Scupltor Kenn Coplan has been making Rust Angels out of desert debris:
Rust Angels are made from recyled material (Trash) that I have collected from my local deserts. My hope is to create 1,000 Rust Angels in the tradition of Sadako Sasaki, who tried to make a thousand cranes (Senbazuru) to grant her wish for her life after she was irradiated in the nuclear bombing of Hiroshima during World War II.
Right Here, Right Now is an evening with sound-artist Aaron Ximm (aka, quiet american), Oct 29 at the Headlands Center for the Arts (Sausalito, CA):
2009 AIR Aaron Ximm creates intimate, site-specific sound installations that translate fleeting moments captured by field recordings into present experiences.
He’ll also present 24 channels of sound Oct 18 at Headlands Fall Open House.
As paredes têm ouvidos (“The walls are listening”) Aaron Ximm’s 2007 site-specific sound installation, Lisbon, Portugal
“As Parades Tem Ouvidos – Nature (Collage C)” recordings made within the walls of Nodar, on the theme of nature sounds (6:17 mp3):
Multi-D infographics potential from the Edward Tufte (statistician, sculptor, designer) podcast…
Edward Tufte: Wavefields
Ask E.T. “Wavefields: intense animated data graphics”:
“Wavefields” are data graphics that draw on and completely fill the entire display surface, using every pixel on the data plane to show high-resolution, complex, multiple, animated statistical data-flows. Wavefields extend my work on sparklines.…
As the metaphor for sparklines is the resolution of typography, the metaphor for wavefields is the HD video, which records approximately 1 gigabyte per minute, a data throughput that might finally make our statistical graphics worthy of the powers of the human eye-brain system.
—
[Note that E.T. leaves out “ear” from the “human eye-brain system” — his audio reflects his sonic neglect.]
More on Infographics:
Cool Infographics blog
Flickr Info Graphics Pool
Smashing Magazine Data Visualization and Infographics
Edward Tufte: site | tube
Just found out about the Lucky Dragons: sound-tech-music-visual collage artists. Lotsa listening and downloads of LD trax at the Free Music Archive and their site: Lukey Dargons (LD = Luke Fischbeck and Sarah Rara).
Here’s some scales off the Lucky Dragons…
A nice string thing, “Home” (0:58 mp3):
Street sounds with sweet vocals, the first track off the Dark Falcon album, “heartbreaker” (2:06 mp3):
One of their “audio reconstructions and rearrangements of field recordings from 4 anti-war protests” on hawks and sparrows, “track 7” (3:00 mp3):
And this Fader TV report, on an LD audio-invention, starts slow but gets good, so stick with:
LD links: site | space | shop/ | tube | blog | fma
via Some Velvet Blog.
Poster art by H34DUP and Budget Fabulous Films, posted at TypCut:
More on Are You Happy?‘s info flow.
via HG.
Listen : John Cage – in love with sound / silence -01
Transcript of the interview with John Cage in the film “Ecoute” (Listen) by Miroslav Sebestik:
[part 1]
When I hear what we call music, it seems to me that someone is talking, and talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic, here on 6th avenue for instance, I don’t have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound. What it does is it gets louder and quieter, and it gets higher and lower, and it gets longer and shorter. It does all those things.I am completely satisfied with that. I don’t need sound to talk to me. We don’t see much difference between time and space. We don’t know where one begins and the other stops. So that most of the arts we think of as being in time, and most of the arts we think of being in space. More…
Painter Jerry Inverson (an HV fren) received a Montana Arts Council Artist’s Innovation Award. In artspeak: “He uses traditional materials, including sumi ink, layers of very thin paper, and rabbit skin glue to create black and white abstract canvases that are influenced by Asian calligraphy, yet outside the structure of language.”
Check his sheep-shearing series in HV art/audio “Counting Sheep” webwork. Jerry is represented by the Pulliam Gallery, Portland OR.
Our “Oddio Art” automated hyperactive audio-art generator features Martin Luther King Jr, Maya Angelou, and Ted Kennedy, with music by Joe Bass and Flash-yness from Eli 5 Stone.
The Dollar ReDe$ign Project proffers, “We need to rebuild our country, revive our economy, redesign the Dollar bill. Email us your ideas. Win a prize. In God We Trust, In Change We Believe.”
Some of my fave submissions came from some U on MN students:
Artist: Kelsey Dunigan
Artist: McKenna Seefeldt
via Hip.Young.Thing.
I love the work of illustrator Maira Kalman. First saw her art at 21st Century Abe’s “Finding Lincoln.” Today a friend showed me her NYTimes And the Pursuit of Happiness Blog: Maira’s pointed her pen at Thomas Jefferson, “Time Wastes Too Fast.”
Maira also illustrared the recent edition of the writing-essentials classic, Strunk and White’s Elements of Style.
For those who track copyright law, fair use, and the evolution of rights re: appropriated-cultcha and re-creation, check this TED-lecture from Larry Lessig:
No expert has brought as much fresh thinking to the field of contemporary copyright law as has Lawrence Lessig. A Stanford professor and founder of the school’s Center for Internet and Society, he chairs Creative Commons, a nuanced, free licensing scheme for individual creators.
[John Rieger’s three-year bi-weekly late-night experiment in radio programming, Artifacts: KPFA-Berkeley 1985-1987, introduced the idea of “audiography”…]
“Artifacts” is an experiment in the esthetics of non-narrative audio figuration and thematic organization. The sound recording media have produced figurative works primarily in such narrative forms as journalism and drama. Non-narrative audio composition has been understood as a musical enterprise rather than a figurative one. The poverty of this accepted wisdom is suggested by the analogy with photography. While painting begins with “stuff” — paint, the elementary color stuff — photographic composition begins with what might loosely be called “semantic” elements, visual records of world objects which contain a world reference. Photography has a passive or receptive moment which painting does not; for while painting may be a wholly abstract enterprise, photography must at least begin from the figuration which occurs when the film receives the light image from the world object.
So we may compare sound recording with musical composition. Music begins with the elementary sound stuff, whose fundamental property, we shall say, is timbre. Sound recording, however, begins with the passive or receptive moment which we noted in photography, where in this case the audio image of the world object is received and recorded. Sound recording is “audiographic”. But while photographic figuration has long since freed itself from the compositional constraints of the narrative tableau and the news photo, audiographic figuration still serves almost exclusively the dramatist and the journalist. Only by considering the audiographic record as sound stuff (musique concrete) have we managed to break these narrative shackles; but in so doing we have lost the reference to the world object and so destroyed the audiographic image qua image.
Surely, then, we have not yet exhausted this remarkable medium!
Audiography records only the mystery. Radio journalism has fought against this mystery, doing appalling violence to what is subtle, ambiguous and profound in the name of clarity, and strapping the unruly “actuality” into a straightjacket of anemic literalism.Consider the richness of the audiographic image. Unencumbered by the superabundance of banal visual information against which photographers and filmmakers have had to struggle to uncover what is mysterious in the Thing, audiography records only the mystery. Radio journalism has fought against this mystery, doing appalling violence to what is subtle, ambiguous and profound in the name of clarity, and strapping the unruly “actuality” into a straightjacket of anemic literalism. (Or perhaps it is the journalist who wears the straightjacket.) Radio drama, with equal violence, reduces the audiographic image to a sound “effect”, playing a perpetually supporting role, and coming and going by the servants’ entrance. Should the image then seek the seductive embrace of musique concrete it will find only the ultimate subjugation, its destruction.
“Artifacts”, then, is the audiographic annunciation of the Thing. It heralds the esthetic of the blank stare. It calls upon us not to subjugate the image, but to receive it as it is for-itself; for within these audiographic artifacts objects lead lives of their own, revealing in their gravitational attraction one to another the unconscious mass, the hidden psychic substance which sustains them. They are to be approached not with a will to mastery, but with an attitude of reverence and humility befitting one on whom a thing of mysterious beauty has been bestowed.
–John H. Rieger, June 17, 1985
Riegs on: New American Radio | DNA Files | Hearing Voices |
Science and the Search for Meaning
The above Audiographic essay was performed live on-air by the author, with Catherine Stifter and Steve Tokar, on their KPFA program, “Artifacts: Manifesto, 1985” (7:58 mp3):
UPDATE: NPR story on Kitman
Kitiman’s ThruYOU vids are mashups & mixes of “unrelated YouTube video/clips edited together — what you see is what you hear.” The latest is the “Mother of All Funk Chords:”
Sez 43 Folders of Kutiman:
Unsolicited tip for media company c-levels: if your reaction to this crate of magic is “Hm. I wonder how we’d go about suing someone who ‘did this’ with our IP?” instead of, “Holy crap, clearly, this is the freaking future of entertainment,” it’s probably time to put some ramen on your Visa and start making stuff up for your LinkedIn page.
Because, this is what your new Elvis looks like, gang. And, eventually somebody will figure out (and publicly admit) that Kutiman, and any number of his peers on the “To-Sue”list, should be passed from Legal down to A&R.
Kutiman: Space | Wikip | More ThruYOU‘s
via Smatter.
Fren o’ HV, Justin G, is co-directing The Megapolis Festival, “a weekend-long celebration of the craft of DIY audio creation. Artists, documentarians, musicians, and fans come together to share secrets on producing and presenting challenging audio works online, on-air, and on the stage.” April 24-26 2008, Boston.
Among the featured: Gregory Whitehead, a bicycle-powered 8-track player, and HV’s own AnnKara (festival schedule).
Danish “contemporary art photographer” Peter Funch has this view of “Communicating Community”:
© Peter Funch
From his exhibit at Babel Tales at Denmark’s V1 Gallery. “All the pictures in the exhibition have been taken during a span of 10-14 days from six different street corners in New York.” More Funch fotos: V1 | Getty.
via HG.
A video just right for Valentine’s Day, animated by Julia Pott, with original music and sound by Christopher Frost. People recall “My First Crush:”
More Julia Pott vids. And here’s some of HV’s past romantic posts.
Check these photo manipulations by LiveJournal user tebe_interesno, an artist from Moscow, Russia. More of his creations at Toxel, a design site. This one’s called Short Change:
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“Chorus Of Refuge” is new sound installation by (HV producers) Ann Heppermann, Kara Oehler, and composer Jason Cady. It’s free at Union Docs in Brooklyn (322 Union Ave), December 13th 7-9p.m; part of their Documentary Bodega series.
“Chorus of Refuge is a sound installation that transmits the stories of six refugees,living in different cities across the U.S. to six radios. The voices of the refugees are superimposed and coordinated in both rhythm and tonality to unite their narratives of struggle, survival and triumph.”
Hearing Voices from NPR®
036 Paintbrush: Lives of the Artists
Host: Larry Massett of Hearing Voices
Airs week of: 2009-12-02 (Originally: 2008-11-05)
“Paintbrush” (52:00 mp3):
Sound-portraits of painters:
Singer Jonathan Richman puts forth the proposition that Pablo Picasso was never called an @#%hole; recorded in 1972, released on the 1976 album The Modern Lovers.
Susan enlists elementary school kids to evaluate the paintings of Pablo Picasso. Their art crit proves accurate and insightful. Co-produced by host Larry Massett.
The poet paints a depiction in prose of her pal Pablo.
A history of injuries and inspiration unfolds in this an audio biography of the legendary Mexican artist.
From Jonathan’s 2008 solo CD Because Her Beauty Is Raw And Wild.