Plywood City (2008-2010) - Ujino Muneteru




Ujino Muneteru transforms mechanical sounds into complex rhythms. Bored by the technical limits of his instruments, the guitarist and bassist experiments with new sounds. Different sounding bodies widen the spectrum of resonance; simple mechanical motors produce new tones. In particular domestic appliances, tools, and large machinery from the fifties to the seventies play a significant role here because of their mechanical simplicity and haptic palpability. Points of reference to the Japanese "Noise Music", a type of sound movement from the eighties rooted in John Cage and the Fluxus, can also be seen...

Plywood City refers to a part of Tokyo, in the vernacular, built from wood. Inspired by it, Muneteru constructs a model city, which is animated by kinetic objects and sound. The basis of the city is formed by art-transport crates, whose misappropriation cites socialist flagstone buildings with irony.



Max Neuhaus Performance and Screening at Dia:Beacon


Max Neuhaus, drawing for Time Piece Beacon, 2005. © 2005 Max Neuhaus. Photo: Cathy Carver

In case you're up at Dia:Beacon this weekend, on October 31st at 2pm, in celebration of the new publication Max Neuhaus: Times Square, Time Piece Beacon, the museum will host a performance by composer David Shively of Max Neuhaus' early concert realizations of works by New York School composers such as Earle Brown, John Cage, and Morton Feldman. A screening of rare Neuhaus films and videos, like Phill Niblock's Max and documentation of Drive-in Music, will follow the performance. More info here.


Body Flux (2010) - Sara Ludy


Originally via Computers Club


Pierre Gordeeff's The Built From Scratch Apparatus



"The Built From Scratch Apparatus" is the general title for a series of projects by Pierre Gordeeff initiated in 2006. Composed of parts salvaged from the trash, yard sales and equipment purchased from bankrupt hospitals, schools and factories, Gordeeff's work has slowly evolved into an ornate sculpture and light show along with amplified moving parts fed into a mixer. This particular configuration of The Built-From-Scratch Apparatus, La Trombe, is performed alongside a duo with electronic musician Boris Jacobek on laptop and Bontempi keyboard.

PIERRE GORDEEFF - LA TROMBE / Juin 2008 / GRRRND GERLAND from Grrrnd Zero on Vimeo.

La Trombe was built specifically for a performance at Lyon, France's DIY venue Grrrndzero and this video was shot during one evening of La Trombe's installation period at the space in June of 2008. Although it seems that throughout most of this improvisation the sculpture is obscured in shadow, spectators could observe the well-lit sculpture before and after the performance.

Initially, Gordeeff's pieces were a less complex juxtaposition of drawings, sculpture and found objects, often depicting images of dystopian angst. By 2004, he began to make use of light and motion as his work became more performative. He eventually added sound by amplifying various moving portions of the sculpture and in his recent musical performances, the process of obscuring and illuminating portions of the sculpture "becomes more detailed than if I were [merely] drawing or sculpting it." When asked about the sculpture's transformation into an improvisatory musical instrument, Gordeeff observes, "I used sound and motion as a tool to overcome my habits of plastic composition. I followed the technical bias of all the items I could find [rather than my own aesthetic decisions] to end up with hybrid objects and shadows of elaborate graphic design. Sometimes sound inhabits space ...


Maryanne Amacher's "City-Links" at Ludlow 38



This just in: Lower East Side gallery Ludlow 38 will organize an exhibit of sound artist Maryanne Amacher's City-Links (1967-1981), an early networked sound installation. You can read more about the original project below, show opens on October 20th.

Ludlow 38 is pleased to present the exhibition Maryanne Amacher: City-Links. Between 1967 and 1981 the pioneering sound artist produced 22 City-Links projects in total, connecting distant microphones to installations and performances using dedicated FM-quality analog phone lines. Areas of downtown Buffalo, MIT, Boston Harbor, the Mississippi River, the New York harbor, studios in various locations, and other sites in the USA and abroad were transported, sometimes integrating performers near the microphones (such as John Cage and George Lewis for City-Links #18 performed at The Kitchen in 1979). The exhibition at Ludlow 38 brings together a number of documents, images and sound samples selected and reproduced from the nascent Amacher Archive as a first look at this important series of early telematic art works about which little has been published.

Maryanne Amacher wrote about her City-Links series: In my first sound works I developed the idea of sonic telepresence, introducing the use of telecommunication in sound installations. In the telelink installations "CITY-LINKS" #1-22 (1967- ) the sounds from one or more remote environment (in a city, or in several cities) are transmitted “live” to the exhibition space, as an ongoing sonic environment. I produce the "CITY-LINKS" installations using real-time telelinks to transmit the sound from microphones I place in the selected environments, spatializing these works with many different sonic environments: harbors, steel mills, stone towers, flour mills, factories, silos, airports, rivers, open fields, utility companies, and with musicians "on location." The adventure is in receiving live sonic spaces from more than one location at the same time - the tower, the ocean ...


A Visit to Audio Visual Arts (AVA)



Over the weekend I popped by Audio Visual Arts (AVA), a sound and media art space located a few blocks away from the New Museum, in the East Village.


Founded by Justin Luke two years ago, the storefront space hosts a range of exhibitions and events, the majority of which relate to the experience of sound and listening. Artists and musicians alike have organized projects at the gallery, from a listening party for Glasser (Cameron Mesirow) to a sound installation by composer Alan Licht to an exhibition of paintings by the legendary guitarist John Fahey to an immersive stroboscopic light and sound installation by Nicedisc (Jeff Pash and Nick Phillips), to name a few. Justin and his brother have a recording studio in the basement of the building, and when the storefront above opened up, Justin decided to move in and start the gallery. AVA also doubles as his apartment, which is located in the back, and this aspect frees him up to be creative and take with risks with the programming, as the shows are not necessarily tied to profit like a regular gallery.



Antoine Catala’s solo show "Topologies" just opened at AVA, and it features a single luminous, magnificently mind-bending sculpture titled HDDH. On display until November 4th, the work is comprised of two HD flat screen televisions connected by what the artist terms "a magic tube." The tube is seamlessly affixed to the surface of the screen, dramatically warping the continuous flow of images emanating from the television set. The audio signal from the TVs is projected both inside and outside the gallery, thunderously filling up the space. Catala uses broadcast television as the basic material for his hallucinatory sculptures, which heighten the artificiality and absurdity of television programming. HDDH seems like a natural evolution from ...


Conjuring Sound: Arcana V: Music, Magic and Mysticism, Edited by John Zorn


Music is analyzed and discussed using tools from many different fields - history, musicology, and sociology, to name a few. But words like “magical” and “mystical” rarely enter into the critical vocabulary when talking about music. Perhaps it’s because words like that tend to bring to mind the wilder, wackier reaches of the “New Age” section of the bookstore. Perhaps it’s also because “magic” and “mysticism” seem to imply that there are aspects of music that elude our critical grasp -- intangible qualities that escape the bounds of conventional analysis. For people who study music, this can be a hard pill to swallow. But musicians throughout the ages have openly referenced mysticism and mystical concepts in their work - a roster that includes everyone from composers like Alexander Scriabin and Olivier Messiaen to jazz musicians like John Coltrane and Albert Ayler to stadium rockers like Led Zeppelin.

A few months ago, after visiting the "Brion Gysin: Dreamachine" exhibition at the New Museum, I came across a dusty book in a small East Village bookshop titled Music, Mysticism and Magic: A Sourcebook, edited by Joscelyn Godwin. The book was published in 1986; the cover was purple and covered with symbols. The 61 brief chapters featured excerpts from the writings of figures ranging from Plato to the avant-garde composer Karlheinz Stockhausen. I was intrigued.

After looking up more information on the book, I came across a new book with an oddly similar title: Music, Magic, and Mysticism, edited by John Zorn (Tzadik, 2010). It is the fifth installment of Zorn’s “Arcana” series of anthologies of critical writing on music, most of it written by musicians. The contributors to this volume are impressive: Terry Riley, Pauline Oliveros, Yusef Lateef, Genesis Breyer P-Orridge, David Toop, Gavin Bryars, and Alvin Curran, to name a few.


Sala de Máquinas (Engine Room) (2010) - Daphne Polyzos, Jordi Planas, Miguel Neto, Rodrigo Carvalho


An electronic oscillator is connected to an open circuit, in a way that when the user touches 2 metal bars he/she himself/herself becomes the electrical resistance therefore being able to vary the frequency of sound.

The old modified TVs react to this sound as an oscilloscope having all kinds of different patterns and reactions.



Open Seas (2010) - Mitch Trale







Two Things (2010) - Duncan Malashock


Via Computers Club