Gestalt (2003) is a short CG film by Thorsten Fleisch, made entirely from renderings of quaternion fractals.
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Joseph Beuys - "Ja Ja Ja Ne Ne Ne", 1970, Mazzotta Editions, Milan, 33 rpm, 500 copies. (excerpt 2:00) Maurice Lemaître - "Lettre Rock", 1958. Interpreted by the author and Paul Thorel, accompanied by amateur jazz singers. "Maurice Lemaître Presents Le Lettrism", Columbia. (1:51)Fillippo Tomasso Marinetti - "La Battaglia di Adrianopoli", 1926. Recorded by Marinetti in 1935, Voce del Padrone, Milano/EMI 1948-75, 33 rpm. (2:26)Raoul Hausmann - "Poémes Phonetiques" (1919-1943) 45 rpm, Paris Ou Magazine, 25-26, 1966. (3:50) Antonio Russolo - "Corale", "Serenata", 1924, Musica Futurista, organized by Daniel Lombardi, Fonit Cetra. (2:31) Marcel Duchamp - Some texts from "A l'infinitif" (1912-20). Recorded by Aspen Magazine, November 1967, N.Y. (4:00) Kurt Schwitters - "Die Sonate in Urlauten" (1919-32). An Anna Blume - Die Sonate in Urlauten (1919-1932) 1958 Lords Gallery, London, 33 rpm, 100 copies. (excerpt 2:03)Lawrence Weiner - "Having Been Done At / Having Been Done To, Essendo Stato Fatto A", 1973 Sperone-Fischer Edition, Roma 33 rpm. (excerpt 2:25) George Brecht - "Comb Music (Comb Event)" 1959-62. Performed by John Armleder August 23, 1988. Engineered by Brenda Hutchinson at Studio PASS, N.Y. (:05) Patrick Ireland - "Vowel Drawing", 1967. Recorded at Studio PASS, N.Y. Engineered by Connie Kieltyka, September, 1988. (1:07) Richard Huelsenbeck - "Four Poems from Phantastiche Gebete". 1916. Recorded by Aspen Magazine, November 1967, N.Y. (excerpt 2:00) Arrigo Lora-Totino and Fogliati - "Poesia Totale", 1968 Liquimoiono, Poesia Liquida, Scwettier, Milan (excerpt 1:34). Jean Dubuffet - "Musical Experiences", 1963, Atlantic Recording, NY 1973, 33 rpm. (excerpt 2:17) Mimmo Rotella - "Poemi Fonetici", 1949-75, Plura Edition, Milano, 1000 copies, 33 rpm. (excerpt :44) Joan Jonas - "The Anchor Stone", 1988. Engineered by Brenda Hutchinson at Studio PASS, N.Y. (2:30) Christian Boltanski - "Reconstruction de Chansons Qui Ont Et Chant" es Christian Boltanski (1944-46)", 1972 45 rpm. (excerpt 2:30) Ian Murray - "Keeping On Top of the Top Song", 1970, Performed by Arno Van Nieuwenhuise, 1984. A recording of the first ten seconds of the top 100 songs of the last ten years (1970). (excerpt 3:15)Terry Fox - "The Labyrinth Scored for the Purrs of 11 Different Cats", 1976, on Airwaves 1977. (excerpt 3:00) Jonathan Borofsky - "The Standard Chant Pt. 2", 1983, recorded by J. Borofsky, Los Angeles, Ca. (1:33) Magdalena Abakanowicz - "Cough", 1986 Recorded by Magdalena Abakanowicz, Warsaw. Poland, (excerpt :35) Richard Prince with Bob Gober - "Tell Me Everything", 1988. Recorded May 18, 1988 at Studio PASS, N.Y. Engineered by Alex Gardner. (3:00) Martin Kippenberger - "Bang, Bang", 1987, POP IN. forum Stadtpark Graz. (3:11)Jack Goldstein - "The Weep", 1978. (excerpt 2:21)John Armleder - "16 Great Turn-Ons". 1988, performed and directed by Christian Marclay at Studio Pass, N. Y Engineered by B. Hutchinson. edited-by C. S Russell. (1:10)Terry Allen - "Home On The Range", 1988, Terry Allen and the Panhandle Mystery Band, Greenshoes Publishers 1988. Vocal and piano: Terry Allen; acoustic guitar: Lloyd lvlaines; mandolin: Richard Bowden; percussion: Davis McLarty; harmony vocal: Joe Ely. Produced by Allen and Maines, recorded at Caldwell Studios, Lubbock, Texas. Engineered by Caldwell and Maines. (3:13)Gretchen Bender - "Artificial Treatment" 1988, Recorded at Studio PASS, N.Y. by B. Hutchinson. (2:44) Y Pants - "Magnetic Attraction", 1980, Gail Vachon: ukulele; Barbara Ess: bass; Verge Piersol. drums, Vocals: all. (3:11) Ed Tomney - "Aquatic Chronicle", 1988, Spotless Music. (3:07)Susan Hiller - "Magic Lantern", 1987, Edited by B. Hutchinson with Tim Guest at Studio PASS, N.Y. (Abridged version 5:03) Ian Murray - o.p. cit. (1: 12)quote ...'Fidget is a transcription of writer Kenneth Goldsmith's every movement made during thirteen hours on June 16, 1997 (Bloomsday). This online edition includes the full text, a self-running Java applet version written by programmer Clem Paulsen, and a selection of RealAudio recordings from Theo Bleckmann's vocal-visual performance at the Whitney Museum of American Art on Bloomsday 1998.
Fidget attempts to reduce the body to a catalogue of mechanical movements by a strict act of observation. Goldsmith aims to be objective like the photographer Edward Muybridge. In Fidget, Goldsmith reduces language to its basic elements in order to record and understand movement in its basic form. Despite these aims, the dictates of the work like the self-observation and the duration of the act, create a condition of shifting referent points and multiple levels of observation that undermine the objective approach.
Goldsmith and Paulsen's collaboration has reconfigured the text of Fidget to substitute the human body with the computer. The Java applet contains the text reduced further into its constituent elements, a word or a phrase. The relationships between these elements is structured by a dynamic mapping system that is organized visually and spatially instead of grammatically. In addition, the Java applet invokes duration and presence. Each time the applet is downloaded it begins at the same time as set in the user's computer and every mouse click or drag that the user initiates is reflected in the visual mapping system. The different hours are represented in differing font sizes, background colors and degree of "fidgetness", however, these parameters may be altered by the user. The sense of time is reinforced by the diminishing contrast and eventual fading away of each phrase as each second passes.
Fidget was originally commissioned by The Whitney Museum of American Art at Philip Morris as a collaboration with vocalist Theo Bleckmann. The live performance was at The Whitney Museum of American Art at Philip Morris on June 16, 1998 at 8p.m. Bleckmann's vocal interpretations of Fidget are available here in RealAudio. A gallery installation of Fidget opened at Printed Matter in New York City. Printed Matter featured Goldsmith's collaboration with seamstress Sydney Maresca. The exhibition ran from June 11-September 4 1998.
Kenneth Goldsmith is the author of No. 111 2.7.93-10.20.96 (The Figures, 1997) and 73 Poems, a collaboration with vocalist Joan La Barbara (book 1994 by Permanent Press, compact disc 1994 by Lovely Music, Ltd.). His visual works have been exhibited in galleries and museums worldwide. Goldsmith is the editor of UbuWeb Visual, Concrete + Sound Poetry, a DJ at 91.1 WFMU in New York City, and a music critic at New York Press.'
website here
Voices
by Walt Whitman
NOW I make a leaf of Voices--for I have found nothing mightier than
they are,
And I have found that no word spoken, but is beautiful, in its place.
O what is it in me that makes me tremble so at voices?
Surely, whoever speaks to me in the right voice, him or her I shall
follow,
As the water follows the moon, silently, with fluid steps, anywhere
around the globe.
All waits for the right voices;
Where is the practis'd and perfect organ? Where is the develop'd
Soul?
For I see every word utter'd thence, has deeper, sweeter, new sounds,
impossible on less terms.
I see brains and lips closed--tympans and temples unstruck,
Until that comes which has the quality to strike and to unclose, 10
Until that comes which has the quality to bring forth what lies
slumbering, forever ready, in all words.
Making "CIRCULATOR" / An installation by Jim Blashfield / 4Culture from Jim Blashfield on Vimeo.
Jim Blashfield kindly sent me a message about his video and sound installation Circulator now being finished, and scheduled for installation at the Brightwater Environmental Centre north of Seattle’s Lake Washington, in Spring.
It’s amazing to see the detail of the visual material. This realism is fortified by sound, which plays an important role in Circulator. We hear a nice combination of realistic sounds and dream-like musical sequences.
The installation shows the artists impression of the water cycle. Watch the video to hear Jim Blashfield explain the installation and if you want to know more about the artist and his work, visit his website at www.blashfieldstudio.com.
Heart Chamber Orchestra - Pixelache from pure on Vimeo.
Heart Chamber Orchestra - Pixelache from pure on Vimeo. Heart Chamber Orchestra is an audio-visual performance during which 12 classical trained musicians control a music composition and a graphical visualization through their personal heartbeats.
The musical score is generated in real-time by the heartbeats of the musicians, who read and play this score from a computer screen placed in front of them. As a result, the installation forms a feedback loop in which the music literally “comes from the heart”. Continue reading
Sewing Machine Orchestra from Martin Messier on Vimeo.
Sewing Machine Orchestra from Martin Messier on Vimeo.
Eight old Singer sewing machines in a row are the musicians of the Sewing Machine Orchestra made by one of the two men behind La Chambre des Machines, Martin Messier. The sounds we hear are all created by the sewing machines. Apart from the sound this installation makes, the image of these classic machines put in a clean, modern environment is wonderful, and triggers the viewers memory and imagination.
thanks to: everydaylistening.com
quote from Criticisms...click here 'What could be more uncanny than neat piles of books actually underneath a desk, if not neat piles of books on a decidedly uncanny subject? In this case, automatic writing.
For Gertrude Stein, to whom this sculpture is intended as a homage, the books represent a return of the repressed. The writer went from experimenting with the technique to denying it existed
The binder on the work surface contains her postgraduate work on the topic, with an introduction by Susan Hiller. This is the dry, public facing side of the work, the writer and perhaps the artist too.
But the subterranean library is where you’ll find the action. Suddenly we have colour. Those books give the sculpture a transgressive energy. They fly in the face of reason.
For me, the most unheimlich thing of all was to notice who gave Hiller her first books about Stein. According to her introduction it was Tom Verlaine. I assume that’s the singer and guitarist.
His former band Television looms much larger in my imagination than the towering figure of 20th century art and letters to whom this piece is dedicated. Although I probably feel they shouldn’t.
Ironic that one of my earliest influences should have found its way into this piece about suppressed artistic sources. Not that I would ever disown my love of that whole New York punk scene.
I wouldn’t want to come home to find a poltergeist had bricked up my desk with records, after all.
This piece can be seen as part of Susan Hiller: An Ongoing Investigation at Timothy Taylor Gallery until 5 March. See gallery website for more details.
You might also read an interview with the artist by Rachel Cooke in the Guardian and this piece about the show at Tate Britain in the same paper by Rachel Withers.'
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