This installation, whose principle was conceived in the early 1990s, transforms the gallery into an aviary where visitors share the space with a few dozen birds, who, by landing on electric guitars, create a musical piece.
This record presents music emerging out of simple mechanical processes. The machine configurations employed are shown in the accompanying diagrams. Most of the tracks use uniformly moving sabre saws with ropes or flexible metal rods attached. The standing waves created in these attachments hit the strings of electric guitars. On track B4, a rotating metal brush operates directly on a guitar string. All pieces are autonomously played by the machines, without human control or interference.
All pieces recorded by the composer, September 1981- March 1982, at Apollo House, Eindhoven, except B$ recorded by Mark Abbott, April 1980, at WKCR-FM 89.9, Columbia University, New York. Mastered by Roland Smits and Theo van Eenbergen, July 1982, at 'Rauchende Colts', Nuenen.
In his work, Saâdane Afif adopts strategies from the fields of art and music, for example the method of appropriation, in order to critically explore the concepts of interpretation and repetition. Among other elements, his room installations combine song texts and pop music with pictures, personal comments and objects which have been pre-fabricated or already exist. Afif reflects artistic authorship and how the art system works.
Saâdane Afif has arranged thirteen black guitars and amps in a room. Lyrics (2007) creates sound to accompany a sculpture. The guitars are orchestrated from afar by a computer and also altered conceptually. Afif has been commissioning writer friends to write Lyrics to one of his works since 2004. The Lyrics thus provide a personal perspective on each work and are thus interpreted once more by the musician’s free-form improvisations.
A kinetic sound sculpture for two electric guitars and one electric bass. Taking its name from the classic rock combination of guitar, bass and drums, this fairground-esque installation invites the audience to navigate the space around and between the instrument-machine band members and wander through their perpetually aleatoric song.
A hybrid of a remote controlled car & mechanical hand generates random music.
The car is controlled by an altered remote, which is triggered by 2 desk fans. When the fans are directed at the remote, contacts are blown together and the circuit is completed, sending the car up and down the keyboard in random directions.
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