1980 England 122 Throbbing Gristle 1976 2280 images/works/TG-1980-frankfurt.jpg Kunsthofschule The Neoclassic Stadel was the scene of the only TG concert in FRG. Before and after the concert, the members of the group were staying in front of the stage and could be approached by anyone who wished to talk to them. Chris Carter was friendly as in London, talked about the completely new arranged and reduced PA. Cables, switches, gear, boxes, which I had never seen before. They had brought along 12 cassettes with noises, sounds and programmed rhythms, which can be used depending on situation and atmosphere. For TG set a high value on playing differently every gig depending on the situation with the audience. Their former method of producing special sounds which directly influence the body (circulation, heartbeat, metabolism, well-being) has been dropped. People dont feel sick systematically. I was very shy towards Genesis, couldnt behave as if everything was clear to me. Gen was already fed up with the tour after two gigs in Berlin: breakfast was bad, the German technicians stupid and besides, TG had demonstrated in Berlin, how easily the Germans collapse. Berlin was poor, many collapsed. We showed them! Promoter in Frankfurt was Walter Baumanns Shvantz magazine, but when in the film After Cease to Exist a prick was cut off I couldn t laugh at this occurrence any more, but I felt uneasy. (Note: the German word for prick is Schwanz; Walter Baumann s magazine is called Shvantz. This is pronounced the same way as Schwanz). Despite the whole package of machines the concert was not cold and boring at all. Genesis, bassist and singer, screamed, sang and shrieked at the top of his voice, as loud as he could. Moving permanently, hitting with the microphone on his head now and then, he roared out his lyrics. No comparison could be made to the difficult, inhibited speaker I had become acquainted with. I was fascinated, the concert started with much tension and energy. The wall of sound was crystal-clear, hard, loud and aggressive. But someone poured his wine bottle on Chris Carter s instruments. Chris became sour, because someone had destroyed his beloved machines, pulled out all the plugs, packed up his gear and the gig was finished for him. The other three had also lost all desire. As a trio they played a short song called Discipline and then it was over. The gristle had stopped throbbing. Spex, 15 December 1980. (Original article in German) Accessed 7.12.06 from - 1980 England 122 Throbbing Gristle 1976 2281 images/works/TG-1980-rafters.jpg Rafters A LOT more than just another gig and also, a lot less. Unpleasant noises greeted me as I entered the ridiculous Rafters rock venue. I headed for the bar. Ah a, said a voice, A bar-room journalist. I cursed, I decided Id have to watch myself, too many nasty local fanzines around for my liking. The gig was developing into one of those wonderful anti-climax situations, the kind which Throbbing Gristle adore and use to the full. They have an uncanny knack of making the audience look foolish. Throbbing Gristle are all about creating atmosphere, an uneasy atmosphere, an atmosphere which allows them to exploit the crowds emotions, chiefly boredom and confusion. When they are not creating strong images, TG play about with a sadistic desire to inflict pain and expose the worst aspects of horrible reality. They strolled on stage. Genesis P-Orridge adopted his preacher role. Arms outstretched, he screeched over the top of the ugly din. Carter and Christopherson stayed at the rear looking friendly and, as usual, totally out of place. Cosey sat down content to add an odd streak of piercing guitar. Orridge looked nasty, his face smeared with red blotches and his expression menacing. At times he would explode with emotion and jerk violently sideways. He seemed to be enjoying himself. For half an hour the sound remained a mass of distorted noise, actually more imposing than the TG norm. Finally the format splintered and after a few minutes of complete chaos, an interesting disco funk appeared. Orridge moved to the back of the stage and began hitting his guitar at irregular intervals. The disco churned on before rapidly vanishing and Throbbing Gristle were gone. So sudden and just as it was becoming interesting. Well, the lousy sods. Rafters burst into an instant debating hall. Nobody could criticise TG because TG made no promises. They broke no rules. Throbbing Gristle are Throbbing Gristle and no-one else even comes close. Thank God. Mick Middles, Sounds 27 Dec 80 Accessed 7.12.06 from - 1980 England 122 Throbbing Gristle 1976 2284 images/spacer.jpg ASTORIA Accessed 7.12.06 from - 2004 England 122 Throbbing Gristle 1976 2285 images/spacer.jpg CAMBER SANDS Accessed 7.12.06 from - 2004 England 122 Throbbing Gristle 1976 2286 images/spacer.jpg IN THE SHADOW OF THE SUN To Peter Greenaway film of same name. Accessed 7.12.06 from Live Soundtrack 2006 England 124 Morphogenesis 1985 2287 images/spacer.jpg In Streams, Vol. 1: 1996-1999 In Streams, Vol. 1: 1996-1999 contains excerpts of Morphogenesis rare live performances, plus one studio track (In Streams, Vol. 2 works the same way). Adam Bohman, Ron Briefel, Clive Graham, Clive Hall, and Michael Prime all interact through analog electronics and electrified objects: no laptops, no samplers. Prime also uses his water machine and bio-feedback. Roger Sutherland joins them on the studio track. After so many years together, this outfit still produces the texturally deepest, most engaging, most surprising electronically based free improvisation. The synergy and sense of combination they share is what makes the 22-minute Live at the Windmill feel like a journey inside and outside ones conscience. Forget the sterile bleeps the laptop generation of musicians produce: This music is chaotically organic. Charivari Remnant lacks variety when compared to the other pieces, but overall In Streams, Vol. 1 fills a gap in the ensembles career. Fans will appreciate; newcomers might find it a revelation. Strongly recommended. ~ François Couture, All Music Guide. Accessed 7.12.06 from - 2001 England 124 Morphogenesis 1985 2288 images/spacer.jpg Improvisations Improvisations was released by the Spanish music magazine Hurly Burly in conjunction with their report of the 1999 CEDI Music Festival in Madrid. The live recording is one of the groups most ambient releases, in the sense that they set up an organically evolving sonic environment, with a fair amount of internal variation, but relatively few significant events. Each of the untitled improvisations has its own character. The first one features high-pitched drones leading into buzzing, reverberating electronics and string scraping, with a short interlude of treated female voices in the middle. The second has several clearly audible layers, including Adam Bohmans prepared violin and a few other drones, which come together in a controlled feedback before finishing with zip gestures and percussive scrapes. The third has ominous, low sustained tones with percussives and screeching gestures like creaking hinges. The last improvisation is the most ambient, featuring low-volume drones moving about in space (the real-time sound manipulation is most audible on this track), with occasional recognizable instruments like organ or piano, but primarily moving from one set of sustained sounds to another. The sound quality is below the groups usual standards, suggesting a bootleg recording. Although the music is characteristically Morphogenesis, the poor recording and muted material make this one of their less-essential releases. ~ Caleb Deupree, All Music Guide . Accessed 7.12.06 from - 1999 England 124 Morphogenesis 1985 2289 images/works/Morphogenesis-1999-strom.jpg Stromatolites Stromatolites is unique in Morphogenesis recorded output in that it specifically requires the use of overdubbing, whereas most of the bands other work is recorded live. Instead of overdubbing, the group prefers the term lamination pieces for these tracks, which are mixed in the studio by superimposing separately recorded material (even from completely different recording times and locations). Because of the lamination, even though the two Stromatolites tracks were recorded with a small number of group members (three instead of the usual five or six), the sound is every bit as full, and inhabits very similar sound worlds, as Morphogenesis other works. The group regards the lamination pieces as open-ended constructions, and indicates that they exist in more than one version (although only these two have been committed to compact disc to date). Dark Abyss was recorded live with the more typical five-person lineup, and an immediately audible difference is the way the players respond to each other s events, an effect that can only be simulated in the lamination pieces. All three tracks on this album are louder and harsher due to more use of amplified springs, which tend to generate a noisy metallic sound, and less use of acoustic instruments such as piano. The organic unfolding and underlying shortwave and biofeedback drones make this a recognizable Morphogenesis album, and the lamination pieces introduce a new mechanism for producing unusual sonic landscapes. ~ Caleb Deupree, All Music Guide. Accessed 7.12.06 from - 1999 England 124 Morphogenesis 1985 2290 images/spacer.jpg Formative Causation Morphogenesis first album is a collection of excerpts from long improvisations recorded during the first year after the groups formation in 1985. Throughout all seven pieces presented here, the emphasis is on texture rather than any kind of virtuosic displays. Seldom can any sound be identified as a belonging to a specific instrument, and the groups use of electronics to modify the instrumental sounds provides additional confusion regarding the sonic origins. Although there are occasional piano chords on Cavity of Light, more often the players are inside the piano, bowing and plucking the strings rather than playing them in a conventional manner. Adam Bohman s violin makes its presence known, but often he prepares it with different objects, as well as providing amplification, so sometimes even this instrument is difficult to identify. Most often, the group sets up an electronic drone of some kind, then finds some other set of noises to punctuate the drone. Often the drone includes shortwave radio, which establishes a connection with Karlheinz Stockhausen s renowned intuitive music from the late 60s, as does their use of a sound projector who mixes and filters the other instrumentalists during the performance. The background can be gentle, as on Isobar where the sounds of rain are used, or roaring, as on Entelechy where it is loud and filled with feedback. Overall the range of sounds produced by this group is stunning in its variety, non-idiomatic improvisation at its best. ~ Caleb Deupree, All Music Guide. Accessed 7.12.06 from - 1997 England 57 Iris Garrelfs 1969 2303 images/works/Garrelfs-2004-space2space.jpg (Talking) Space to Space Using captured natural radio emissions from celestial objects, Iris reshapes these sounds into an audio composition and flings them back to the stars in a radio broadcast. A poetic gesture, a sensual fiction which takes the past, re-shapes it in real-time and travels with it into the future. - 2004 England 57 Iris Garrelfs 1969 2307 images/spacer.jpg Of Dual Nature Audio-visual project looking at ambiguity. - 2004 England 57 Iris Garrelfs 1969 2309 images/spacer.jpg Just Desserts lifelong learning in West Bromwich, UK, commissioned by The Public (formerly Jubilee Arts), involving workshops with school children and residents of an old-people’s home, culminating in a 4-channel audio environment. - 2003 England 57 Iris Garrelfs 1969 2311 images/spacer.jpg Empties video documenting the Squatting Scene in London - 2003 England 57 Iris Garrelfs 1969 2313 images/works/Garrelfs-2001-shiftage.jpg Shiftage with Si-cut.db for the CCA’s opening presentation, Judge for the 4x4 Open Commissions - 2001 England 57 Iris Garrelfs 1969 2314 images/spacer.jpg springtide for Semiconductors Brilliant Noise, an award winning solar data archive film - 2006 England 123 Karlheinz Stockhausen 1928 2389 images/works/Stockhausen-1967-beatles.jpg Stockhausen and the Beatles On May 1, 1967 the Beatles contacted Stockhausen through Brian Epsteins NEMS Enterprises to obtain permission to use his photo on the upcoming Beatles LP Sgt. Peppers Lonely Hearts Club Band. Since Stockhausen was pursuing a busy schedule of teaching and concerts in the USA and Europe, he was unable to respond immediately to the Beatles request. Brian Epstein sent a desperate telegram on May 8th to obtain permission. Time was impotant since the LP was to go on sale in June 1, 1967. - 1967 England 132 Sonic Youth 1981 2395 images/works/SY-1996-Hwy-Song-8.jpg HWY Song HWY SONG consists of a circa 1920’s Stella acoustic guitar with a video monitor fitted into its’ sound hole. The monitor plays a silent cut-up loop of a stretch of highway as seen from a moving car, a subtle evocation of the American road movie, the ‘road song’, and the potent and persistent mythology of the guitar. Plenty of highway songs have been written, this is a visual ode to them all. The video was shot with a toy Pixel camera and then tinted, edited and generally fukked with further. The piece is one of a number of modified instruments I have been building of late. It has been exhibited during my sound/installation show We are Everywhere and Nowhere, All at Once at Studio 5 Beekman in NYC in May 1999, and also as part of a sound installation I made for the Copenhagen Museum of Contemporary Art s show entitled SSSHHHH... , in November 1999. In April 2000 it will be on display as part of the Sonic Boom show at the Hayward Gallery in London s Royal Festival Hall. Lee Ranaldo 00 video loop in guitar 1996 England 132 Sonic Youth 1981 2406 images/spacer.jpg Reverse Karaoke aims to demystify the process of music making. Drawing on the DIY nature of her musical history with her band Sonic Youth, Gordon invites visitors to record their own track using samples of her voice and music. - 2005 England 7 Kaffe Matthews 1961 2407 images/spacer.jpg Sonic Bed, Menu Of Five Pleasures he visitor becomes physically affected by a spectrum of sound vibrations emanating from above and below while lying on Matthew’s sensuous sonic bed. The visitor can freely test out five different pleasure modes. - 2005 England 29 Christina Kubisch 1948 2408 images/spacer.jpg West End Electrical Walks two works. Her installation at the South London Gallery introduces into a small room a spiderweb of black electrical cables in which by wearing a special electromagnetic headphone the public can receive the sounds of electroacoustic fields collected from all over the world by Kubisch. Her second piece, West End Electrical Walks, allows visitors to discover these sounds for themselves by picking up headphones from the Goethe-Institut and following a map of the surrounding area. - 2005 England 132 Sonic Youth 1981 2410 images/spacer.jpg Kim Gordon Solo Exhibiton - 2003 England 7 Kaffe Matthews 1961 2429 images/spacer.jpg CdAnn - 1997 England 7 Kaffe Matthews 1961 2430 images/spacer.jpg Live Performance - 30th April 2005 and Joe Williamson (db)Steve Noble (dr) - 2005 England 9 Max Eastley 1946 2456 images/spacer.jpg Domain of Presences Mastered by Peter Cusack Aeolian Harps, field recording 2000 England 9 Max Eastley 1946 2458 images/spacer.jpg In Concert with Thomas Koner - 2000 England 38 Joe Banks 1974 2461 images/works/Banks-1999-Artificial.jpg Artifical Lighting - 1999 England 14 Project Dark 1992 2465 images/works/ProjectDark-1997-Red.jpg SIN0089 Red and Blue Holographic 7 Single 1997 England 14 Project Dark 1992 2466 images/works/ProjectDark-1996-Tree.jpg SIN0035 Tree Section 7 Single 1996 England 14 Project Dark 1992 2467 images/works/project_dark-record_biscuit.jpg SIN0057 Danish Biscuit 7 Single 1996 England 14 Project Dark 1992 2468 images/works/ProjectDark-1998-10000.jpg 10,000 Volt Spark Generating Record Player - 1998 England 126 Bernard Parmegiani 1927 2475 images/works/Parmegiani-1973oeil.jpg LOil Ecoute Featuring: Loeil Ecoute (1970), La Roue Ferris (1971), Especes despace (2002-2003). Excepting some mixed pieces, his work as a whole takes the form of music for fixed sound , coming within the scope of the immense repertoire of electro-acoustic music. In 1971, he made a video film based on the music in L Oeil ecoute , featuring visual imagery processed through a synthesizer. We only need listen to the opening of L Oeil ecoute , a sustained swirl and flurry, emerging as a wave about to break, which we only just manage to glimpse at its approach, just like this train which we take a full speed, surging forward headlong at the opening of the piece. At the very outset, on the one hand, everything is given in a single act, the music is already moving forward; and on the other, the ghostly realm into which it takes us is already amply filled out. We note that the large arbitrary breaks in tone Parmegiani achieves in L Oeil ecoute and indeed throughout all his musical compositions, arise as searching encounters. As such, they are gestures deriving from the sculptor himself. The blocks used are very imposing and the matter extremely dense... Accessed 12.12.06 from - 1973 England 126 Bernard Parmegiani 1927 2476 images/spacer.jpg Jeux dArtifices - 1979 England 126 Bernard Parmegiani 1927 2477 images/spacer.jpg LEcran Transparent - 1973 England 114 Merzbow 1956 2496 images/spacer.jpg Metamorphism 2006 England 114 Merzbow 1956 2509 images/works/Merzbow-1996-vice.jpg The Prosperity Of Vice - The Misfortune Of Virtue 1. 3:06 2. 1:37 3. 3:55 4. 3:00 5. 1:40 6. 2:28 7. 3:23 8. 2:28 9. 2:13 10. 4:46 11. 2:35 12. 3:19 13. 4:49 14. 3:02 15. 3:41 16. 6:54 17. 1:52 18. 5:44 - 1996 England 114 Merzbow 1956 2510 images/works/Merzbow-1994-electro.jpg Electroknots Parts 1 and 2 - 1994 England 114 Merzbow 1956 2511 images/works/Merzbow-1999-perfect.jpg A Perfect Pain The incredible power created by GENESIS P-ORRIDGE - founding father of the industrial world, and MERZBOW - the undisputed Japanese noise king. Recorded exclusively for COLD SPRING with five brand new tracks. Already being hailed as a very important album across the internet newsgroups, creating comments like reminds of the best TG and ...easily the finest material MERZBOW has made in some time - this is a extremely successful collaboration! The first edition came with a textured, fold-out booklet. The second jewel case edition has now sold out. Accessed 12.12.06 from Genesis P-Orridge 1999 England 51 Otomo Yoshihide 1959 2528 images/works/Yoshihide-2000-LMC.jpg London Musicians Collective ...the First 25 Years Gloucester Avenue (RES8.2CD) 1. 24.01.81a (6:29) David Toop and John Zorn 2. 11.02.82 (5:48) Paul Burwell 3. 24.01.81b (4:22) Terry Day and Peter Kowald 4. 1983 (4:09) Sylvia Hallett 5. 09.03.80 (6:43) Alterations: Steve Beresford, Peter Cusack, Terry Day and David Toop 6. 24.01.81c (2:53) Dave Stephens 7. 10.02.78 (5:20) Steve Beresford and Roger Turner 8. 25.10.79 (Additional Music Festival) (6:18) Hugh Davies, Max Eastley and Barry Leigh 9. 16.04.83 (4:05) Mummy: Ollie Blanchflower (bass), Mel Davis (keyboards), Terry Day (drums, sax, vocals), Ed Deane (guitar), Mike Figgis (trumpet), Charlie Hart (bass, violin), Paul Jolly (sax), Maggie Nicols (vocals), Davey Payne (sax), John Porter (guitar), Simon (drums) 10. 07.05.85 (4:34) Health Cuts: Mike Adcock, Lol Coxhill, Max Eastley, Paul Jolly, Roger Turner 11. 29.05.82 (2:57) Susanna Ferrar, Sylvia Hallett, Maggie Nicols and Julie Tippetts 12. 24.01.81c (2:56) Peter Cusack and Max Eastley 13. Euphonium Duo in Rowboats, 05.08.78 (4:00) Steve Beresford and Michael Parsons 14. 22.04.79 (3:58) Paul Burwell and David Toop 15. Polar Bear Song, from Expedition to the North Pole by Michael Parsons, 07.07.85 (4:22) Chris Newman (voice) with Howard Skempton (accordion) and John White (tuba) All recorded live at 42 Gloucester Avenue in Camden Town, London Elsewhere (RES9.1CD) 1. Countdown to Go! (0:27) (for children of all ages) Ibrahim and Koray Recorded live at Resonance FM studio, Royal Festival Hall in June 1998 2. El Perecho de Vivir en Paz / Shinoshin 3/4 (6:17) Ground Zero: Otomo Yoshihide (turntables, guitar), Kazuhisa Uchihashi (guitar, effects), Sachiko M (sampler), Mitsuru Nasuno (bass), Masahiro Uemura (drums), Yasuhiro Yoshigaki (drums), Yumiko Tanaka (gidayu-shamisen, voice) and Naruyoshi Kikuchi (sax) Recorded live at The Conway Hall in London on May 26, 1997 3. Improvisation (6:16) Toshimaru Nakamura Recorded live at The Purcell Room, South Bank Centre in London on May 29, 2000 4. Slug (5:43) Al Dente Recorded live at The Conway Hall in London on May 31, 1993 5. The Letter (4:20) Murphy Love Experience Recorded and mixed at LMCSound studio in London, 2000 6. Slide Show for the Radio (3:05) Greg Lucas and Ruth Collins Recorded live at Resonance FM studio, Royal Festival Hall in June 1998 7. Matters Not (4:57) Black Door Recorded live at Resonance FM studio, Royal Festival Hall in June 1998 8. Aerealities (2:10) Xentos (with Lepke Buchwater, Mary Haggar, Andy Lowe and Mick Ritchie) Recorded live on the RFH roof and at Resonance FM studio, Royal Festival Hall in June 1998 9. Improvisation (4:10) Claudia Ulla Binder Recorded live at The Purcell Room, South Bank Centre in London on May 30, 1994 10. Improvisation (3:35) Brown Sierra Recorded live at The Spitz in London on November 19, 1999 11. Government of Love (4:47) Bing Selfish and the Ideals Recorded live at The Conway Hall in London on April 1, 1991 12. Improvisation (7:37) Steve Nobles Quartet Recorded live at The Purcell Room, South Bank Centre in London on May 29, 2000 13. Crater Hoops (3:33) Steve Beresford, Anna Homler and Richard Sanderson Recorded live at The Purcell Room, South Bank Centre in London on May 29, 2000 Mastered at LMCSound studio in London by Mick Ritchie Compiled by Clive Bell (RES8.2CD) and Ed Baxter (RES9.1CD) Design: Ed Baxter Photograph of Gloucester Avenue: Clive Bell This 2-CD set accompanied the Vol. 8 No. 2/Vol. 9 No. 1 double issue of the British biannual magazine Resonance. Accessed 12.12.06 from 2-CD set 2000 England 59 Z'EV 1951 2580 images/works/ZEV-2004-Headhpne.jpg Headphones Musics, 1 to 6 - 2004 England 59 Z'EV 1951 2587 images/spacer.jpg 1968-1990: One Foot In The Grave Double CD 1991 England 59 Z'EV 1951 2589 images/works/Zev-2004-tinn.jpg Tinnitus Vu Tracklisting: 1 I (4:40) 2 II (3:54) 3 III (4:09) 4 IV (3:33) Digipak. Limited to 1000 copies. 2004 England 59 Z'EV 1951 2591 images/works/ZEV-2005-number.jpeg Number One With K.K NUll, Chris Watson. Traditional Noh correspondences for their 5 part cycle of plays. Kazuyuki Kishino (K.K.Null): electronics and electro-percussion produced January 2004. Chris Watson: location sounds recorded in East Africa. Zev: 25 binary-acoustic files produced January 2004. Final mixes produced by Zev March 2004. Chris Watson sources: 1: Dawn in acacia woodland. Rapid light and temperature changes. 2: vultures down on an animal carcass in the short grass plains. The intense activity of a feeding battle resolving into the song of a single sooty chat - the fire of midday. 3: elephant herd led by a powerful matriarch, grazing on the edge of a marsh… Gazelles and zebra swish through the long grass… Contact rumbles from the herd females. 4: The on-coming storm; wind rush and the deep smell of change. Low infrasonic thrum. Disorientation and confusion. 5: The amphibian chorus, enveloping yet impossible to locate. Rhythmic dusk and rapid darkness. - 2005 England 59 Z'EV 1951 2593 images/spacer.jpg Untitled Binary-acoustics produced 12-14 February 2005, studio dop in Peckham, London - 2005 England 59 Z'EV 1951 2595 images/spacer.jpg Atlantic Waves 2006 Tracklisting: 1-1 Shlomo Intro (1:14) 1-2 Carlos Bica Hank (2:02) 1-3 Miyeon* and Park Je Chun Iberian Sunset (8:28) 1-4 Maria João and Mário Laginha Pés No Chão (3:10) 1-5 Kang Tae Hwan A Deep Breath (6:12) 1-6 Ned Rothenberg Old Country (4:08) 1-7 Carlos Zíngaro and Carlos Santos Czcs_Wave 06 (3:59) 1-8 António Pinho Vargas Monodia - Quasi Un Requiem (15:11) Performer - Arditti Quartet, The 1-9 Pedro Carneiro When The Dusk Was Wet With Dew… (Excerpt) (4:23) 1-10 Américo Rodrigues Voltar (2:46) 1-11 Shlomo Perfect (2:59) Featuring - Dubbledge 1-12 Dokaka Economy Parcel Post (2:43) 1-13 Tanya Tagaq Qimiruluapik (2:00) 1-14 Sainkho Namtchylak* Northern Ghosts (3:37) 1-15 Janita Salomé Paisagem Com Homem (3:51) 2-1 Max Eastley Two 150 Kilo Blocks Of Melting Ice With Layers Of Stones Embedded Falling Onto A Metal Plate For Climate Change Project Cape Farewell (4:01) 2-2 ZEV The Smoking Key (4:40) 2-3 Robert Rutman Live At King Kong Club, 11.2.05 (Excerpt) (3:29) 2-4 Victor Gama Jetstream (Wind On Totem Harp) (3:57) 2-5 Asmus Tietchens S.4 (3:33) 2-6 Thomas Köner Tu, Sempre (15:22) 2-7 Paulo Raposo Stanza (For Marta) (3:57) 2-8 John Duncan Helix (3:08) 2-9 Alfredo Costa Monteiro Umbral (3:52) 2-10 Akira Rabelais July_10th_2006 (3:59) 2-11 Philip Jeck June (7:32) 2-12 Oren Ambarchi Happy Ending (7:12) 2-13 Margarida Garcia and Manuel Mota Amiens (2:28) 2-14 David Maranha Berceuse Pour Ema (4:09) 2-15 Arnold Dreyblatt Brushtones (2:26) Double CD 2006 England 59 Z'EV 1951 2596 images/works/ZEV-2003-Spire.jpg Spire - Organ Works Past, Present and Future Tracklisting: 1.01 Leif Elggren Royal Organ 1.02 ZEV If Only That Love Lets Letting Happen (Organ Music For Organs) 1.03 Philip Jeck Stops 1.04 Sigtryggur Berg Sigmarsson Details Of A New Discovery 1.05 BJNilsen Zephyr 1.06 Marcus Davidson Organ Psalm V 1.07 Scott Minor and Fennesz Dwan 1.08 Finnbogi Petursson Diabolus 1.09 Biosphere Visible Invisible 1.10 Toshiya Tsunoda Layered 1.11 Tom Recchion Shut Eye Train 1.12 Lary Seven and Jeff Peterson Disorganised 2.01 BJNilsen Breathe 2.02 Scott Taylor Droner 2.03 Jacob Kirkegaard Epiludio Patetico: A Tribute To Rued Langgaard 2.04 Oren Ambarchi and Tom Recchion Remake 2.05 Chris Watson Askam Wind Cluster Double CD 2003 England 59 Z'EV 1951 2598 images/works/Zev-1995-touch.jpg Touch Sampler 1 Tracklisting: 1 Hafler Trio, The Mind Loss (9:03) 2 Philip Jeck PS One (7:23) 3 Soliman Gamil Valley Of Kings And Queens (2:27) 4 Sandoz Orgamastron (6:51) 5 Hilmar Örn Hilmarsson Sudurgata (3:26) 6 Hafler Trio, The I Remain..... (5:32) 7 Chris Watson Mara River At Night (4:51) 8 Daren Seymour , Mark Van Hoen Superminds Light Becomes Part Of The Earth (2:35) 9 Eli Fara , Luiza Miça Mule Driver Of Grebene (3:44) 10 Sweet Exorcist Ghettoes Of The Mind (3:43) 11 Drome Mesmerized (6:40) 12 Rax Werx In The Compound (1:38) 13 ZEV Radio KPFK (2:30) 14 S.E.T.I. Knowledge (8:24) 15 Soliman Gamil Supplication (1:23) - 1995 England 59 Z'EV 1951 2600 images/works/ZEDV-1987-project.jpg Project One Tracklisting: A1 Barry Anderson Electroacoustic Fanfare A2 Kathy Acker Extract From The Empire Of The Senseless A3 Nocturnal Emissions Shankini Nadi A4 Esplendor Geométrico Zhyra Mansi A5 Boyd Rice There Was Never A Moment When Evil Was Real B1 Andrew Lewis Sonnerie Aux Morts B2 Robert Anton Wilson Calvi, The Pope And The Brotherhood B3 Heights Brothers, The Youve Got To Laugh... B4 ZEV Where Were You B5 Peter Shyjka Ladbroke Grove, Sept. 23rd 1986 Vinyl 1987 England 59 Z'EV 1951 2601 images/works/ZEV-1083-testament.jpg The Last Testament Tracklisting: A1 WKGB Non-Stop A2 Bongos, The Nuts and Bolts A3 Perry Haines Whats Funk A4 8 Eyed Spy Lazy In Love Featuring - Lydia Lunch A5 Clock DVA The Opening (Live) A6 ZEV Wipe Out B1 Stephen Mallinder Del Sol B2 Bush Tetras Das Ah Riot B3 23 Skidoo Last Words B4 Clock DVA Remain-Remain (Live) B5 Throbbing Gristle Discipline (Live) B6 23 Skidoo Hawaii 5-0 Vinyl 1983 England 59 Z'EV 1951 2602 images/works/ZEV-1981-justanother.jpg Just Another Asshole Audio-magazine compiling mainly New York City artists from the early 80ties. Stamped white cover and stamped labels, sticker with tracklisting on the back of the cover. Tracklisting: Side One - Cut One A1 Larry Simon Eggs Benedictus A2 Dara Birnbaum Kojak/Wang A3 Carla Liss Untitled A4 Bobby G (2) Excerpt From Times Sq. Show Audio A5 Wharton Tiers Incantation A6 Carol Parkinson True Confessions A7 Nina Canal Untitled A8 Lee Ranaldo Shift A9 Jenny Holzer Untitled A10 Annea Lockwood Sound Stroke Side One - Cut Two A11 Michael Smith (8) / A. Leroy The Smith-Leroy Comedy Team A12 Chris Nelson (5) Dinner Time A13 Willie Klein Untitled A14 Mitch Corber Simply Riding A Dream A15 Mark Abott Untitled A16 Dan Graham Untitled A17 Michael Shamberg On The Promontory A18 Anne DeMarinis Radio Song A19 Thurston Moore The Fucking Youth Of Today Side One - Cut Three A20 Andy Blinx / Don Hunerberg Red Ants A21 Vikky Alexander Calvin Klein A22 John Howell Dear John A23 Salvatore Principato Untitled A24 Nigel Rollings Penumbra A25 Peggy Katz Grand Central Station A26 Eric Bogosian Highway Patrol A27 Herr Lugus Happy Police Horn A28 Amy Taubin Door Stop A29 Remko Scha Excerpt From The Machines Side One - Cut Four A30 Susan Russell Talking Art A31 Bill Buchen Untitled A32 Verge Piersol Well, Alice A33 David Hofstra / Lynne Tillman Tell The Story A34 D. Brown (3) K-4 A35 Sandra Seymour Dogs A36 Phill Niblock Index Circa Seventy A37 Barbara Kruger United Technology A38 John Rehberger Fetish Side Two - Cut One B1 Paul McMahon / Nancy Radloff Turtles Travel Slower On Asphalt B2 Bruce Tovsky Dub Bums B3 Martha Wilson Untitled B4 Ned Sublette Excerpt From Slowly I Turn, Step By Step, Inch By Inch .... B5 Glenn Branca Faspeedelaybop B6 Gail Vachon You Will Start Out Standing B7 B. Conan Piersol Deutchland Etude B8 Gregory Sandow A Natural Death B9 Stephan Wischerth Dirty Tape Side Two - Cut Two B10 Bob George Warhead In The Forehead B11 Judy Rifka Its True B12 David Garland Long Song B13 Mark Bingham (2) 32 Bad Movies B14 Michael Byron Excerpt From Strangers In A Strange Land B15 Glenda Hydler / Susan Fisher Its Hot Love B16 Laurie Spiegel Untitled B17 Barbara Ess Entrada B18 Kiki Smith Untitled B19 Shelley Hirsch Untitled Side Two - Cut Three B20 Peter Gordon Foreign Waters B21 Arleen Schloss Watch Out - Verse 5 B22 Tod Jorgensen Sweden - Den Mother B23 David Rosenbloom Voices And Chambers B24 Doug Snyder Untitled B25 Jon Rubin (2) Floating Cinema Excerpt Voice - Steve Stain B26 Thomas Lawson Untitled B27 Harry Spitz Pipe Music B28 Rhys Chatham / David Linton Excerpt From 64 Short Stories B29 Isa Genzken Salutations Roma Side Two - Cut Four B30 Daile Kaplan New Sneakers B31 Kim Gordon And Miranda (8) Working Youth B32 Sally A. White Untitled B33 Joseph Nechvatal Crown Of Thorns B34 Steven Harvey Friend Heart Alarm B35 Sammy Marshall Harvey Radio Off B36 Brian Doherty Untitled B37 Rudolph Grey Evelyn McHale B38 Richard Morrison Die B39 ZEV Excerpt from Metal And Plastic - 1981 England 116 Brian Eno 1948 2612 images/works/Eno-2007-Constellations.jpg The Constellations (77 Million Paintings) The idea is to use computer software to create millions of permutations on 300 mainly hand-painted large format slides. Combining about 30 monitors with a meandering soundtrack, a melody and a variety of overlapping “drips” of other sounds, he has devised an audio-visual experience that could point to the future of home entertainment, if not the future of sound. Accessed 21.1.2007 from Monitors, software, ambient sound track 2007 England 46 Chris Watson 1952 2613 images/spacer.jpg Storm collaborated with sound artist Benny Nilsen from Stockholm to produce Storm which combines the music and raw power of an anti-cyclonic weather system stirring up the coast of North East England, its development out over the North Sea and the final descent onto the island of Gotland in the Baltic. - 2006 England 22 Christian Marclay 1955 2614 images/works/Marclay-2007-Crossfire.jpg Crossfire The video installation Crossfire creates a charged, physical space in which the viewer is surrounded by four large projections playing a rapid montage of guns and gunfire. The gun is perhaps the most iconic image in the media, a constant presence in everything from newscasts about faraway wars and local crimes to its persistent role as a narrative device in movies. While guns always foreshadow violence, they also offer a false promise of safety from an outside threat. Marclay plays with this twin sense of dread and fascination. Crossfire features characters handling a variety of guns, from small pistols to unruly rifles – a man pulls back his jacket to reveal a thick handgun in a holster, fingers caress a steely gun barrel as if stroking a fetish object, a thumb pushes bullets into the cylinder of a revolver. When the shooting begins, the viewer is engulfed by a cadenced, pulsating violence that diminishes and intensifies with mesmerising rhythm. Although the viewer is under a continuous assault, Marclay’s precise arrangement of sound and image allows the gunfire to become a kind of percussion instrument, and Crossfire coaxes a strange music from the westerns, gangster flicks and war movies that the artist has used as raw material. For the second part of the exhibition, Marclay has created a group of prints made from onomatopoeic words that he has torn from comic books and collaged before scanning and reprinting them at a large scale. Onomatopoeic words, with their huge letters and strings of unbroken vowels, blaze across the page at decisive moments in every superhero’s escapade, yet their forceful presence remains silent until interpreted and read aloud. Marclay treats these chunky words like objects, creating collages that emphasise the materiality of the paper and the ink of the original comic book. Removed from their narrative context, the words fizz with random violence and barely contained energy. Accessed 12.02.2007 from Video, prints 2007 England 6 Janek Schaefer 1970 2615 images/spacer.jpg Vacant Space audio-visual installation commissioned by Sonic Arts Network, in which he has collaborated with sound recording artist Chris Watson, and programmer, David Tinapple. Video, 4 headphones, generative sound and visuals 2007 England 54 David Toop 1949 2616 images/works/toop-simon_finn-pass_the_distance.jpg Pass The Distance With Paul Burwell (key figure in the later formed London Musicians Collective) - 1970 England 54 David Toop 1949 2617 images/spacer.jpg Rain in the Face with Paul Burwell. Related to John Stevens, Derek Bailey, Bob Cobbing, Hugh Davies, Evan Parker, Max Eastley , Brian Eno, Steve Beresford et al - 1970 England 45 Jonah Brucker-Cohen 1976 2619 images/works/Brucker-Cohen-2003-alertinginfrastructure_web.jpg !Alerting Infrastructure! A web site Hit Counter that Destroys a Building. Description Alerting Infrastructure! is a physical hit counter that translates hits to the web site of a physical location into interior damage of the physical building that web site represents. The focus of the piece is to amplify the concern that physical spaces are slowly losing ground to their virtual counterparts. The amount of structural damage to the building directly correlates to the amount of exposure and attention the web site gets, thus exposing the physical structures temporal existence. The project has been active in 5 countries (Ireland, USA, Canada, Belgium, The Netherlands) to date. Overview The proliferation of web sites as virtual representations of physical locations has reached a saturation point. Despite the massive surge of bricks and mortar spaces (such as schools, businesses, organizations) maintaining online presences, there is still little connection between the people simultaneously inhabiting these spaces. Alerting Infrastructure! addresses this by connecting a physical space such as a building to its online counterpart or web site that represents this structure / organization by scanning access logs of web site for new unique visitor hits and translating each new site hit into physical output in the form of activating a large, pneumatic jackhammer. With each new virtual hit, the jackhammer slowly destroys the walls of the physical building. Since web sites and virtual interfaces can garner an almost unlimited amount of virtual hits without showing any visible signs of decay or extended use, the project attempts to illustrate a fundamental reversal in role of physical spaces losing importance and relevance to their virtual counterparts. Related Work: Alerting Infrastructure! gains inspiration from other works that attempt to emphasize the temporal nature of physical structures and the social impact their inhabitants bestow upon them. One such work is Chris Burdens Samson (1985), a mechanical structure of wooden beams set up so that when people enter a room through a turnstile, the beams are forced against the wall, eventually leading to the rooms collapse. This installation not only instills fear in the gallery visitor (because the walls could collapse at any moment) but also makes them question the fundamental relationship between the structure and the space it occupies. Similarly, the Mural robotic drill (designed by HoneyBee Robotics) from Diller + Scofidio s exhibition at the Whitney Museum of American Art in NYC, drills randomly placed holes in the wall of the gallery as visitors entered the space. The sound not only disturbs the pristine acoustics of the gallery but also reminds visitors of the temporal nature of the structures holding up and displaying the work. Looking at the fundamental relationship between architectural space and its occupation, use, and subsequent decay over tiime, Alerting Infrastructure! is ultimately concerned with the potential role virtual participants can take in this process. In most cases, online visitors to an organization s web site have no contact with the general public that is simultaneously inhabiting the physical space. The project emphasizes the importance of this connection to provide a link between people in both spaces and to express this in physical form. This way visitors to the physical space can get a sense of how many online visitors have come and gone and experience their presence as the walls slowly deteriorate. System: Alerting Infrastructure! exists as a PHP based hitcounter on the main page of the organization s web site. On a local PC situated in the space, software reads the incoming hits from the site and sends serial output to a microcontroller for a specified time period. The microcontroller switches a TRIAC (AC current relay) to turn on and off a Pneumatic Jackhammer held up by steel cable from the ceiling of the space, and aimed at the wall. With each new hit to the site, the jackhammer is powered on and the wall is slowly chipped away. On the web site, a readout indicates to visitors the amount of damage they have caused such as: Your visit has contributed to Some Percentage of the destruction of (this organization s) physical building. Thanks for visiting! . Accessed 22.2.2007 from drill, internet 2003 England 38 Joe Banks 1974 2639 images/works/banks-2007-cicuitblasting.jpg Circuit Blasting A collaboration between sound art project DISINFORMATION and STRANGE ATTRACTOR journal editor Mark Pilkington, CIRCUIT BLASTING came about as a result of an experiment to see whether it might be possible to use vintage, high-voltage electromedical apparatus to trigger spontaneous sounds in toy electronic keyboards. More info can be found on the STRANGE ATTRACTOR vs. DISINFORMATION page artist page. One of the most impressive audio research projects. THE WIRE The art project that calls itself DISINFORMATION, growing out of a mid 1990s mix of acid house transcendence and punk discordancy, has produced some of the most engaging and enchanting audiovisual installations around. THE GUARDIAN Tracklisting: 01. circuit blasting track 1 02. circuit blasting track 2 03. circuit blasting track 3 04. circuit blasting track 4 05. circuit blasting track 5 06. circuit blasting track 6 07. circuit blasting track 7 08. circuit blasting track 8 09. circuit blasting track 9 2007 England 148 Percy Grainger 1882 2642 images/works/Grainger-1902-hillsong.jpg Hill Song I What I wanted to convey in my Hill-song was the nature of the hills themselves -- as if the hills themselves were telling of themselves through my music, rather than that I, an onlooker, were recording my impressions of the hills. (Grainger, as quoted in the Program Notes to Hill Song No. 1 in Thomas P. Lewis, A Source Guide to the Music of Percy Grainger. - 1902 England 148 Percy Grainger 1882 2643 images/spacer.jpg British Folk Music Settings He recorded them on a portable phonograph - 1906 England 150 George Brecht 1924 2729 images/spacer.jpg George Brecht - Works from 1959 - 1973 [catalogue] George Brecht. Works from 1959-1973 / [contributions by Thomas Kellein, Julia Robinson and an interview with George Brecht by Michael Nyman] (Gagosian Gallery : London 2004). - 2004 England 56 Jem Finer 1955 2809 images/spacer.jpg Slow Boat to China Fixed duration: 00:02:40 Instrumentation: Improvisations on guitar and laptop running particle guitar system coded in SuperCollider 2 2003 England 56 Jem Finer 1955 2810 images/spacer.jpg Dimestone Acoustic Meets the Super Computer Fixed duration: 00:02:45 Instrumentation: Improvisations on guitar and laptop running particle guitar system coded in SuperCollider 2 - 2003 England 56 Jem Finer 1955 2811 images/spacer.jpg 4K 161 Fixed duration: 00:19:10 Instrumentation: Improvisations on guitar and laptop running particle guitar system coded in SuperCollider 2 - 2003 England 56 Jem Finer 1955 2812 images/spacer.jpg Animal Fixed duration: 00:02:16 Instrumentation: Improvisations on guitar and laptop running particle guitar system coded in SuperCollider 2 - 2003 England 56 Jem Finer 1955 2813 images/spacer.jpg Between Planets Fixed duration: 00:05:47 Instrumentation: Improvisations on guitar and laptop running particle guitar system coded in SuperCollider 2 - 2003 England 56 Jem Finer 1955 2814 images/spacer.jpg Tunnel Bird Fixed duration: 00:02:42 Instrumentation: Improvisations on guitar and laptop running particle guitar system coded in SuperCollider 2 - 2003 England 56 Jem Finer 1955 2815 images/spacer.jpg Fiasco Fixed duration: 00:05:15 Instrumentation: Improvisations on guitar and laptop running particle guitar system coded in SuperCollider 2 - 2003 England 56 Jem Finer 1955 2816 images/spacer.jpg Particle Guitar Fixed duration: 00:02:34 Instrumentation: Improvisations on guitar and laptop running particle guitar system coded in SuperCollider 2 - 2003 England 56 Jem Finer 1955 2817 images/spacer.jpg A Guitar Slowly Eating Itself Fixed duration: 00:04:31 Instrumentation: Improvisations on guitar and laptop running particle guitar system coded in SuperCollider 2 - 2003 England 56 Jem Finer 1955 2818 images/spacer.jpg Snoop Fixed duration: 00:03:04 Instrumentation: Improvisations on guitar and laptop running particle guitar system coded in SuperCollider 2 - 2003 England 142 John Wynne 1965 2836 images/spacer.jpg Circuitry - 1993 England 142 John Wynne 1965 2837 images/spacer.jpg Continuity tape 1993 England 40 Zbigniew Karkowski 1958 2855 images/spacer.jpg Field amplified string quartet and tape 2006 England 28 Philip Jeck 1952 2856 images/spacer.jpg Anatomy - 1995 England 28 Philip Jeck 1952 2857 images/spacer.jpg Harry and Krishna - 1995 England 28 Philip Jeck 1952 2858 images/spacer.jpg Incassum, Casio - 1995 England 28 Philip Jeck 1952 2859 images/spacer.jpg Louies Riddle - 1995 England 120 Jonty Harrison 1952 2861 images/spacer.jpg (SQ)Wheeze tape/accordion 1982 England 120 Jonty Harrison 1952 2863 images/spacer.jpg A Vent tape 1979 England 131 David Cunningham 1954 2865 images/works/Cunningham-FLying_Lizards.jpg Flying Lizards Discography singles: summertime blues -virgin VS230, 1978 money -virgin VS276, 1979 tv -virgin VS325, 1979 the laughing policeman (under the pseudonym the suspicions) -arista 361, 1980 move on up -virgin VS381, 1981 hands 2 take -virgin VS392, 1981 lovers and other strangers -virgin VS421, 1981 sex machine -statik tak19, 1984 dizzy miss lizzie -statik tak25, 1984 albums: the flying lizards -virgin V2150, 1980 (CD release VJCP 17501 toshiba-EMI) fourth wall -virgin V2190, 1981 (CD release VJCP 17502 toshiba-EMI) top ten -statik LP20, 1984 the secret dub life of the flying lizards -piano 501, 1996 - 1979 England 131 David Cunningham 1954 2866 images/works/Cunningham-1996-rude.jpg rude mechanic -pan sonic/hayley newman/david crawforth rude mechanic was conceived as a visualisation of sound. in 1996 a symbiotic relationship was set up in the public gallery space of beaconsfield between visual artists david crawforth and hayley newman and sound artists mika vainio and ilpo väisänen - pan sonic. all four worked daily for five weeks linked by sound inputs and outputs. The live installation featured an industrial power climber, a video oscilloscope, pan sonics precious sound machine, the typewriter, and the original prototype for turbosounds earth-shaking floodlight PA system. rude mechanicals were unskilled assistants used in early medical operations who performed rudimentary tasks such as restraining and muffling un-anaesthetised patients as well as catching their dismembered body parts and fluids in buckets. Using this occupation as a motif, crawforth and newman inhabited and evolved the physical environment and Pan sonic monitored the sounds of that activity, feeding in their own analogue compositions. The process was animated by the input of invited musicians and artists, each making a six hour injection into the mutating sound environment. contributors generously became absorbed within the rude mechanic process which strove to transcend the individual. over the five weeks, one hundred hours of sound were recorded and mixed live by pan sonic from which this compilation has been distilled. this final product - the rude mechanic CD - cannot accurately represent the live process but presents the spirit of this truly collaborative and extraordinary event. pan sonic with david crawforth and hayley newman are rude mechanic who controlled all input and output of sound from the inception of the live experiment to the editing of the audio document. with david cunningham robert ellis simon fisher turner bruce gilbert david gilchrist tiina huczkowski koan kaffe matthews put put scanner susan stenger jimi tenor . Accessed 23 May 2007 from - 1996 England 131 David Cunningham 1954 2870 images/spacer.jpg the yellow box performed by: peter gordon: saxophones, piano, keyboards, percussion and guitar david cunningham: guitars, tape treatments, prepared piano, percussion and keyboards with: john greaves: bass guitar (3, 5, 8, 10, 12, 13, 16, 17) anton fier: drums (3, 5, 10, 12, 13, 16) david van tieghem: percussion triggers (17) yellow box 1 track listing: 1 unlooped 1.15 2 god 4.14 3 russians 2.47 4 provenance 4.22 5 eighth 1.10 6 out in the yard 2.21 7 from the yard 2.06 8 are you a fish? 1.50 9 citizen 2.46 10 sixth 1.36 11 the unpopular statement 4.00 12 the little one 0.55 13 potomac 3.35 14 dark river 5.33 15 the non-loop 4.57 16 seventh 0.38 17 austria 3.01 recorded in london and geneva 1981/3 yellow box 4 studios: mobile. london, engineered by tom newman alvic, london, engineered by john madden aquarius, geneva, engineered by peter gordon and david cunningham the cold room, london, engineered by david cunningham yellow box 2 the yellow box image was made by kit fitzgerald the voices (in order of appearance): unidentified german unidentified russians peter gordon two unidentified australians unidentified unpopular american unidentified american eyewitness unidentified american woman david cunningham yellow box 6 the parallel commentaries: peter gordon david cunningham all titles composed by peter gordon and david cunningham with the exception of: 9, composed by peter gordon 3, 5, 10 and 16 composed by gordon, cunningham, fier and greaves 8 and 17 composed by gordon, cunningham and greaves peter laurence gordon published by lolo music (BMI) john greaves and david cunningham published by lolo music (BMI) for north america anton fier published by almost loaded music (BMI) yellow box 7 produced by david cunningham and peter gordon - 1981 England 131 David Cunningham 1954 2871 images/works/Cunningham-1992-Voiceworks.jpg voiceworks notes on the CD: this music is not only concerned with voices. the voice is the element which unifies the differing treatments. through this point of reference the processes are exposed and allowed an identity beyond the rôle of pure manipulation. the technical procedures are not in themselves important. they are devices, a vocabulary of musical electronics (as opposed to electronic music) to structure the voicings of other musics. the important element in the construction of much of this music is the exploration of soft systems, responsive systems as opposed to pure process. although this would appear to be a rather clinical procedure, because of inherent defects in the machines, difficulty in precise control of the system and the resultant mistakes the system is more likely to respond in an unpredictable way, creating something which has very much in common with the product of a non-technical culture. the studio and associated machines draw on the grain, the physical properties, of the source material. this overall approach deals with music as texture and as a time-based activity as well as rhythm, melody and harmony. for the most part it can only exist as recorded sound. David Cunningham may 1992 An extended version of Canta was commissioned by Ian Spink with funding from the Arts Council of Great Britain. it was first performed as a dance work at York Arts Centre on the 15th October 1980. The piece is performed by six dancers. The movement material was developed mostly through a series of dense verbal instructions issued to the dancers by the choreographer who refrained from physically demonstrating any of the steps. Ian Spink may 1992 thanks to: Masanori Akashi for his help and encouragement Thomas Fehlmann for advice Ian Spink for his use of the work in his dance work canta Ken McMullen and Stuart Brisley for commissioning some of this music for their film Being and Doing Mark Lucas and Jane Thorburn for their commissions of other pieces of this music for the television series Alter Image - 1992 England 131 David Cunningham 1954 2872 images/spacer.jpg greaves,cunningham the greaves,cunningham track by track commentary At the time we recorded this music John Greaves lived in Paris and I lived in London. We worked together during Johns occasional visits to London, sometimes with months intervening between recording days. John and myself are very different people as musicians and in other ways. Thorough contingency and accident we evolved a set of working procedures to take advantage of that difference. Material was often recorded in some basic form and left for a while, to be reworked some weeks or months later. This afforded me the comparative luxury of being able to spend a lot of time trying things out in the studio while John was elsewhere, without the worry that he was getting bored with me fiddling about with something that could well turn out to be a waste of time for both of us. I wanted to explore the current computer technology of sequencers and samplers to find uniqueness. In the same way that certain types of analogue studio equipment can have a unique effect on a sound (especially when malfunctioning). I was looking for characteristics special to computer technology, to allow the technology itself to determine processes and structures within the music. On some of the songs I rebuilt a backing track based on Johns sequenced material to explore arrangements. A mistake at this stage could change the fundamental structure of the song (see the remarks on, for instance, The Fine Friends). Other structures, as on The Map of the Mountain involved the synchronisation of looped material to enable controlled juxtapositions, creating a structural base for the music. One of the reasons for working this way was to find a way to integrate song structures with my use of studio processes. This approach has a lot to do with the way I saw this work developing (independently of myself) and because I felt that we had reached the point where any system (song structure or process) had to be relaxed to allow development beyond the bounds of what either John or myself would instinctively allow. David Cunningham 1992 track by track commentary: 1 the mirage A series of found materials and structures; the backing track emerged from reworkings of my music for Ashley Bruce s Fragile Earth television documentary on the endangered Mediterranean seal population. I once spent some days living on the beach in Reggio in southern Italy facing across the Straits of Messina. The mirage in the title is the phenomenon of the Fata Morgana , an optical illusion in which the city of Messina appears to float on the waters of the Straits. Fata Morgana is also the title of one of my favourite Herzog films. The words are appropriated by John from a source delivered to him by Peter Blegvad. DC It is in the key of D, eminently suitable for the 3rd harmonies. JG 2 the magical building Some of the lines: no knife, no hook; keep dry came from some notes on the work of Amikam Toren, an artist working with, amongst other things, packaging instructions. These notes were stuck on the wall of my studio when John was writing the lyrics. DC I created a sketch of the frame of the song as a computer sequence, gave it to David, and failed to recognize the result. The idea of concession, of loss of control is important here. The lyric is a little love song in what could be described as a post-surrealist idiom (associations are allowed but not dictated). There is a sung and retained mistake; the reference to angels should have been ages'. JG 3 the other friend Of hollow men and women, le sexe sec. JG During the recording of his voice on 'The Fine Friends' there was a long telephone call for John. While waiting for him to finish I started listening to individual tracks on the multitrack at the slowest speed that the machine would play. Somewhere in the middle of the music I found this section, based around the guitar drone. On the principle that it would take 5 minutes to make something out of it, John added the little keyboard part and we mixed it. DC 4 one summer There was a point during the hot summer of 1990, whilst recording this track, that the tape recorder became too hot to touch. DC 5 the emerald isle Based on the same principle as 'The Map of the Mountain', the music was assembled around a fragment of harp music stolen from the radio. The mix introduces the various added elements with never more than two or three present at the same time. DC 6 the other world Recorded three or four times in different forms (and also appearing in a different form on the John Greaves CD 'La Petite Bouteille de Linge' -Label La Lichère CD LLL 117), this started as an attempt to make a song shape out of a television news report. Although some interesting things happened, John rewrote the lyrics for this version and it evolved a different shape. Kristoffer Blegvad played acoustic guitar through the track which pulled it away from the direction I was thinking about at that stage so we found ourselves with a structure which represents elements of all the different versions bound by the guitar. DC 7 the frost The token waltz. There is, incredibly, a word in the french language, vasistdas, meaning an attic window. This dates from a German question in 1784 'was ist das?' (what is that?) whilst pointing at a Parisian attic window. JG As on the Nyman/Greenaway soundtracks there is always a waltz. This one was recorded on a very cold day. DC 8 the inside Also in a different form on 'La Petite Bouteille de Linge' as 'Dedans'. I felt that I'd been living in France long enough to write a song in French. I was on the way to Giverny at the time. The challenge of writing in a foreign language meant that the strictures were greater because I don't have so much control. The song is about meeting someone very late in a bar in New York. She talks about the meaning of life but she's just trying to pull you, that is, she is saying 'Rose, c'est la vie' but the meaning is 'o baby...' I didn't set out to write about 'The Large Glass'. JG For me, the break after the second 'dedans' chorus is the crack in the glass. DC 9 the red sand A layered, treated studio improvisation based on a bass guitar melody (which has become mostly submerged) the track has the curious structural accident of appearing to be bound together by the last element to be added to the music; Yasuaki Shimizu's saxophone and bass clarinet parts (which were also improvised). DC 10 the fine friends There is a different constraint in operation. David's vastly underestimated guitar talent made the original voice melody unworkable. Fine friends we are. Be excited by the wind and the rain. JG I added the guitar parts in John's absence and in ignorance of what the voice melody was supposed to be. The original form of the song remains unheard. DC 11 the open book This began with a saxophone part (played by our mutual friend Peter Gordon) from an unused piece of music I made for a film in 1987. John added a piano part to the saxophone, the saxophone was removed, the piano was re-edited, restuctured and slowed down and this emerged. DC 12 the same way A significantly different version of this song appears on 'La Petite Bouteille de Linge' as 'Almost Perfect Lovers'. Both versions are almost perfect but it is the same stuff. JG In 1987 I recorded a series of instrumental pieces for multiple electric guitars. John noticed that one of the pieces fitted sections of this song harmonically so we unified the two recordings here. Because of this there are more guitars on this track than anything I have ever done. DC 13 the map of the mountain In 1988 Patti Palladin gave me a copy of a copy of a cassette of some unidentified music from Tibet. I started to make loops out of it, trying to examine the internal melodies. The basis of this track is the juxtaposition of one loop at two different speeds, the slow being the basic pulse and the fast being an ornament. As with 'The Emerald Isle' various elements were were built around this core, but unlike that track the original elements and overlays remain in the mix as the structure formed has its own internal logic. The sustained treated voice is there partly to mask the tape hiss from the cassette loop but could also be seen (along with the bass guitar parts) as a subconscious association with surfing music, most appropriate in a Tibetan context. DC - 1988 England 154 Jean Tinguely 1925 2916 images/works/Tinguely-1959-cyclo.jpg Cyclo-Matic with racing cyclists and drawing machines. 1959 England 157 Stephen Stapleton 1957 2940 images/works/Stapleton-Sylvie_and_Babsi_Hi_Fi_Companion001.gif Sylvie and Babsi Hi Fi Companion 1985 CD BE L.A.Y.L.A.H. Antirecords LAYCD15 In jewel case Track Listing Side 1 1. You Walrus Hurt the One You Love [udt18] 2. Great Balls of Fur* Sleeve Notes * featuring the last ever performance of Murray Fontana, a harbinger by nature, who killed himself in the name of music by successive acts of self indulgence. The Rhinos of Wrath are Whiter than the Horses of Destruction The Murrary Fontana Orchestra John Orr, Ritva Ross, Robert Haigh, Christine Glover, Tathata Wallis, Marc Monin, Jim Thirlwell , Edward Ka-spel , David Kenny, Peter McGee, Ross Canon, David Michael Bunting , Johnathan Stone, Paul Hurst, Flora McCrindell, Glen Michael Wallis, John Fothergill, Mary Dowd, William Bennett , Paul Donnan, Geoff Cox, Fiona Anne Burr, David Elliott, Robbie Sylvester, Sinan Leong, John Murphy, Chris Furse, Lisa Donnan, Brian Williams, Tracy Roberts, Graeme Revell, Laura Calland, Diana Rogerson , Iva Morgan, Steven Stapleton , Marlene, Andrew Cox, Dorothea Bendik, Stephen Holmes, Margaret Evers, Wilf Harris, David Jackman , Trevor Reidy, Darren Kingaby, Nikki, Geff Rushton , Karl Blake, Harpunkt Fix, Barry McCarus Vocal backing by THE TWO SHAVES AND A SHINE Accessed 24.07.2008 from - 1985 England 161 Justin Broadrick 1969 2994 images/works/Broadrick-1993-final1.jpg FINAL FINAL serves as an undefinable and experimental interpretation of Justin Broadricks more recognised music ; encompassing the brutal and the dark to the beautiful and the melodic, the term ambient is often used to describe the sound of FINAL, but the music is not at all intended to function purely as background as the term ambient generally implies..... Before Justin Broadrick was in Napalm Death and way before his Jesu,Godflesh and Techno Animal projects , he had FINAL, this was the first music that he made and the first concerts he ever performed ; initiated at the tender age of 13, inspired by the true old industrial music of Whitehouse, Throbbing Gristle, Ramleh and Maurizio Bianchi etc, Justin used his step fathers primitive musical equipment to forge his own sound influenced by the aforementioned artists and attempt with like minded individuals and friends to establish his own sound and vision. Basic recordings were made and this led Justin to form a cassette label in early 1984 (Post Mortem Rekordings) releasing his own cassettes and eventually other artists too, this tape only label lasted from early 1984-86, releasing over 50 cassettes of confrontational hate noise/power electronics and Throbbing Gristle inspired electronic psychedelia. By the time Justin joined Napalm Death in 1985, he had already become interested in creating music outside of the industrial/noise genre, even FINAL itself around this period briefly became a band using rock instrumentation. Once Justin had become busier with Napalm Death and the pre Godflesh band Fall Of Because, he slowly moved away from what he was doing with FINAL and eventually shelved the project in late 1986. After the first 3 years of the existence of Godflesh, Justin became interested in wanting to resurrect FINAL, recognising the open ended area FINAL worked in and yearning for more experimentation particularly within an area without the trappings of rock music. Justin began recording new pieces, utilizing guitar,tapes,synths and samplers. The result was the first ever CD release by FINAL simply entitled One , this was released by Sentrax in Europe and Bill Laswells label Subharmonic in the U.S.A in 1993. One collected Justins first new work as Final in over 6 years, also included on One was a long piece that compiled small edits of some of Justins earlier work as Final from 1983-86. The influences on FINAL were now much wider than the earlier industrial' influences ; sombre and textural ambient sounds had a huge bearing upon the early 90's incarnation of FINAL, Justins exposure to Brian Eno as a youngster had made its impact. More releases followed - FINAL '2' on Sentrax once more, the full length CD - 'the first millionth of a second' (in collaboration with Godflesh's GC Green) which was released on U.S experimental music giant Manifold, Jesu bassist Diarmuid Dalton also began to collaborate with Justin, both on Final '2' and on the 'Solaris' CDep released on Alleysweeper/Invisible, later re-released as a full length with a 30 min extra track. After two 7 singles and numerous compilation apperances, Justin continued to record FINAL material but without a planned release schedule due to being so busy with other projects. In 2001 Neurot recordings (the label from Steve Von Till/Neurosis) approached Justin offering to release FINAL '3', Justin set about slowly recording and accumulating material from then until early 2005, some in collaboration again with Diarmuid Dalton. Bringing us to the present day, FINAL '3' is finished and due for release on Neurot Recs. in Feb 2006, its a double CD set compiling various recordings from 2001-2005. Since forming Jesu, Justin has become very active with FINAL inspired by his new works on '3',recording has already begun for forthcoming releases, and now Justin is preparing to perform as FINAL, his first performances as FINAL since1985 ! FINAL is more active than ever.... FINAL collaborators from 1983 to the present day - Andrew Swan,Guy Pearce,Nicholas Bullen,Kevin Johnson,Paul Neville,GC Green,Diarmuid Dalton. Accessed 01.06.2007 from guitar,tapes,synths and samplers 1993 England 161 Justin Broadrick 1969 2995 images/spacer.jpg Napalm Death - 1985 England 161 Justin Broadrick 1969 2998 images/spacer.jpg Techno Animal - 1990 England 161 Justin Broadrick 1969 2999 images/spacer.jpg Final - One Track Listing 1. (3:30) Fall 2. (23:36) Light Underground / Dark Overground 3. (3:46) Awake But Numb 4. (8:05) Despotic 5. (7:53) Round Our Bodies 6. (3:17) Hold Me 7. (8:09) Death / Love Dealer 8. (19:30) 1983-1987 (Edits) Notes * This material was all written around the time of its release. The only material written prior was 1983-1987 (Edits). * The first release of One in the UK had a running time of 79:59. When it was issued by Subharmonic in the US in 1994, the time was trimmed to 77:48. This extra time was shaven from the last track, 1983-1987 (Edits). Accessed 01.06.2007 from - 1993 England 161 Justin Broadrick 1969 3002 images/works/Broadrick-1997-final-million.jpg Final -the first millionth of a second in collaboration with Godfleshs GC Green. Track Listing 1. (5:13) Critical Thresholds 2. (6:12) Electron 3. (5:08) Quark 4. (11:50) New Species 5. (12:27) Subatomic 6. (11:54) Foundations 7. (11:40) Pathway Notes * Originally titled The First Ten-Millionth of a Second, the name was changed before release. - 1997 England 161 Justin Broadrick 1969 3003 images/works/Broadrick-1996-final-solaris.jpg Final - Solaris Track Listing 1. (13:21) Arise 2. (9:51) Light 3. (12:29) Solaris Notes * Recorded in the summer of 1995, this EP clocks in around 30 minutes and saw Final producing more minimal material. * Re-issued with a bonus track later. - 1996 England 161 Justin Broadrick 1969 3004 images/spacer.jpg Fall Of Because - 1984 England 161 Justin Broadrick 1969 3005 images/spacer.jpg Post Mortem Rekordings 1984 England 161 Justin Broadrick 1969 3006 images/works/Broadrick-1996-final-urge.jpg Urge,Fail Fever Pitch / 1st ed. 250 hand numbered,2nd ed. 400 7 single 1996 England 97 Brown Sierra 1998 3100 images/spacer.jpg APHASIA A lack of the faculty to transmit ideas using language (reading writing speaking and understanding speech). A continuous Letraset line, which begins thick, gradually gets thinner and then becomes dots which are big and then become small. 2007 England 97 Brown Sierra 1998 3101 images/spacer.jpg AVEIMORE / LAKE WINDEMERE 1977 Old home movies of holidays in Aveimore, from our collection of other peoples 8mm / super-8 film. - 2007 England 97 Brown Sierra 1998 3102 images/spacer.jpg THE ARCHITECTURE OF PSYCHOLOGY The images in this film are abstract black and white worked onto the surface of the film using Letraset repetition of images, moving patterned and textured black dots. - 2007 England 96 Trevor Wishart 1946 3113 images/spacer.jpg Anticredos Bass Vocals - Paul Hillier , Richard Wistreich , Steven Jackson Chorus - Singcircle Conductor [Director] - Gregory Rose Engineer - Trygg Tryggvason Producer - Martin Compton Soprano Vocals - Nicole Tibbels , Penelope Walmsley-Clark Tenor Vocals - Alan Belk - 1982 England 180 Hayley Newman 1969 3177 images/works/Newman-2005-Touch_Anything_Solid.jpg Their feet should not be on anything solid ‘Their feet should not be on anything solid’ was devised by Hayley Newman and performed by Brighton based folk band Hamilton Yarns, who were instructed to only play when they were lifted off the ground. The band played both together and individually, silently marking time when they weren’t playing, re-entering the musical refrain when lifted off the ground. The piece was unrehearsed and its success was – largely – down to the participation of the audience and their will to make the concert work. I would have been happy with a shambolic/anarchic muddle, but that lack of control was taken out of my hands and by the audience – who replaced it with order. - 2005 England 177 Bjorn Askefoss 1956 3196 images/works/Askefoss-2004-circle.gif Circle Symphonique The happening took place in CBSO Centre in Birmingham, UK Mars 2004. Visitors to the installation were permitted to interact to the piece by playing a number of classical vinyl LP´s from the 1960´s. The turntable worked as an electronic sensor that affected rhythm-patterns of recorded sounds from metronomes. By using Max/MSP the correlations were played back through ten speakers placed in a circle with a diameter of 9m. Visitors started to experiment with the functions of the turntable like speed, direction and the pick-up arm. This, in the combination with the changing rhythm-patterns of the metronomes, created an overall sense of a cacophony throughout the hall. The piece was part of the program in a BEAST concert weekend. Bjørn Askefoss wish to thank everyone that contributed to the making of Circle Symphonique, including the visitors to the installation, the classical music composers, and staff. Accessed 05.01.2008 from - 2004 England 181 Zoe Irving 1971 3235 images/spacer.jpg Magnetic Migration Music - Inaudible City MMM was invited by the Arnolfini as part of their Interim Programme to work with a group called Artists Without Homes, everyone there had experience of homelessness in Bristol. During May 2004 we walked through Bristol recording conversations about the city. We also collected tape fragments when we came across them. A collection envelope was distributed by the Arnolfini and the Bristol tapes came rolling in. The work was shown as an installation and a publication in November 2004, broadcasts were also made on Commonwealth Radio in Bristol and Resonance FM in London. - 2004 England 181 Zoe Irving 1971 3236 images/spacer.jpg Magnetic Migration Music - East London MMM was part of Interference Public Sound and The East Wing Collection at the Courtauld Institute. For Interference a collection envelope was distributed for people to send in tape fragments and respooling stations were made at schools and libraries. The found tape was made available through performed and broadcast mixes, as downloads from the MMM website and exhibited. - 2003 England 180 Hayley Newman 1969 3238 images/works/Newman-1998-Connotations.jpg Connotations Performance Images 1994-1998 Connotations Performance Images is the first part of the ongoing Connotations project. It is a series of 21 photo/text works documenting the fictional career of a performance artist. It was made as both a celebration and analysis of the performance canon, revisiting performances by artists such as Adrian Piper and Dennis Oppenheim. When exhibited the following text is often used as an information panel: ‘The photographs in the series Connotations – Performance Images are constructed images intended to explore the role of documentation in performance. The photographs in the series were staged and performed by myself with most of the images being taken by the photographer Casey Orr over a week in the summer of 1998. The dates, locations, photographers and contexts for the performances cited in the text panels are fictional. In all instances the action had to be performed for the photograph but did not take place within the circumstances or places outlined in the supporting text. As a form, performance is often mediated through the documentary image, video, film, text or by word of mouth and rumour. With so few existing networks for the distribution of performances works, it is the image and its supporting text that is given precedence in publications on the subject, creating a handful of historical performances that have become notorious through their own documentation, leaving others behind that have not made the translation into the single image. Connotations – Performance Images was made as a way to understand how the documentary performance image works in relation to text, as well as creating the context to make work for which there was, at that time, no practical forum. The images chosen for this series of documents aim to evoke ideas beyond the photograph and reflect the ambiguity implicit in attempts to document (capture) a performance within a photograph. The document replaces the performance: the camera authenticates the activity in its position as witness and the photographic image stands in place of the performance and becomes the work itself. When supported by other information such as dates, location, and use of materials, duration and description of events these images provide the forensic link to communicate ideas that occurred within the live performance to a non-live situation.’ Hayley Newman, 2001 Connotations – Performance Images was commissioned by Hull Time Based Arts for the Year of Photography in 1998. - 1998 England 180 Hayley Newman 1969 3240 images/works/Newman-2000-pointy-stunt.jpg Pointy Stunt Kaffe and I performed together many times in the 1990s. This CD comes out of a series of events in which I performed and she sampled sounds from those performances. Works on the CD include: Crystalline – a performance with a pair of motorised shoes that vibrate against a miked-up surface Hook and Eye – performed wearing a suit made of Velcro with small microphones sewn inside it Soundgaze – a performance with two vetinary weighing scales, which sent data to a computer that played back sound samples according to weight value. - 2000 England 180 Hayley Newman 1969 3241 images/works/Newman-2001-daily.jpg The Daily Hayley The Daily Hayley is the title of a performance work that took place over sixteen consecutive days between 15th and 30th September 2001 at Matt’s Gallery in London. Performances in the exhibition occurred between 12 and 6pm every day. Drawing on a six-month collection of national newspapers, this exhibition attempted to construct and explore relationships between an event and its mediation by re-animating news stories as performances. The Daily Hayley opened 4 days after the September 11 attacks. Much of the original performance work that critically addressed the trauma of witnessing shocking images and accompanying articles alongside gossipy reviews and inappropriate adverts was not easy to transpose in the wake of this event. Performances happened on or around a large Newsroom table and were performed wearing a pair of red contact lenses, causing continuous red-eye, a phenomena of flash photography. In addition to this, I massaged self-tanning lotion into my skin every day for the sixteen-day period; as my skin turned orange and blotchy, I became as saturated as the celebrities in the pages of the glossy weekend magazines I had been reading. I rolled in the newspapers, and rubbed them onto my skin in an attempt to absorb both their ink and content. I also sent off for special offers including a hat, book, binoculars and a set of wood patterns. I copied all my clothes from articles on fashion. In The Daily Hayley I ‘performed’ the act of performing, that is to say, I performed in a classic performance style: a method where the performer often remains silent, moves slowly and assumes a ‘neutral’ or deadpan manner. The content of the news stories formed the basis for The Daily Hayley; reports about Timothy McVeigh’s death in America were marked during the performance by an alarm at 1pm followed by another at 1.10pm indicating its time and duration, David Beckham became a vapour, maintaining a celebrity presence in the work as he does in the national press, an image of a tennis player with a ball hovering in front of his left eye was transposed by attaching a tennis ball to my face with packing–tape. The Daily Hayley video was made in 2003 and is 1 hour and 17 minutes long (the length of a feature film [camera: Mariana Ziadeh, editor: Gill Addison, director: Hayley Newman]). In 2004, Matt’s Gallery published the artist’s book of the same title in an unlimited edition. The book is a box-set (11×35x49cm) containing a 10 minute video-clip and approximately 1500 BandW photocopies of notated cuttings relating to performances that took place at the gallery. For more information on this publication please email: - 2001 England 180 Hayley Newman 1969 3242 images/works/Newman-2001-performancemania.jpg Performancemania This monograph documents my performance work from 1994-1998 and includes an introductory text by Aaron Williamson and a self-interview by myself. Hayley Newman’s Self-Interview (extract); H: I began to think about the traditions of text within the oeuvre of performance documentation. Looking specifically at the conventional book format used for the distribution of performance work, I singled out texts that artists had written in the 1970s to describe their performances. h: In a sense, the mechanics of performance practice from this period corroborate its location within a conceptual frame. The significance of such works from the 1970s can be seen to be relative to a synthesis of concept and performance, which is reflected in artist’s descriptions of such works. H: The text panels for Connotations were written observing the often ‘matter of fact style’ used by Chris Burden while recounting his own work. Burden’s use of language in his descriptions may be considered to be analogous to the visual information presented in the photographic documentation of some of the works. For example, in the photograph for the performance 747 we see an image of Burden with his back to the viewer holding a gun which he is pointing upwards at the sky in the direction of a Boeing 747. This image is extended through a single sentence that describes how Burden had shot at a Boeing 747 aeroplane. Burden’s description of the work 747 reads “747. January 5, 1973. Los Angeles, California. At about 8am at a beach near the Los Angeles International Airport, I fired several shots with a pistol at a Boeing 747.” Chris Burden (BLOCNOTES editions, 1995). h: It seems as if the cool detachment of the text copies the factual authority of the camera in its documenting of work, thereby acknowledging the difficulty of reproducing tone, cadence or emphasis in written language. By playing down both the extraordinary physical feats and emotional content of the performances, the prosaic nature of Burden’s texts limit our view of the work. This seems to imply that any readings of the text and image must be made through the work’s absence. H: Yes, I agree. Considering the oblique nature of such information provided as documentary evidence the question occurred to me: ‘how do we know that Burden performed this or any other of his works’. I am not suggesting that this performance did not happen but that a visual document (video/photograph) and text (speech/writing) are being used to authorise one another and that in their collusion they are self-reflexive. h: Perhaps this is similar to the convention in the mass-media by which a photo may be validated by a caption explaining the image or where a caption makes sense only in relation to its counterpart image. H: Outside of the actual performances, text/image documents from the 1970s appear to attempt self-reflexivity and become the product of action. The structure of the text/image based work Connotations , follows or imitates these conventions of performance description from the 1970s to ‘authenticate’ a series of fictional performances. The photographs in the series were staged and performed by myself with most of the images being taken by the photographer Casey Orr over a week in the Summer of 1998. The dates, locations, photographers and contexts for the performances cited in the text panels are fictions. In all instances the action had to be performed for the photograph but did not take place within the circumstances or places outlined in the supporting text. Writing in the past tense and using the first person to provide background information such as date, time, place, photographer’s name and title of work, the texts also describe action and (occasionally) the consequences of that action. In making Connotations, I was aware of how the image and the text in this sense sustain each other’s narrative. h: The problem of not seeing work in its primary form but instead considering secondary published material, such as a photograph with its supporting text, creates a vacuum that is often filled by anecdote and mythology. Is this phenomenon an aspect of Connotation’s design? H: The individual pieces in this series rely on the interplay traditionally set up between text and image within performance documentation, subsequently reflecting the responsibilities and limitations of documenting the complexities of a ‘real’ event. In providing no information beyond the basic conceptual outline for the performance, the texts actively encourage anecdote in their repetition and acceptance as documentation, or as truth. Price £18.00 ISBN 0907623379 Pages 96 Binding softback Illustration 58 colour, 17 bandw plates Dimensions 255mm x 210mm 2001 England 180 Hayley Newman 1969 3244 images/works/Newman-2002-roundabouts.jpg Roundabouts A series of recordings of brass instruments being played on fairground rides. Recordings were made by Matt Wand and the instruments were played by Ivan Sampson. Recordings were made as Matt stood on the ground next to the ride, while Ivan went round and round, alternatively Matt got on the ride while Ivan stood next to the fairground ride. You spin me right round, baby right round like a record, baby right round, round, round, turn me all around, upside down, inside out and round and round, round and round, up and down, round and round, up and down, my situation goes round and round, I heat up, I can’t cool down, my situation goes round and round, I heat up, I can’t cool down, my situation goes round and round, goin round and round, round and round, up and down round and round, up and down, carry you round and round, round and round, I get around get around round, round I get around, get around round, round I get around, get around round, round I get around, get around round, round I get around, I get around round ah ah ah ah ah ah ah ah round, round get around I get around yeah get around, round, round I get around get around, round, round I get around wah wa ooo get around round, round I get around oooo ooo ooo, up and down round and round, up and down everybody’s tryin to push poor me around, round and round, up and down, round and round, up and down, round and around we go! round and around we go! round and round, round and round (round and around we go), those buffalo gals go round the outside, round the outside, we go round, and, round, we go in-side-out (round and around we go) we go back and forth, we go round, and round (round and around we go) oh, oh, oh, oh ,oh round up, round up, round everybody up, inside out, round and round, inside out, we’re gonna rock around the clock, a goin’ round and round, yeah reelin’ and a rockin’ what a crazy sound, round and round, up and down, round and round, up and down, he will carry you round and round, she’ll be coming round the mountain, round and round, up and down round and round, up and down, round and round and round, round, round baby round, round, when I go round, baby round, round, round, round midnight, round (round and round) got the sound that go round and round (round and round) got the sound that go round and round (round and round) got the sound that go round and round, round and round, round and round, round and round, round and round, round and round, round and round, round and round I go, down and down I go, you got me spinnin round and round, round and round and round it goes, where it stops nobody knows, round and round we go, round and round we go, on a carousel, on a carousel, round and round and round and round, round and round and round and round with you, up, down, up, down, up, down, too, I’m goin’ round and round… I’m goin’ round and round… (repeat) a goin’ ‘round and round yeah reelin’ and a rockin’ what a crazy sound, rockin’ going round and around round and round I go, down and down I go - 2002 England 180 Hayley Newman 1969 3245 images/works/Newman-2002-connotations-whistle-beresford.jpg Connotations II Connotations II consists of a series of 21 works. Connotations – Performance Images 1994-1998 appear as audience members in Connotations II. The following text panel accompanied the work: Connotations II shares a similar premise with Connotations – Performance Images 1994-1998, that is, to document a series of fictional interventions and performances and to explore the ways that text and image combine to create narrative. Using a variety of strategies, all of the fictions in this work are set in the city of Birmingham. The intention of this new series has been to consider the city through its fictionalisation. Informed by the work of Birmingham based writers Jim Crace and Roy Fisher, this series traces a literary model of invention. The narrative of the work, starting in the countryside and ending in the city centre, invokes the migration of populations to major cities. As the narrative develops, the performances become more central, their location higher as they are staged in the less accessible space of company boardrooms or offices and ending at the highest point in the city – its Telecom Tower. In contrast to Connotations – Performance Images 1994-1998, works in this series include video as well as actual performances. In Transmarketeering passengers on a specially modified Metro train were given the opportunity to buy fruit and vegetables on the Wolverhampton to Birmingham Snow Hill line. Whistle Concert, a musical concert of whistles made in collaboration with musicians Matt Wand, Steve Beresford and Mick Beck, was preceded by a tour of the J Hudson and Co. (Whistles) Ltd Factory. Finally, a performance at a Birmingham branch of Woolworth’s involved the act of looking at every item in the shop. These ‘actual’ performance works set alongside the ‘fictions’ are similarly represented as image and text. Video: Edited and shot by Gill Addison. Photographs: Charlie Murphy, Claire Morales and Chris Webb . Reviews: Michael Archer in Art Forum. Peter Suchin in Freize. - 2002 England 180 Hayley Newman 1969 3246 images/works/Newman-1997-lock_jaw_lecture_series.jpg Lock-jaw Lecture Series Over the period of a year I was invited to give a series of lectures on my work. Before each lecture I visited a local dentist and had my mouth anaesthetised. With my mouth made immobile, I gave my feeblest apologies to the students and staff before attempting to talk on my work. Photo: Jonny Byars Chelsea College of Art, Middlesex University, Sheffield Hallam University and Dartington College of Art 1998 England 180 Hayley Newman 1969 3247 images/works/Newman-1997-Bass_in_a_Space.jpg Bass in a Space A Large PA system was placed in a small room, playing back slowed down sound containing frequencies as low as the equipment would tolerate (the size of the room was inversely proportional to the size of the PA). The crack in the wall appeared at 1.30pm, 3 hours and 30 minutes into installation time. With David Cunningham 15 March 1997 Studio Gallerie, Budapest 1998 England 180 Hayley Newman 1969 3248 images/spacer.jpg Exploding LEGO I was asked to produce a musical event for the launch of the new radio station Xfm. I chose to work with the group London Electric Guitar Orchestra (LEGO) in organising a simultaneous busking event. During the event members of LEGO were asked to busk an identical song in unison with one another along the length of Oxford Street in London. Using radio transceivers and receivers to maintain contact with each other LEGO were placed at 30 metre intervals along the north side of Oxford Street, where they played an hour long concert. Pedestrians experienced the concert as individual parts, walking in and out of the various sound fields as each busker they passed played a continuation of the segment that they had previously heard. The sound of the whole concert was assimilated and broadcast live on Xfm. LEGO guitarists: John Bisset, Steve Mallaghan, Rick Nogalski, Ivor Kalim, Nigel Teers, Viv Doogan, Jorg Graumann, Richard Sanderson. Photo: Iris Garelffs Oxford Street, London 1998 England 180 Hayley Newman 1969 3250 images/spacer.jpg You Scratch Mine and I’ll Scratch Yours Durational 6 hour DJ-ing session with the lovely Matt (Stockhausen and Walkman) Wand. Within the six hour session of malarkey and frivolity Matt and I played golden oldies whilst covered in cobwebs and Christmas music with records embellished by snow. Other activities included scratching with our right arms chained together, playing records with the needles covered with socks and promoting our new DJ-ing technique ‘The Knob’ – a door knob stuck on the surface of the record to aid a more fluid scratching action. Photo: Lawrence Lane Cyberia Café (as a part of digital summer 1998), Manchester 1998 England 180 Hayley Newman 1969 3251 images/spacer.jpg Head Studio Project 1998 England 180 Hayley Newman 1969 3252 images/spacer.jpg Football Audio Cup A reconstruction of the notorious 100th FA Cup final between Tottenham Hotspur and Manchester City. The match ended in a draw when Manchester City’s Tony Hutchinson scored for both sides. The 1-1 draw forced the first ever replay at Wembley. This reconstruction of the 1981 FA Cup Final was replayed in real time using a customised football and two teams. During the game the players adhered to and repeated the actual events by following an audio recording of the match’s original radio commentary, which was playing back from within the football itself. Tottenham Hotspur: 1 L Price; 2 B Gilchrist; 3 G Newman; 4 K Reynolds; 5 L Taylor; 6 R Withers; 7 S Hart; 8 A Newman; 9 B Williams; 10 R Waring; 11 L Harvey. Manchester City: 1 J Bichard-Harding; 2 C Shillitoe; 3 S Cope; 4 R Silverman; 5 C Morgana; 6 Tinsey; 7 L Watts; 8 D Clegg; 9 D Guerro Miracle; 10 H Newman; 11 A Rachmatt; Referee: M Thompson Photos: Casey Orr Shoreditch Biennial, London 1998 England 180 Hayley Newman 1969 3254 images/works/Newman-2002--Chamlers.jpg Chalmers Bequest (a project by Elizabeth Price) - the Librarian Since 1999 Elizabeth Price has been working on a project to fulfil the clauses of the 1927 will of Alexander Chalmers. In an exhibition at Hackney Museum she invited artists to enact clauses 6, 8 and 9: (9) Hayley Newman will stand-in for the Librarian and will undertake to label and describe the artworks. Hackney Museum is housed in the same building as Hackney Library and for three days I became an unofficial Librarian in the borough. With a matching brown corduroy jacket/skirt and copy card, I photocopied text from library books and periodicals to re-label artworks in the Alexander Chalmers Bequest. In the museum gallery these photocopied labels were stuck vertically and horizontally on the walls next to the corresponding artworks – photocopies of book spines ran vertically, while titles/captions were positioned horizontally. Placing the titles between, above and below paintings and sculptures in the collection meant that individual works had more than one description attributed to them. A list of the revised labels has been printed in a book published by Elizabeth Price in 2005. CHALMERS BEQUEST (CLAUSES 6,8 and 9), 2003 Susanne Clausen and Alun Rowlands, Thursday 19 December, 5.30 – 7.30 pm; Charlotte Cullinan and Jeanine Richards (artlab), Saturday 21 December, 5.30 – 7.30 pm; Neil Cummings and Marysia Lewandowska, Thursday 12 December, 5.30 – 7.30 pm – will act as collection attendants. (8) Matthew Thomson and Alan Brooks will stand-in for the undesignated manual or technical workers, and will undertake the transfer of the collection from storage and ready it for display. (9) Hayley Newman will stand-in for the Librarian and will undertake to label and describe the artworks: - 2002 England 180 Hayley Newman 1969 3256 images/works/Newman-2005-karaoke.jpg Karaoke Record Cutting Live record-cutting Karaoke in collaboration with Aleks Kolkowski and guest pianist Pete Beresford. The project was curated by Electra Productions and took place during the Christian Marclay exhibition at the Barbican Art Gallery, London. - 2005 England 180 Hayley Newman 1969 3257 images/works/Newman-2005-Woodshed.jpg Woodshed Woodshedding is a term used by musicians to describe the arduous task of practicing until something is ‘right’. Woodshed was a large two-tier wooden structure that resembled a house. It was built as both a performance space and an installation, designed to obstruct the entrance to the railwayarch space at Beaconsfield Gallery. On entering the arch viewers were immediately confronted with, and had to walk around the structure to see the rest of the exhibition. Artists invited to perform in this space included (amongst others): Clippety Clop!, Richard Dedomenici, Bruce Gilchrist, Monica Ross and Aaron Williamson. Woodshed was commissioned by Beaconsfield on the occasion of their 10 year anniversary exhibition Chronic Epoch. It was designed and built by Eric Rosonan after a drawing by Hayley Newman. Exhibitors included: Eija-Liisa Ahtila, Beaconsfield Artworks, Anna Best, Susan Collis, Keith Coventry, Mikey Cuddihy, Shane Cullen, Robert Ellis, Bruce Gilbert, Carl Michael von Hausswolff and Thomas Nordanstad, John Isaacs, Hayley Newman, (nobleandsilver), Bob and Roberta Smith, Kerry Stewart, Tomoko Takahashi. - 2005 England 180 Hayley Newman 1969 3258 images/works/Newman-2005-MiniFlux.jpg MiniFlux In MiniFlux I reproduced, in miniature, over 1000 objects used and/or referenced in Fluxus musical scores. MiniFlux comprised of a printed list alongside roughly worked Plasticine models of the various objects. My original idea to house a collection of all the objects referenced in Fluxus scores looked impossible after I realised I would have to include a full orchestra, elephant and a wolf! So I decided it would be simpler to make miniature versions of these things. The work comes out of a long term interest in Fluxus; their strategies, events and humour. Part of my motivation to make MiniFlux came from an interest in how everyday objects were, and continue to be used in performance work. Historically performance practice is seen to come out of the activity of painting, this work proposed another route through sculpture via Marcel Duchamp, George Brecht and the readymade. On the 26th November 2005 musicians and artists were invited to devise a series of musical performances in response to the list. The evening was titled A Concert and took the form of a conventional concert with works by Anne Bean, The Bohman Brothers, Bruce Gilbert and Margarita Gluzberg. * Adhesive tape * Needle * Quarter * Rubber tubes * Drum skin * Airmail envelope * Marching band * Screw * Red spray-paint * Hoist * Vin Rosé * Change * Mirrors * Bowler hat * Pants * Megaphone * Racket * Cup of coffee * Plasma tank * A second item * Double bass * Foot switches * Gravedigger MiniFlux took place in the context of the exhibition Her Noise, artists included: Kim Gordon (US), Emma Hedditch (UK), Christina Kubisch (DE), Kaffe Matthews (UK), Hayley Newman (UK). Commissioned by Electra Productions for Her Noise in 2005, with funding from The Henry Moore Foundation, Elephant Trust and ACE. For further information on the Fluxus Performance Work Book, please visit Her Noise [catalogue] Edited by Lina Dzuverovic and Anne Hilde Neset Published by forma ISBN: 0-9548288-1-X. Dimensions: Variable. 2005 England 180 Hayley Newman 1969 3259 images/works/Newman-2005-Mermaid.jpg The Mermaid The Mermaid was made in collaboration with writer/artist Sally O’Reilly and performed at Cabaret Melancholique in November and December 2005. In the 1980s women’s magazines advised taking ‘the pencil test’ – a way for us to see if our breasts were saggy. In this version of this test we used household objects such as a draining board, doormat, jugs and a clothes-basket to explore this phenomenon further. - 2005 England 180 Hayley Newman 1969 3260 images/works/Newman-2007-Luck.png Luck be a Lady Michael Curren directed me as Lady Luck in this evening of mirror smashing and incantation. I performed chanelling the character of La princesse (La Mort) from Jean Cocteau’s film Orphee. Michael invited Patrick Constable and Bambi from Selfish Cunt to accompany the performance on guitar and drums. I appeared on crutches having been run over by a motorcycle three days before the performance. - 2007 England 180 Hayley Newman 1969 3262 images/spacer.jpg Record and Kiss - 1994 England 180 Hayley Newman 1969 3263 images/spacer.jpg Shot in the Dark ArtForum, March, 1999 by Rachel Withers - 1996 England 180 Hayley Newman 1969 3264 images/spacer.jpg Hook and Eye The performance Hook and Eye, 1998, looks so hazardous that some viewers at an ICA London performance briefly thought Newman had electrocuted herself. Here, the basic gear is a Velcro-covered jump-suit with sewn-in microphones and a single, sound-activated lightbulb. When Newman lifts her arms from her sides or crouches and jumps, thunderclaps of sound and violent flashes of light ensue. The more elbow grease she expends, the longer the light stays lit. (The audience was probably right to worry: The high-tech gloss of many of Newmans performances is quite deceptive, the outcome of exploiting cheap or obsolete technologies taken straight from the pages of Scientific Hobbyist, she says.)ArtForum, March, 1999 by Rachel Withers - 1998 England 180 Hayley Newman 1969 3265 images/spacer.jpg That’s why they’re doing it with the Hamburg based filmmaker Nina Koenneman under the name Malcolmandlily - 1995 England 170 Akio Suzuki 1941 3336 images/spacer.jpg Mogari This series centres around unbelievably powerful performances on iwabue - ancient and naturally-sculpted stone flutes which have been handed down in Suzukis family. Using these ancient instruments Suzuki sculpts time and place, and through their music he searches for his own end. - 2002 England 55 Zoviet France 1983 3343 images/spacer.jpg Variations VII Variations VII, premiered in New York in 1966, involves sounds culled from open phone lines, Geiger counters and other electrical appliances. According to the composer, the aim was to go fishing for sounds. The piece will receive its UK premiere at the Baltic Centre in Gateshead on 29 February as part of the North Easts AV Festival of electronic arts. A biennial event, this years festival runs from 28 February to 8 March at various locations in Newcastle, Gateshead, Sunderland and Middlesbrough. Technological wonder The original Variations VII involved 10 phone lines connected to such New York locations as a restaurant, dog pound and dance studio. According to festival director Honor Harger, the performance will choose complementary locations in the Gateshead area. The aim, she told the BBC News website, was to get inside Cage s head and recreate a sense of technological wonder. The piece, which will last around an hour, will be performed by Japanese-American composer Atau Tanaka and Newcastle musical duo Zoviet France. Accessed 08.01.2008 from - 2008 England 188 Rolf Julius 1939 3428 images/spacer.jpg (Halb) schwarz (Half) black, wholly good, the small sounds of Rolf Julius reward careful attention. Delicate bird-like twitters, insect drones, faint clicks and whirring pulses, this has all the subtle intricacy of a Paul Klee collage. Its all about listening of course, and with a recording of such minute care the listener can only form a proper impression over a period of time, after hearing the disc a number of times in different places, in different moods. Review in haste, repent at leisure, my flippant dismissal of Julius fellow German composers C-Shulz and Hajschs outstanding disc still makes me blush more than a year later - I can t imagine ever playing it again. In fact I play it all the time, it s terrific late night music, driving music, background music even - all this just took a few listens to sink in. (Halb) schwarz too is the sort of record that grows on you, the two part Vier schwarze rechtecke in particular, which combines the bird-scarer antics of Toop and Eastley with the melancholic air of Paul Schutze at his best. Thoughtful, soothing music, alive with detail and a few surprises kept hidden up its well-tailored, elegant sleeve. Accessed 27.02.2008 from 2001 England 227 Llorenc Barber 1948 3497 images/spacer.jpg untitled - 1978 England 147 Cornelius Cardew 1936 3527 images/spacer.jpg Scratch Orchestra 1971 England 26 William Furlong 1944 3528 images/spacer.jpg Uhms and Ahhs Voice, Tape, Text 1986 England 26 William Furlong 1944 3530 images/spacer.jpg Simple Folk 2005 England 250 Pol Bury 1922 3749 images/works/Bury-1971-billes.jpg 2000 Billes sur un Plateau, No. 5 of 8 Pol Burys work is related to an epoch that asks questions about the topicality of machine and kinetic art, an era that started immediately after the legendary exhibition The Machine held at the Museum of Modern Art in 1968. Pol Bury proved the relevance of kinetics for the development of art from the mid 20th century until today. Accessed 14.04.2008 from Steel balls, steel panel, magnet, electric motor 1971 England 97 Brown Sierra 1998 3921 images/spacer.jpg BVM Read Leader Films 2001 England 97 Brown Sierra 1998 3922 images/spacer.jpg About Clouds 2004 England 97 Brown Sierra 1998 3923 images/spacer.jpg Taliband Tapes 2003 England 157 Stephen Stapleton 1957 3933 images/works/Stapleton-2001-Perez.jpg Funeral Music For Perez Prado Track Listing 1. Yagga Blues (5:52) [cmedd1161] [ud049] [ud099] 2. Yagga Blues (Instrumental) (5:42) [ud099] 3. Funeral Music for Perez Prado (Full Version) (33:29) [ud099] 4. I Am the Poison (9:53) [ud031] [ud036] 5. Journey Through Cheese (23:09) [ud031] Personnel Steven Stapleton Colin Potter Sarah Fuller Peat Bog Tony Wakeford Petr Vastl Sleeve Notes Steven Stapleton ..........etc. Colin Potter - mixing on 1 and 2 Sarah Fuller - vocal on 1 Peat Bog - guitar on 1 and 2 Tony Wakeford - bass on 4 Petr Vastl - studio work Mixed by S. Stapleton Remastered by Dennis Blackham Produced by United Dairies Cover Artwork by Babs Santini Assisted by Matt Black Notes Collects the tracks from the deleted Yagga Blues and Soresucker releases plus an expanded, complete version of the title track. Reviews Admittedly, Yagga Blues and Soresucker are not my favorite singles from NWW, but if you re developing your collection of Wound music and have yet to pick the two up, this disc will fill that gap conveniently. Unfortunately if you re a die-hard and own these two already, the extended versions of both the title track and Journey Through Cheese are a mild annoyance. Funeral Music is perhaps one of my fave NWW tracks. The music embraces beauty through layers of lengthy harmonically compatible samples, centering around a shakuhachi phrase played by David Jackman in 1987 (according to the original liner notes). On this collection it lives lavishly in its full form, stretching well over 35 minutes, as opposed to the 9+ minute version which originally appeared six years ago. Journey Through Cheese is also bigger, stretching to about 25 minutes, but the extra 15 minutes to me just drags the song out far longer than it needs to go. Yagga Blues of course is a classic tune, incorporating primitive rhythmic loops with sound effects and a haunting echoing vocal track. The beats and themes were completely exhausted however on the full-lengther Who Can I Turn To Stereo from 1996, the versions here are nice and compact, with a slightly abridged break time inbetween tracks (30 seconds on the previous release, down now to about five). Jon Whitney Accessed 24.07.2008 from 2001 England 157 Stephen Stapleton 1957 3936 images/works/Stapleton-2004-MuteBell.jpg Angry Eelectric Finger Part Three: Mute Bell Extinction Process 2004 December 12 US Beta-lactam Ring Records MT087a 875 Black vinyl copies in regular sleeve Track Listing Side A 1. Part One Side B 1. Part Two Sleeve Notes Original material by Nurse With Wound (Steven Stapleton and Colin Potter) recorded 2001-2003. Manipulated, disfigured, abused and beautified by irr. app. (ext.) 2003. Flute and sax by Hansi Fischer and Tim Belbe of Xhol Caravan. Apocalyptic guitar by David Tibet. Original material mastered by Denis Blackham. Cover Paintings by Babs Santini. Beautifully photographed by Neville B. Tough. This album is dedicated to Tim Belbe who passed away on August 18, 2004. Notes Original material recorded by Colin Potter and Steven Stapleton between 2001 and 2003, sampled and edited from recordings originally made by Xhol Caravan. Stapleton personally asked Jim ORourke, Irr.App.(Ext.) and Cyclobe to finish his recordings and Angry Eelectric Finger (Spitchcock One) was released on CD through United Dairies. World Serpent Distribution went bust and the project was inherited by Beta-Lactam Ring Records. Other Images Angry Eelectric Finger Part Three: Mute Bell Extinction Process Test Pressing Label Related Items Angry Eelectric Finger Raw Material - Zero Mix - Nurse With Wound Reviews It is unfortunate for Matt Waldron (Irr.App.[Ext.]) that his reworking of the Angry Eelectric Finger raw material was alotted Volume Three status, as he has used many of the same sounds as Jim O Rourke used in his Volume One. Although both albums are excellent listens, perhaps owing to the strength of the source material, both artists have done little alteration and their volumes sound a bit too similar at times. It is unclear whether or not they heard each other s works in progress, although I imagine that they did not. Waldron has started his Part One with the same ratchet sound and creepy drones that are a main feature of both the Raw Material LP and O Rourke s volume. However, this version quickly gives way to a more chaotic and surreal environment, with chugging motor patterns ping-ponging around the stereo field. Part Two again treads similar ground to the O Rourke version, in which both artists have included a large, unaltered section featuring interplay between saxophone, flute, and hand drums. Waldron has placed this section closer to the end of the piece, while O Rourke introduced it near the beginning of Part Two. Here Waldron s structure mirrors that of the Raw Material LP almost exactly. The first half of Mute Bell Extinction Process s Part Two is taken up by swirling psychedelic electronics, much as side two of Stapleton and Potter s raw material LP is. Perhaps Waldron s well-documented reverence for Nurse With Wound got in the way of his being more adventurous, or perhaps he felt that the source material was so strong that he didn t want to do more than give it a slight twist. This is, after all, the same man who released a CD of a version of Nurse With Wound s debut album, Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella which he accidentally remixed by simply making a tape-to-tape copy of said album on defective tape machines. Jim Siegel Accessed 24.07.2008 from 2004 England 142 John Wynne 1965 3954 images/spacer.jpg ITU 2008 England audio/westerkamp-his_masters_voice_(1985).wav 29 Christina Kubisch 1948 3958 images/spacer.jpg Tea Time (Autumn Leaves Mix) Part of Autumn Leaves 2008 England audio/kubisch-tea_time_(autumn_leaves_mix).wav 56 Jem Finer 1955 3959 images/spacer.jpg Water and Birds Autmn Leaves Book 2008 England audio/finer-water_and_birds_1.wav 157 Stephen Stapleton 1957 3938 images/works/Stapleton-2004-Spitch.jpg Angry Electric Finger (SpitchCock One) The Angry Eelectric Finger series comprises a number of discs, each one a collaboration with the likes of Jim ORourke, Cyclobe, Irr.App.(Ext.). This release (according to its own sleeve notes) is A selection that may or may not be included as part of that set. Its all very confusing frankly, so let s just address the music. First up is the solo Nurse With Wound piece Root Canal Splinter (Penetration Remix , a pitch-shifting electroacoustic piece centred around some truly woozy, modulating drones, all surrounded by a corona of shattering percussion. As the piece develops it gathers in intensity, accumulating a kind of tidal rhythmic quality. It s hypnotic listening but by no means an easy ride. Next comes a Cyclobe collaboration Paraparaparallelogrammatica , which is initially a more harmonious piece than it s predecessor, with the droning signals lining up in a sort of brooding quasi-industrial fashion. The track develops with high drama, in which moments of quiet are shot to ribbons by sudden, explosive noise. Mute Bell Extinctioin Process with Irr.App.(Ext.) is a more tranquil piece, yet it s still characterised by a monolithic smudged drone, with rasping, brittle texture added by panning percussion and disfigured environmental field recordings. Jim O Rourke brings the disc to a close. His collaboration with Steven Stapleton, Tape Monkey Mooch is possibly the easiest on the ear of all the works here. The ferocity of the sound palette certainly isn t lessened, yet it is expanded upon to incorporate bell-like, more sonorous noises, and there's undoubtedly a more composed feel to the piece than on the other collaborations. Excellent. Accessed 24.07.2008 from 2004 England audio/NurseWithWound-RootCanalSplinter(PenetrationMix).wav 147 Cornelius Cardew 1936 4501 images/spacer.jpg Memorial Concert There is only one lie 1985 England audio/Cardew-Cornelius_Memorial-Concert_2-07_There-is-only-one-lie.wav 125 Denis Smalley 1946 4070 images/spacer.jpg Darkness After Time's Colours 1976 England audio/Smalley-1976-Darkness_After_Time's_Colours.wav 125 Denis Smalley 1946 4071 images/spacer.jpg Clarinet Threads 1985 England audio/Smalley-1985-ClarinetThreads.wav 125 Denis Smalley 1946 4069 images/spacer.jpg Piano Nets 1990 England audio/Smalley-1990-Piano_Nets.wav 269 J. Milo Taylor 1972 4139 images/spacer.jpg Internet Radio A weekly 2 hour show of experimental sound 2000 England audio/Taylor-2001-mutineer_pirate_radio.wav 269 J. Milo Taylor 1972 4140 images/works/a_part_ment.jpg Club of Rome post-rock 2001 England audio/Taylor-xxxx-club_of_Rome_the_hand_has_eyes.wav 269 J. Milo Taylor 1972 4144 images/spacer.jpg Behold!Your Future Executioners! 2002 England audio/Taylor-2004-behold-ping_pong_exchange.wav 269 J. Milo Taylor 1972 4145 images/spacer.jpg Astaroth 2007 England audio/Taylor-2007-astaroth_nov_21_2007_001.wav 269 J. Milo Taylor 1972 4124 images/works/Babs-006.jpg George and the Girl Downstaris A sound composition created for a multi-channel performance/installation which took place over three weeks in the Bargehouse Gallery, Oxo Tower, South Bank, London. Visitors were asked to remove their shoes, and led into a darkened environment by candle light. The single female performer guided visitors through a multisensory immersive environment. with Barbara Fuchs 2006 England audio/Taylor-2006-George and the Girl Downstairs.wav 269 J. Milo Taylor 1972 4117 images/works/open_city-002a.jpg Aldgate Animation June 2008 2008 England audio/Taylor-2008-Aldgate.wav 269 J. Milo Taylor 1972 4132 images/works/arnos034.jpg The Elementals Commissioned by Enfield Arts Unit, Enfield Council, North London. A week-long series of workshops in three different primary schools. Working with sculptors and costume designers, a procession performance was devised, based around a simple composed canon, able to be performed by children between the ages of 6 and 11. The event was structured around a tale from Mexican folklore, itself presented to the students as a soundpiece. This extract splices the narrative with the canon, as originally conceived, and the final realization by the school children as performed in a public park. 2005 England audio/Taylor-2005-The_Elementals.wav 269 J. Milo Taylor 1972 4125 images/spacer.jpg Bit-totem With Ed Kelly and Adam Asnan. Recorded at London College of Communication Studio for Resonance FM 2006 England audio/Taylor-2007-BitTotem-Data_Membrane.wav 269 J. Milo Taylor 1972 4143 images/works/LJA_BLurBW_Port.jpg Little Johnny Anger Expanded acoustic guitar 2008 England audio/Taylor-Little_Johnny_Anger.wav 269 J. Milo Taylor 1972 4147 images/spacer.jpg The Objectifiers 2 contact mics, 2 web cams, 2 female performers, fabrics, granular synthesis 2008 England audio/Taylor-2008-Objectifiers.wav 269 J. Milo Taylor 1972 4136 images/works/requiem.jpg Requiem Winner of Pangaea Film Award 2004 England video/Taylor-xxxx-Requiem.mpg 269 J. Milo Taylor 1972 4138 images/works/cd-evil_art_phase4.jpg Evil_art 2002 England video/Taylor-xxxx-Evil_Art_at_291_Gallery.mpg 46 Chris Watson 1952 3944 images/spacer.jpg Interview 2007 England 269 J. Milo Taylor 1972 4118 images/works/halloween-001.jpg Hallow'een Performance with Spax 2007 England 269 J. Milo Taylor 1972 4122 images/spacer.jpg Delayed Departures for Goldhawk Productions. Written by Matthew Solon. Directed by John Dryden. 2007 England 269 J. Milo Taylor 1972 4123 images/spacer.jpg Unknown Devices Laptop Orchestra Led by David Toop 2007 England 269 J. Milo Taylor 1972 4127 images/works/Taylor-xxxx-Sonoptics Institute of Serendipitous Sonoptics | Collective electro-acoustic live soundtrack improvisation to film 2006 England 269 J. Milo Taylor 1972 4128 images/spacer.jpg The Universe in a Hankerchief released as limited edition artist's vinyl 2006 England 269 J. Milo Taylor 1972 4130 images/works/Circuit_bent-George.jpg Non_Ferrous Prostitution | . . 2006 England 269 J. Milo Taylor 1972 4131 images/spacer.jpg 60x4 Random Play | Ver I, II and III 2006 England 269 J. Milo Taylor 1972 4141 images/spacer.jpg Baby Data 1998 England 99 Dallas Simpson 1955 4148 images/spacer.jpg Three Bridges with composer Chris Thorpe,in York with Chris Thorpe and Linda Merrick 1998 England 99 Dallas Simpson 1955 4149 images/spacer.jpg Environmental workshop 1998 England 99 Dallas Simpson 1955 4150 images/spacer.jpg Inside out and Outside In performed with Ensemble 8 2000 England 99 Dallas Simpson 1955 4151 images/spacer.jpg Freefall Derek Shiel, Viv Corringham, Dallas Simpson 2005 England 99 Dallas Simpson 1955 4152 images/spacer.jpg The Valley of Crows 1999 England 99 Dallas Simpson 1955 4153 images/spacer.jpg The Kindergarten Suite: Incarnations (For the Elimination of 1997 England 99 Dallas Simpson 1955 4154 images/spacer.jpg Pipechant A religious work completed over a period of six years, inspired by the circumstances of the imprisonment of Baha’u’llah in the Black Pit of Tehran, Persia in 1852. 2004 England 72 Toplap 2000 4248 images/works/toplap-2007-cd.jpg A prehistory of live coding Track Listing: 1. Ron Kuivila: Water Surface (1985, reconstructed 2007) 2. The Hub: Hub x 6 (1986) 3. Julian Rohrhuber: West Nile (2001, reconstructed 2007) 4. Fabrice Mogini and Nick Collins: excerpt from a sixty minute live coding CD (2002) 5. Julian Rohrhuber, Volko Kamensky: Alles was wir haben (2003) 6. Dave Griffiths: Queens Woods (2004) 7. Ge Wang and Perry Cook: On-the-fly Counterpoint (2005) 8. slub: 20060401folded (2006) 9. Click Nilson: lc4aug (2006) 10. redFrik: aug19 (2006) 11. Julian Rohrhuber: elementary_house (2007) 12. aa-cell: Bowerbird (2007) 13. Akihiro Kubota: Sonic Melting Pot #2 (2007) 14. Renate Wieser: L'éspion (2007) 15. Powerbooks Unplugged: at TUBE, munich (2007) 16. IN SAND: human computation (Click Nilson 1975, realised 2007) Liner notes: 1. Ron Kuivila: Water Surface (1985, reconstructed 2007) This work used live FORTH programming; Curtis Roads witnessed and reported a performance by Ron Kuivila at STEIM in 1985; the original performance apparently closed with a system crash... 2. The Hub: Hub x 6 (1986) The six Hub members here are: Chris Brown John Bischoff Mark Trayle Phil Stone Scot Gresham-Lancaster Tim Perkis The consensus seems to be for this track, which was made in 1986 when the group first started playing together. It was the first track of the second side of a cassette release called "Hub Music", that included several pieces by smaller subsets of what eventually became The Hub, and this one track which supposedly contains all of us playing. We can come up with a blurb to explain better how it does and does not relate to the live-coding thing -- but let us know if you think this track would be appropriate. 3. Julian Rohrhuber: West Nile (2001, reconstructed 2007) (2007 reconstruction of some moment in the concert in Polar Bear Club @ Subtonic, Tonic, New York, 9/7/2001). This piece sonifies the first part of the aminoacid sequence of the west nile virus genome, live coding different melodic interpretations, rewriting of instruments and algorithmic ambient sounds (the term "live coding" did not exist at the time, one of the code files used says "ascii music / concert programming"). 4. Fabrice Mogini and Nick Collins: excerpt from a sixty minute live coding CD (2002) Fabrice and Nick used to live code together in London, using SuperCollider 2. They recorded a whole CD worth of material in 2002; this excerpt is the first public release from those sessions. It is possible that one of them invented the term 'live coding', probably Fabrice, though there may also have been some discussion on the SuperCollider list at the time. 5. Julian Rohrhuber, Volko Kamensky: Alles was wir haben (2003) Mastering Alberto de Campo et al. Excerpt from the sound track of the documentary "Alles was wir haben" ("All that we have", Volko Kamensky, 2004). Rewriting the running program allows to find algorithms that resemble natural sounds. In avoiding to model physical processes by implementing assumed physical laws, but rather by following the scent of their perceptual trace, live coding is part of a process of concept formation and concrete abstraction. This excerpt consists of algorithmic sounds which have been programmed from memory and negociated in conversation. 6. Dave Griffiths: Queens Woods (2004) Queens Woods is a section taken from a set of long improvised recordings I made in 2004 to test "noisepattern", an algorithmic sequencer designed for live performances. The purpose of the software was to exercise different forms of musical pattern generation - in this case a cellular automata percussion generator, and an L System live coding interface for the melodies. 7. Ge Wang and Perry Cook: On-the-fly Counterpoint (2005) While the earliest ChucKian live coding performances of Ge and Perry date back to 2003, most recordings of passable audio quality have since been lost (which is probably a good thing). This track features excerpts from a 2005 performance of "On-the-fly Counterpoint" in Princeton University, with Ge and Perry live coding using a still fledgeling ChucK programming language. 8. slub: 20060401folded (2006) slub are three poor hackers working for a living. This recording was taken at area10, a warehouse in Peckham, South London. Halfway through this performance an angel appeared from a trapdoor and flew around the room, jerking in time with the music. No-one has spoken of it since, although at times you can just about make out her voice in the background. Each member of slub uses his own handmade livecoding environment. Ade has 'pure events', a kind of recursive mod tracker with an embedded scripting language. Dave has 'fluxus', an audio/visual game engine based around a dynamic scheme interpreter. Alex has '', a text editor for livecoding Perl. They achieve timesync using a local network but otherwise communicate purely by using sounds and eyebrows. 9. Click Nilson: lc4aug (2006) Extracted from an announcement on the TOPLAP mailing list, 3/8/2006: Fredrik and I have become convinced that we actually need to do some live coding practice every day like diligent instrumentalists. We have decided to do one session a day of dedicated practice for the month of August. SuperCollider will be our language platform. In order to force ourselves to do the hard work, and to make it accessible to those who might be curious or not believe us, and we will post our text files and any comments in a live coding blog via the TOPLAP wiki and SuperCollider swiki. I'm curious to see if we will be any better after a month? Personally, my first three aren't very good, and I got hung up on some technical explorations rather than production. Must do better. 10. redFrik: aug19 (2006) This is an excerpt from a one hour long livecoding practice session done in August 2006. Everything from synthesis to patterns was constructed from scratch within the one hour timeframe. Furthermore, this particular practice session was part of a bigger scope: a one month collaborative effort to get better at livecoding SuperCollider. The code for the complete month is available online ( 11. Julian Rohrhuber et al.: elementary_house (2007) This happened in a seminar on mathematical group theory 12. aa-cell: Bowerbird (2007) Bowerbird (extract) is a work by Australian duo aa-cell (Andrew Brown and Andrew Sorensen). aa-cell have been performing using the impromptu environment ( since June 2005. Bowerbird was recorded in February 2007 and explores the isomorphisms between musical processes and simple mathematical functions. This is an area of ongoing exploration for aa-cell. Bowerbird employs a number of simple functions such as Markov chains for controlling harmonic structure, recursion for providing temporal progression, trigonometric functions outlining metric pulse, pitch class sets for note selection and linear scaling for motific variation. 13. Akihiro Kubota: Sonic Melting Pot #2 (2007) Before the performance, I prepared a nonlinear feedback loop whose behavior cannot be predicted intuitively. I call the nonlinear feed back loop "sonic melting pod". For this piece, I prepared the sonic melting pod base on the rjk's chaos. During the performance, I dump in various sounds such as impulses, sinusoids, noises and mic inputs with monitoring sonic waves and spectra. I observe how the sound is mixed, evolved and emerged from the melting pod as if I am a mad scientist. Moreover, I add, edit and modify the code of the melting pod wIth listening the sound. On the live coding performance, I am part of the programming code. 14. Renate Wieser: L'éspion (2007) Living room recording of a live coding session, between signal music and abstract beats. 15. Powerbooks Unplugged: at TUBE, munich (2007) (Echo Ho, Jan-Kees van Kampen, Hannes Hoelzl, Alberto de Campo, Renate Wieser, Julian Rohrhuber). Linked with wireless network, powerbooks unplugged uses the internal speakers of their six laptops. All sounds are algorithmically generated and distributed during the concert: Sitting in the audience space and abandoning the stage, everyone plays on any of the computers, and all code is sent to everyone. 16. IN SAND: human computation (Click Nilson 1975, realised 2007) Experiment in live coding of human action with Brighton based improv ensemble In Sand. Each musician had a music stand for individual instruction sets. Messages could be passed around and instructions modified during performance; Click Nilson wandered through the room causing algorithmic trouble. Richard Padley - electric guitar Satoko Fukuda - violin Danny Kingshill - cello Gus Garside - double bass Thor Magnusson - laptop Accessed 09.06.2009 from 2007 England 30 Carsten Nicolai 1965 4258 images/works/Nicolai-2000-atem1.jpg atem working with traces,the theme of the 1999 liverpool biennale, this project refers to the historical background of liverpool and presents an intense exploration of the human environment. the physical vibrations of a subsonic sound affect the people and objects in a room. two glass flasks half-filled with water receive a bass sinus tone emitted from nine loudspeakers which are integrated into the floor of the room. the tone travels through the floor, vibrating the materials of the floorboards and modulating the water surfaces in the flasks. the visitor's movements also change the resonance of the floor and affect the subsonic wave patterns of the water surfaces in the glass flasks. panels mounted on the wall counterbalance the movement of the elements. de-coupling themselves from the room installation, the panels form a stabilizing backdrop. the stable and instable elements begin to interact and generate a pulsing oscillation in the materials, imparting an awareness of the physical properties of the elements and objects surrounding us. Accessed 12.06.2009 from wood, oscillators, amplifier, loudspeakers, glass flasks, water, diptych 2000 England 59 Z'EV 1951 4426 images/spacer.jpg BLACK PINE SPIN 1,2,3 SEPTEMBER 2005 DISCS PROPERTY OF MARK ANDERSON Z’EV 2005 England )