The Monolith - a live performance work based on field work in Antarctica by Werner Dafeldecker and Lawrence English. Live visuals by Scott Morrison.
The Monolith - 10 channel video and 8.8 surround sound. By Werner Dafeldecker, Lawrence English and Scott Morrison. Presented as part of Musik Protokoll in Graz 2011.
Short excerpt from The Monolith by Werner Dafeldecker and Lawrence English. This is a single screen trailer, the performance is in dual screens with united imagery etc.
Wave - 2008 - sound installation - 8m x 3,5m x 8 m
Fear - 2008 - sound installation, mixed media - 15m x 4m x 4m
Himalaya - 2007 - recycled fluorescent tubes, uv-lights, sound - 900 x 450 x 900cm
Human talk - 2006 - sound installation, loudspeakers - 500 x 250 x 200cm
The angel departing from the family of Tobit - 2005 - mixed media; sound, movement, wind
A mix created by Jeremy Bible for secretthirteen.org.
William Fowler Collins – Embracing Our Own Annihilation 1 (Type)
Ernst Karel – Scuol-Motta Naluns (Gruenrekorder)
Chubby Wolf – Intrusively Coexisting (Digitalis)
Mike Shiflet – Axle Grease (Type)
Steven Hess & Christopher McFall – Finis III (Under The Spire)
Jacaszek – Evening Strains To Be Time’s Vast (Ghostly)
Pimmon – Bright Light Resist Me (Room40)
Sean McCann – Removed (Amethyst Sunset)
Xela – Eve’s Riposte (Dekorder)
Hakobune – Unnoticed Envelope (Tobira Records)
Damian Valles – Calacas (Drifting Falling)
Benoît Honoré Pioulard – Calder (Desire Path Recordings)
Billy Gomberg – Sending Whispers (Rest + Noise)
Talvihorros – Delta (hibernate)
Millions – Beckoning (Install)
Listening Mirror – Midnight At Teques, Storm Approaching (Bathetic)
Yann Novak – Presence (hibernate)
Simon Fisher Turner – The Great White Silence (Soleilmoon Recordings)
Eliane Radigue – Arthesis (Senufo Editions)
This mixtape is something of a stream of consciousness, a kind of echo and reflection through sounds that seemed to have resonated for me in 2011. Music from friends, collaborators, conspirators and inspirationalists (new word for the day). A testament to the year that was, could have been and forever will be….2011….
1. Andy Stott – Signature
2. Otomo Yoshihide New Jazz Quintet – Eureka
3. Jim O’Rourke – Eureka
4. Pimmon – Chirippk
5. Neil Hamburger – (Write My) Name On The Toilet
6. Omar Souleyman – Dabke 2001
7. Keith Fullerton Whitman – Live At Fabrique
8. Douglas Quin – Weddell Seals
9. Tujiko Noriko – Endless End
10. Grouper – Hold
11. Ben Frost – We Love You Michael Gira
12. Christian Marclay
13. Xiu Xiu – No Friend Oh!
14. Joji Yuasa – Part 3/5
15. Tenniscoats – Sea Of Japan
Submitted by Lawrence English, whose 12″ LP, entitled The Peregrine, is now available from Experimedia.
Available from Experimedia.net. This beautiful album came to me out of nowhere from one of Experimedia’s supporters… and what a fantastic surprise it was when I took a listen and discovered how great it was. More surprising yet is this is Clint’s first album. One of my favorite albums of the year and one of those albums that just leaves you at a loss for words. Too beautiful for words. Take a listen and find out for yourself.
Limited edition of 148 hand-stained, numbered, and silkscreened copies, including hand-placed bones of local trees. Includes a photograph and album credit insert printed on 80# linen card stock, and a download code.
clintheidorn.bandcamp.com
Available from Experimedia.net. Cave Comp One is the first in a series of limited, handmade CDr compilations featuring artists connected w/ the RCNCAVE (cave.rubbercitynoise.com) in some capacity.
Cave Comp One details the Cave’s innermost dwellers and features one-of-a-kind hand painted/signed&numbered covers by RCN dewds Bryan, Curt, Karl, and Ram. Featuring new and/or previously unreleased material from Faangface, Cane Swords, Zurvan, Black Unicorn, XXX Super Arcade, Vatican, and Human.
1.) Faangface’s chaotic assault tells the tale of a misnamed canine. Gerald or Siegfried (depending on who you talk to) is snarling freeform jettisoned jazz black metal from the smoldering wreckage of a downed dirigible. Assembled as a Cave break-in and featuring an eclectic cast of cave-dwellers led by inductor Joshua Novak—Ram Youssefi on blackened guitar wall, James Bryan Parks on twinkled bells and funereal synth chords, Curt Brown on beat struggling in antimatter explode percussives while Novak issues dog manifesto and wraps things up w/ acoustic layers of cosmopolitan catharsis.
2.) Cane Swords assemble a golem from melted laserdiscs and scattered transistors. The smell of obsolete technology hums as facsimile didgeridoo in post-apocalyptic walkabout. Recorded live at Thursday’s in Akron and assembled on loaned computers on top-floor couches. An intro/extro examination of collapsed societies, robot uprisings, and technology’s ghosts. Through warped time earthwormholes, dirt covered temples, and flashing headlamps comes this future wave communication.
3.) Zurvan’s dialect is melted glass stretched phonemes and enlightenment drones, a balance of dark mystery and beautiful rapture. The soundwaves manifest in physical pattern and amid the paced syllables the tales of heretical and buried knowledge creeps like conjured monsters. A cosmogony of factoried rubber and shifting sands, where the folded universe encompasses 1930s tire strike revolt and worker revolution in the same masonic backroom as hash fueled assassins carrying out clandestine midnight missions.
4.) Black Unicorn was launched in an experimental space craft, aimed at the source of the Wow! signal, and returned w/ this coded message. Nearing Chi Sagittarii, his onboard radio tuned to interstellar motorik was taken control of by unseen entities and redirected to the sounds of star birth and dark matter mystery. Before the mission was completed, the space baby finale of Jupiter and Beyond the Infinite was reenacted and Black Unicorn awoke in Akron holding this song on an Iomega Zip disk marked “cellar door” is faded sharpie.
5.) XXX Super Arcade’s song is playing after the big game, friendly ass slaps and derogatory banter aside, you and the bros are ready to hit the strip club fr a night of hard drinking and party-harding. The dancer comes out, dancing in seductive stutter to the rocking semi-Sabbath riff and yeah, hell yeah, she’s taking it off. But, wait, what’s that under the g-string? A tentacled spawn of Cthulhu oozing hues of swamp slush and toxic waste, tendrils whipping outward in furry and peeling faces back to reveal the muscle and bone underneath, gently cracking the skull to suck back the brain juice. All they found the next day was a deflated football and a room full of ectoplasm.
6.) Vatican is a mystery. We do not know who made these recordings, when, or why. When one of the RCN dewds inherited some land in Tennessee, it included a falling down barn. A large metal flight case w/ the word VATICAN stamped on the side was found amidst ancient tech manuals, cases of resistors and capacitors, and scattered 1970s pornography. Inside the case were scores of unlabeled or minimally labeled recordings on everything from quarter inch reel to reel to cassette to vinyl. This recording was from a cassette labeled “Per Gli Idioti 1644” in weathered, blue ball point. No one in the immediate family had any knowledge of the recordings or their origin.
7.) Human’s lone banjo quickly becomes magnet and pulls in an assorted cast of melancholic, haunting tones. Attracted like small blocks of metal, each piece fits puzzle-like as temporal leanings stride. Retaining a strong element of folk pop, the darker less stable components run like liquid at room temperature through this portrait of isolation where a haunted house looms against a textured landscape of Ohio winter.
Now available from Experimedia.net. Limited edition of 148 hand-stained, numbered, and silkscreened copies, including hand-placed bones of local trees. Includes a photograph and album credit insert printed on 80# linen card stock, and a download code.
Available from Experimedia.net. *180gram vinyl* ED09 is an evolving, long-tone composition by Duane Pitre. The work’s current score calls for 12 or more performers from the string and/or woodwind categories, along with the possible addition of bowed electric guitar (played by the composer).
Approximately half of ED09’s score instructs the performers to execute specific notated pitches that coincide with conducted hand signs, while the remainder of the score allows the performers to make minor decisions that affect the pace and texture of the piece. These decisions are based on a structure consisting of set playing methods, technique restrictions, fixed pitch classes (the ‘pitch pool’), and spontaneous conduction (aka real-time ‘mixing’)–resulting in slow-shifting harmonic movement over a long duration.
Essentially, the score enables all of the performers to approach a performance of the piece in the same manner, thus creating a group of musicians that thinks and plays as a cohesive unit. The result is a piece of music that is focused, yet fluid, minimal, yet dense–yielding a sound that is not unlike slow-motion chamber music.
ED09 is an exercise in discipline and freedom, in the refinement of music, and in communal focus. The piece involves a temporary community of musicians with a central goal stripped of self: to become one.
Time lapse sequences of photographs taken by the crew of expeditions 28 & 29 onboard the International Space Station from August to October, 2011.
Music: Jan Jelinek | Do Dekor, faitiche back2001
“Semiconductor is artist duo Ruth Jarman and Joe Gerhardt. Through moving image works they explore the material nature of our world and how we experience it, questioning our place in the physical universe. Their unique approach has won them many awards and prestigious fellowships such as the Gulbenkian Galapagos, Smithsonian Artists Research and the NASA Space Sciences. Their work is part of several international public collections and has been exhibited globally including Venice Bienniale, The Royal Academy, Hirshhorn Museum, BBC, ICA and the Exploratorium.” - semiconductorfilms.com | vimeo.com/semiconductor
20 HZ
“20 Hz observes a geo-magnetic storm occurring in the Earth’s upper atmosphere. Working with data collected from the CARISMA radio array and interpreted as audio, we hear tweeting and rumbles caused by incoming solar wind, captured at the frequency of 20 Hertz. Generated directly by the sound, tangible and sculptural forms emerge suggestive of scientific visualisations. As different frequencies interact both visually and aurally, complex patterns emerge to create interference phenomena that probe the limits of our perception.”
BRILLIANT NOISE
“Brilliant Noise takes us into the data vaults of solar astronomy. After sifting through hundreds of thousands of computer files, made accessible via open access archives, Semiconductor have brought together some of the sun’s finest unseen moments. These images have been kept in their most raw form, revealing the energetic particles and solar wind as a rain of white noise. This grainy black and white quality is routinely cleaned up by NASA, hiding the processes and mechanics in action behind the capturing procedure. Most of the imagery has been collected as single snapshots containing additional information, by satellites orbiting the Earth. They are then reorganised into their spectral groups to create time-lapse sequences. The soundtrack highlights the hidden forces at play upon the solar surface, by directly translating areas of intensity within the image brightness into layers of audio manipulation and radio frequencies.”
Here you will find collected some interesting links to sites discussing Helioseismology which put simply is the study of the Sun through sound waves. These sites include downloads of audio files of the sun and various solar events.
Standford Solar Center | The Singing Sun
“Our Sun lies 93,000,000 miles away, surrounded by the vacuum of space. Sound won’t travel through space, of course. But with the right instrument, scientists can “hear” pulsations from the Sun.”
Standford | Solar Sounds
“These are solar sounds generated from 40 days of Michelson Doppler Imager data and processed by A. Kosovichev.”
Thomas Ashcraft | Radio Sun Introduction
“We observe the Sun in New Mexico with a multi-frequency radiotelescope that has been modified and customized for binaural audio recording. Here is a collection of specimen sound files of the major types of solar radio emissions from some significant events in recent years.”
Cane Swords’ song from upcoming Coreography Council compilation. More Cane Swords here.
Bouton de mire. Cran de mire. Vue arrière. Le Synchroniseur Luminescent.
Le Synchroniseur Luminescent mode d’emploi: Quelques étapes simples
1. Branches correctement la Cane Swords Power Temple™ et ensuite connectez Le Synchroniseur Luminescent au contrôle 1 de la Power Temple™.
2. Avec la courante COUPÉ, insérez la carte Cane Swords ou la cartouche (mise en garde: Le Synchroniseur Luminescent ne fonctionne pas correctement sans ce logiciel spécial) dans a fente appropriée.
3.ALLUMEZ la Cane Swords Power Temple™. Dirigez Le Synchroniseur Luminescent vers l’écran du téléviseur.
4. Pour commencer, pressez la détente.
5. Entrez la Synchroniseum de Cane Swords™ grâce aux technologies numériques et analogiques.
Memorsion is an three-dimensional audiovisual experience made up of twenty cloth canvases assembled to create a unique maze of video projections.
Images of urban structures, vast concrete spaces, abandoned buildings and spray-painted walls are displayed and transformed. Forgotten spaces, either out of service or altered by time, are arranged and assembled within the installation, carving out a new singular environment.
The public, by moving within the environment, modifies the video content displayed: the experience becomes different from one visit to another.
Videos are also used to sculpt the exhibition space. The use of multiple screens and it’s resulting effects, is somewhat akin to the 2D multilayer technique, however these moving images are projected and perceived in a tridimensional environment, allowing them to be seen and felt from different vanishing points.
Mapping Festival, Mai 2011 [Performance + installation]
Festival du Nouveau Cinéma, October 2010 [Performance]
Eastern Bloc, Montréal, June 2010. [installation]
Video, music, progamming, design, sound recording : Manuel Chantre
Video, music player, motion tracking : Max/MSP Jitter, Music composition : Ableton Live, 3D : Blender, Video editing and color correction : After Effects
This project was achieved with the support of the expo-residence program Vidéographe, in partnership with Eastern Bloc and with the collaboration of the Society for Arts and Technology.
manuelchantre.com/art/memorsion
