The Execution Protocol (II)
The Execution Protocol
The Execution Protocol, or Pianology: A Schema & Historo-Materialist Pro-gnostic. Work for audio triggered musical tesla coil, wire cage housing, midi to square-wave converter, Slave Piano mechanism, electric chair housing Bosendorfer grand piano and large security monitor, interactive computer teletype terminal operating Slave Piano mechanism and tesla coil, offset printed scores in display vitrines, wall mounted catalogue cards with score extracts, and archival materials in large display case.
Installed from 6 December 2008 - 28 February 2009. Commissioned for The Same River Twice: Part I by The Institute of Modern Art.
Slave Pianos, The Execution Protocol (II), Programme Text
|---------------------------------------------------------------------------------|
| primary author: Laurie ANDERSON |
| title: It's not the bullet that kills you, it's the hole (for |
| Chris Burden) |
| year: 1977 |
| biographical details: American, performance artist, b.Glen Ellyn, IL 1947 |
| transcription for: Anti-Jazz Ben-tet |
| recording duration: 6'36'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 1 of 56 |
| status: Idle |
| no. of data sets: 4679 |
| no. of events: 5400 |
| execution time (ms): 391011 |
| terminal event: #80 #51 #6f |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Evgeny ASSE |
| secondary author: & V. FISHKIN & D. GUTOFF |
| title: Music-Hall Whistling Performance |
| year: 1995 |
| biographical details: Russian, installationists & painter, b. Moscow 1946 & |
| 1946 & 1960 |
| transcription for: String Quartet; Computer operated piano and tesla coil |
| recording duration: 1'47'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 2 of 56 |
| status: Idle |
| no. of data sets: 191 |
| no. of events: 768 |
| execution time (ms): 27826 |
| terminal event: #81 #27 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: John BALDESSARI |
| title: Throwing a Ball Once to get 3 Melodies and 15 Chords |
| year: 1973 |
| biographical details: American, photographer, b. National City, CA 1931 |
| transcription for: Trumpet and accordion; Computer operated piano and |
| tesla coil |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 3 of 56 |
| status: Idle |
| no. of data sets: 15 |
| no. of events: 84 |
| execution time (ms): 28000 |
| terminal event: #80 #4d #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Joseph BEUYS |
| secondary author: & Nam June PAIK |
| title: In Memoriam George Maciunas |
| year: 1978 |
| biographical details: German, sculptor, b. Krefeld 1921; d. 1986; Korean, |
| sculptor, b. Seoul 1932; d. 2006 |
| biographical sketch: Joseph BEUYS maintained a close association with |
| Fluxus but was never actually a Fluxus artist. He took |
| part in various Fluxus activities before developing |
| his own performances which stressed fixed actions on |
| his own body in contrast to the anti-individuality |
| that Maciunas promoted. Through performance Beuys |
| began to expand sculptural ideas using noise and sound |
| as artistic materials. For Beuys music moved between |
| the extremes of silence and noise. In his piano pieces |
| Beuys would often use techniques and devices to |
| restrain or mute the instrument. Nam June PAIK was a |
| central figure in Fluxus activities in Europe and |
| later America. While experimenting in his own |
| performative practice he completed a masters degree on |
| Stockhausen. Invitations to Flux concerts were issued |
| by Paik and he was the central conduit that connected |
| visual artists and composers. His own compositions, |
| defined as hot Fluxus, contain strong sexual |
| suggestions often directed at the musical instrument |
| and most famously at his collaborator Charlotte |
| Moorman. |
| transcription for: Computer operated piano; String Quartet; Computer |
| operated piano and tesla coil |
| recording duration: 0'41'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 4 of 56 |
| status: Idle |
| no. of data sets: 114 |
| no. of events: 326 |
| execution time (ms): 22219 |
| terminal event: #81 #39 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Christian BOLTANSKI |
| title: Songs that have been sung by Christian Boltanski |
| year: 1944-46 |
| biographical details: French, photographer, b. Paris 1944 |
| transcription for: Harmonica and accordion; Computer operated piano and |
| tesla coil |
| recording duration: 3'14'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 5 of 56 |
| status: Idle |
| no. of data sets: 104 |
| no. of events: 104 |
| execution time (ms): 26515 |
| terminal event: #81 #3b #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Louise BOURGEOIS |
| title: Otte |
| year: 1995 |
| biographical details: American, sculptor, b. Paris 1911 |
| transcription for: Computer operated piano |
| recording duration: 4'38'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 6 of 56 |
| status: Idle |
| no. of data sets: 5840 |
| no. of events: 7370 |
| execution time (ms): 214666 |
| terminal event: #80 #42 #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: George BRECHT |
| title: Comb Music (Comb Event) |
| year: 1959-62 |
| biographical details: American, sculptor & fluxist, b. Halfway, OR 1925 d. |
| 2008 |
| transcription for: Computer operated piano; String Quartet; Tesla coil |
| recording duration: 0'08'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 7 of 56 |
| status: Idle |
| no. of data sets: 80 |
| no. of events: 158 |
| execution time (ms): 5125 |
| terminal event: #81 #3c #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Lillian BUDD |
| secondary author: Merryln Tweedie |
| title: Studies For Existence |
| year: 1998 |
| biographical details: New Zealand, sculptor, b. Christchurch 1953 |
| transcription for: Computer operated piano |
| recording duration: 1'02'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 8 of 56 |
| status: Idle |
| no. of data sets: 801 |
| no. of events: 5840 |
| execution time (ms): 48000 |
| terminal event: #80 #6d #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Chris BURDEN |
| title: Velvet Water |
| year: 1974 |
| biographical details: American, sculptor, b. Boston, MA 1946 |
| transcription for: Computer operated piano; Turntables |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 9 of 56 |
| status: Idle |
| no. of data sets: 359 |
| no. of events: 2764 |
| execution time (ms): 118729 |
| terminal event: #90 #4c #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: David BYRNE |
| title: Artists Only |
| year: 1978 |
| biographical details: American, new wave musician, b. Dumbarton, Scotland |
| 1952 |
| transcription for: Anti-Jazz Ben-tet |
| recording duration: 4'48'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 10 of 56 |
| status: Idle |
| no. of data sets: 2728 |
| no. of events: 3088 |
| execution time (ms): 232879 |
| terminal event: #80 #34 #5e |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Euegene CARCHESIO |
| secondary author: & The Lost Domain |
| title: Truth and the abstract blues |
| year: Unknown |
| biographical details: Australian, collagist and drawer , b. Brisbane, QLD |
| 1960 |
| transcription for: Tesla coil |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 11 of 56 |
| status: Idle |
| no. of data sets: 285 |
| no. of events: 286 |
| execution time (ms): 190510 |
| terminal event: #81 #37 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Gunter CHRISTMANN |
| title: Audio Plastik No. 4 |
| year: 1974-77 |
| biographical details: Australian, painter, b. Berlin 1936 |
| biographical sketch: With a Fluxist sense of impromptu circumstance, in the |
| 1970's Christmann began to go beyond his rigorous, |
| optically accentuated abstract compositions. 'Jews |
| Harp and Traffic' has nothing to do with formal |
| musical composition, but rather comes from a deeply |
| registered psychological sense of the texture of the |
| modern city. Elwyn Lynn has described this feeling as: |
| "...of the 'not-quite' or 'kinship' order: they are |
| not quite about joyousness, melancholy, release, |
| hesitancy or shyness; they are akin to expansive ease |
| or cautious confrontation, they embody notions of a |
| veiled life of oblique and subtle suggestions and of a |
| tremulous untroubled uncertainty". |
| transcription for: String Quartet |
| recording duration: 1'40'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 12 of 56 |
| status: Idle |
| no. of data sets: 69 |
| no. of events: 280 |
| execution time (ms): 20000 |
| terminal event: #80 #32 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Domenico de CLARIO |
| title: From The Opaque |
| year: 1994-95 |
| biographical details: Australian, sculptor, b. Trieste 1947 |
| transcription for: Computer operated piano |
| recording duration: 2'23'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 13 of 56 |
| status: Idle |
| no. of data sets: 440 |
| no. of events: 968 |
| execution time (ms): 117599 |
| terminal event: #80 #32 #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Anthony CLARK |
| title: Intermezzo |
| year: 1981 |
| biographical details: Australian, painter, b. Canberra, ACT 1954 |
| biographical sketch: Clark was a founding participator in the activities of |
| Anti-Music beginning in 1979. His involvement |
| coincided with a renaissance in his own art practice |
| brought about through an interest in classicism. With |
| Nixon he began to explore operatic forms which Clark |
| described as Anti-Music/opera. Clark initiated operas |
| in Latin although he had never studied the language. |
| This curious practice could be explained as the |
| linguistic equivalent to Anti-Music's stated |
| preference for non-musicianship. By using the |
| intonation of Latin as a shell devoid of meaning, |
| Clark revealed a new musical form that distorted |
| classical models. Similarly he performed existing |
| musical compositions with only the most basic |
| knowledge of notation. |
| transcription for: Computer operated piano |
| recording duration: 4'16'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 14 of 56 |
| status: Idle |
| no. of data sets: 3174 |
| no. of events: 6036 |
| execution time (ms): 249218 |
| terminal event: #90 #56 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Anthony CLARK |
| secondary author: as The Living Rococo |
| title: Untitled |
| year: 1981 |
| biographical details: Australian, painter, b. Canberra, ACT 1954 |
| biographical sketch: Clark was a founding participator in the activities of |
| Anti-Music beginning in 1979. His involvement |
| coincided with a renaissance in his own art practice |
| brought about through an interest in classicism. With |
| Nixon he began to explore operatic forms which Clark |
| described as Anti-Music/opera. Clark initiated operas |
| in Latin although he had never studied the language. |
| This curious practice could be explained as the |
| linguistic equivalent to Anti-Music's stated |
| preference for non-musicianship. By using the |
| intonation of Latin as a shell devoid of meaning, |
| Clark revealed a new musical form that distorted |
| classical models. Similarly he performed existing |
| musical compositions with only the most basic |
| knowledge of notation. |
| transcription for: Computer operated piano; Brass ensemble; Computer |
| operated piano and tesla coil |
| recording duration: 1'49'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 15 of 56 |
| status: Idle |
| no. of data sets: 1501 |
| no. of events: 10212 |
| execution time (ms): 290356 |
| terminal event: #84 #2d #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Willie COLE |
| title: Carousel |
| year: 1996 |
| biographical details: American, sculptor, b. New Jersey 1955 |
| transcription for: Anti-Jazz Ben-tet |
| recording duration: 5'06'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 16 of 56 |
| status: Idle |
| no. of data sets: 3334 |
| no. of events: 3808 |
| execution time (ms): 303895 |
| terminal event: #80 #5f #2f |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Philip CORNER |
| title: Carrot Chew Performance |
| year: 1964 |
| biographical details: American, composer & trombonist, b. New York, NY 1933 |
| biographical sketch: A musician associated with Fluxus who also produced |
| graphic forms, collages and poetry, Philip Corner's |
| scores and graphic notations are open to multiple |
| interpretations and can be realized in modes of |
| activity other than music such as theatre and dance. |
| However, his work is always rooted to a statement of |
| intent that is so encompassing and inclusive that |
| there is no doubt in the performer's mind about what |
| (and why) he is doing when he does something (or |
| nothing). |
| transcription for: Solo violin |
| recording duration: 1'55'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 17 of 56 |
| status: Idle |
| no. of data sets: 154 |
| no. of events: 226 |
| execution time (ms): 27586 |
| terminal event: #80 #32 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Martin CREED |
| title: Work No. 117 |
| year: 1995 |
| biographical details: Scottish, sculptor, b. Wakefield 1966 |
| transcription for: MIDI controller and sampler |
| recording duration: 3'06'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 18 of 56 |
| status: Idle |
| no. of data sets: 368 |
| no. of events: 676 |
| execution time (ms): 21989 |
| terminal event: #80 #3d #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Jean DUBUFFET |
| title: Coq a L'oeil |
| year: 1961 |
| biographical details: French, painter, b. Le Havre 1901; d. 1985 |
| transcription for: Computer operated piano |
| recording duration: 0'40'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 19 of 56 |
| status: Idle |
| no. of data sets: 765 |
| no. of events: 3199 |
| execution time (ms): 34359 |
| terminal event: #80 #59 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Marcel DUCHAMP |
| title: La mariee mise a nu par ses celibataires |
| year: 1913 |
| biographical details: French, painter, b. Blainville-Crevon 1887; d. 1968 |
| transcription for: String Quartet |
| recording duration: 0'19'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 20 of 56 |
| status: Idle |
| no. of data sets: 22 |
| no. of events: 76 |
| execution time (ms): 12500 |
| terminal event: #80 #58 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Marcel DUCHAMP |
| title: Musical Erratum |
| year: 1913 |
| biographical details: French, painter, b. Blainville-Crevon 1887; d. 1968 |
| biographical sketch: Marcel Duchamp's 'Musical Erratum' of 1913, is the |
| first specific example of the exploitation of chance |
| to arrive at what might be described as a musical |
| composition. Described as a musical Readymade it is in |
| effect the application of Lewis Carroll's recipe for |
| chopping up an existing sentence and mixing its parts. |
| Composed with his sisters Yvonne and Magdeleine during |
| a New Year's visit to Rouen, Duchamp recalled this |
| event in 1951 as follows: "Each one of us drew as many |
| notes out of a hat as there were syllables in the |
| dictionary definition of the word imprimer |
| [empreinte], picked by chance." The notes were |
| inserted in the score in the order drawn, it is |
| thought that Duchamp's sisters who were both musicians |
| simply cut up a piano score to obtain the requisite |
| seventy-five notes. Writing on John Cage and his |
| circle, Henry Cowell points out several interesting |
| precedents for this procedure: "Various combinations |
| of chance and choice, preestablished or improvised, |
| are not without respectable musical precedent, in the |
| tala and raga systems of India, and possibly, on a |
| less serious plane, in the music of Mozart. Mozart is |
| said to have composed a set of contra-dances in which |
| dice are to be thrown to determine the order in which |
| the measures are to appear...(He) composed and set |
| down all the measures that might be called for by the |
| dice; a typical collection of opening measures for the |
| first cast, a typical set of second measures for the |
| second cast, and so on." In the esoteric tradition, |
| music is an allegory for the synthesis of polarities, |
| the union of opposites thus we may recognise in |
| Musical Erratum a sacred ceremony - the hierosgamos - |
| that involves two archetypal polarities: the Virgin |
| (represented here by Duchamp's two sisters) and the |
| Bachelor (the composer of the music). |
| transcription for: String Quartet and computer operated piano |
| recording duration: 3'22'' |
| |
| work no.: 21 of 56 |
| status: Idle |
| no. of data sets: 691 |
| no. of events: 3708 |
| execution time (ms): 220250 |
| terminal event: #80 #43 #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Phil EDWARDS |
| title: Hard Rubbish Drive By |
| year: 1998 |
| biographical details: Australian, performance artist, b. unknown |
| biographical sketch: Dr Philip EDWARDS was the former director the Museum |
| of Dirt. Hard Rubbish Drive By was a work for |
| irreverent guitars, slack strung and dirty. |
| transcription for: String Quartet |
| recording duration: 0'58'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 22 of 56 |
| status: Idle |
| no. of data sets: 26 |
| no. of events: 76 |
| execution time (ms): 7500 |
| terminal event: #80 #28 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Matt FINNISH |
| title: A Short Note |
| year: 1981 |
| biographical details: Australian, rock band, f. Melbourne 1977 |
| transcription for: Anti-Jazz Ben-tet |
| recording duration: 3'45'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 23 of 56 |
| status: Idle |
| no. of data sets: 3222 |
| no. of events: 3622 |
| execution time (ms): 238497 |
| terminal event: #80 #32 #5c |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Katharina FRITSCH |
| title: Unken |
| year: 1990 |
| biographical details: German, sculptor, b. Essen 1956 |
| transcription for: Computer operated piano |
| recording duration: 2'31'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 24 of 56 |
| status: Idle |
| no. of data sets: 2539 |
| no. of events: 6536 |
| execution time (ms): 145588 |
| terminal event: #80 #2e #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Marco FUSINATO |
| title: EP in E |
| year: 1997 |
| biographical details: Australian, painter, b. Melbourne, VIC 1964 |
| biographical sketch: Marco FUSINATO began composing from his interests in |
| rock, experimental and noise music. He sites the early |
| works of Glen Branca and the New York no-wave scene as |
| being particularly important to his practice. Fusinato |
| has developed a repertoire that investigates the |
| harmonic relationship between music and colour (pitch |
| and hue). To date his compositions have concentrated |
| on the primacy of the E chord and red, its harmonic |
| equivalent hue. These constant wavelengths - aural and |
| ocular - under amplification and feedback expand or |
| cancel nodal/anti-nodal characteristics thereby |
| creating kinaesthetic interference. |
| transcription for: Computer operated piano; Brass ensemble; Computer |
| operated piano and tesla coil |
| recording duration: 3'05'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 25 of 56 |
| status: Idle |
| no. of data sets: 1432 |
| no. of events: 5722 |
| execution time (ms): 319431 |
| terminal event: #80 #34 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Beck HANSEN |
| secondary author: as Beck |
| title: Devil's Haircut |
| year: 1996 |
| biographical details: American, musician, b. Los Angeles, CA 1970 |
| biographical sketch: From his scavenging and free punning Dada lyrics to |
| his performative stage events, Beck Hansen's work |
| crosses the boundaries of art and rock. His Fluxus |
| grandfather Al Hansen, permeates both his visual and |
| musical styles. According to Beck, Al Hansen was 'the |
| glue' that connected many of the artists associated |
| with radical performance movements in the 1950's and |
| 1960's. As a result, this gregarious figure, who |
| refused to make-work in conventional forms, has become |
| largely invisible amongst his Fluxus contemporaries |
| (George Brecht once described him as a graphic artist |
| and a bum). Beck, picking up on his grandfather's |
| penchant for cut and paste collage in his mix up of |
| samples and styles, continues the Fluxus traditions of |
| irreverence, suspicion of artistic solemnity and |
| scavenging instinct. |
| transcription for: String Quartet |
| recording duration: 0'43'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 26 of 56 |
| status: Idle |
| no. of data sets: 38 |
| no. of events: 112 |
| execution time (ms): 32000 |
| terminal event: #80 #47 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Rolf HARRIS |
| title: Australian traditional |
| year: Unknown |
| biographical details: Australian, painter, b. Bassendean, WA 1930 |
| biographical sketch: Harris established himself in London during the |
| swinging sixties. His multi-disciplinary approach |
| encompassed painting performance and song as |
| children's entertainment for film and television. The |
| Rolf Harris Show, broadcast extensively on British |
| Commonwealth television from 1969, presented a range |
| of performative acts varying from musical repertoire |
| scored for voice and other vernacular instrumentation. |
| Most notable was his 'wobble board', a thin wooden |
| sheet which oscillates kinetically producing rhythmic |
| accompaniment. Harris' faux-naive appropriations and |
| recuperations of Indigenous and folk Australian, |
| nationalist, masculinist and 'pop' themes were worked |
| into an intermedia variety concert format, placing him |
| with Bartok and Shostakovich in the mainstream Modern |
| European tradition of progressive pan-cultural |
| assimilation, with refracted yet ultimately |
| determinant political reference. |
| transcription for: Brass ensemble |
| recording duration: 1'26'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 27 of 56 |
| status: Idle |
| no. of data sets: 76 |
| no. of events: 988 |
| execution time (ms): 106666 |
| terminal event: #80 #27 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Ronnie van HOUT |
| secondary author: + Into The Void |
| title: Bank Roll |
| year: 1998 |
| biographical details: New Zealand, sculptor, b. Christchurch 1962 |
| transcription for: Computer operated piano |
| recording duration: 3'10'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 28 of 56 |
| status: Idle |
| no. of data sets: 2150 |
| no. of events: 23116 |
| execution time (ms): 215399 |
| terminal event: #80 #43 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Joe JONES |
| title: Flux Music Box |
| year: 1965 |
| biographical details: American, instrument maker, b. New York, NY 1934; d. |
| 1993 |
| biographical sketch: In 1962 the Fluxus artist Joe Jones began |
| experimenting with the construction of mechanical |
| musical instruments. More accurately described as |
| kinetic sound sculptures they avoid precise techniques |
| for reproduction in favor of a playful self-composing |
| element. The mechanics of his machines independently |
| determine pitch, dynamics and rhythm. The resultant |
| music is completely free and follows its own musical |
| impulses undisturbed by the human hand. |
| transcription for: String Quartet; Turntables |
| recording duration: 1'40'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 29 of 56 |
| status: Idle |
| no. of data sets: 10 |
| no. of events: 18 |
| execution time (ms): 12500 |
| terminal event: #80 #51 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Ilya KABAKOV |
| secondary author: + Vladimir TARASOV |
| title: Olga Georgievna, Something is Burning |
| year: 1993 |
| biographical details: Ukranian, installationist, b. Dniepropetrovsk 1933 |
| transcription for: String quartet, computer operated piano and radios |
| recording duration: 2'07'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 30 of 56 |
| status: Idle |
| no. of data sets: 935 |
| no. of events: 8046 |
| execution time (ms): 97773 |
| terminal event: #80 #30 #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Mike KELLEY |
| secondary author: + Destroy All Monsters |
| title: Raga |
| year: 1993 |
| biographical details: American, sculptor, b. Wayne, Michigan 1954 |
| biographical sketch: Mike Kelley cultivated his musical interests during |
| the early 1970's while enrolled at the University of |
| Michigan, Ann Arbor. During this time he became aware |
| of Fluxus and the musical experimentation of West |
| Coast composers Harry Parch, New York Minimalist |
| LaMonte Young, the noise music of Karlheinz |
| Stockhausen, the free jazz of Sun Ra and the Chicago |
| Art Ensemble. In Detroit he co-founded the band |
| Destroy All Monsters at a time when rock bands like |
| The Stooges and the MC5 were redefining performance |
| parameters, exploring links with free jazz, radical |
| politics and rock and roll counter-culture as a site |
| for social experimentation. Kelley initially |
| approached these concerns through non-traditional |
| instrumentation, predominantly vacuum cleaners and |
| squeeze toys. The band blended experimental techniques |
| - particularly noise - with pop, a result of Kelley's |
| interest in rock and roll, particularly the outrageous |
| and ironic proto-punk bands formed in the Detroit |
| area. |
| transcription for: Computer operated piano |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 31 of 56 |
| status: Idle |
| no. of data sets: 3565 |
| no. of events: 4831 |
| execution time (ms): 144723 |
| terminal event: #80 #1c #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Martin KERSELS |
| title: Fax Machine |
| year: 1995 |
| biographical details: American, sculptor, b. Los Angeles, California 1960 |
| transcription for: Computer operated piano |
| recording duration: 2'30'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 32 of 56 |
| status: Idle |
| no. of data sets: 2845 |
| no. of events: 9140 |
| execution time (ms): 136912 |
| terminal event: #80 #28 #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Vitaly KOMAR |
| secondary author: & Alexander MELAMID |
| title: Music Writing - Passport |
| year: 1976 |
| biographical details: Russian, dissident painters, b. Moscow 1943 & 1945 |
| transcription for: String Quartet |
| recording duration: 1'27'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 33 of 56 |
| status: Idle |
| no. of data sets: 474 |
| no. of events: 838 |
| execution time (ms): 4100474 |
| terminal event: #80 #40 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Thomas LAWSON |
| title: Untitled |
| year: 1980 |
| biographical details: Scottish, painter, b. Scotland 1950 |
| transcription for: Computer operated piano |
| recording duration: 0'56'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 34 of 56 |
| status: Idle |
| no. of data sets: 1435 |
| no. of events: 1876 |
| execution time (ms): 48583 |
| terminal event: #80 #32 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Daniel MALONE |
| secondary author: & Martin POPPERWELL |
| title: The Strike Church |
| year: 1990 |
| biographical details: New Zealand, sculptor, b. Greymouth 1970; New Zealand, |
| painter, b. unknown |
| transcription for: Computer operated piano |
| recording duration: 2'24'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 35 of 56 |
| status: Idle |
| no. of data sets: 1343 |
| no. of events: 15786 |
| execution time (ms): 134900 |
| terminal event: #80 #26 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Christian MARCLAY |
| title: One Thousand Cycles |
| year: 1981 |
| biographical details: American, turntablist,, b. San Rafael, California 1955 |
| biographical sketch: Christian Marclay emerged from the community of |
| concept-orientated sound artists active in the late |
| 1970's. Having integrated his practice in the |
| tradition of the New York underground scene (fluxus, |
| punk, no wave) Marclay was drawn to the turntable as |
| the central form of instrumentation as defined by the |
| virtuoso DJ musicians of the early 1980's. Marclay's |
| personalised approach to the turntable and its |
| attendant vinyl is very much that of the |
| structuralist/materialist. As turntablism established |
| itself around standardised instruments and traditional |
| forms, the art of the DJ devolved increasingly in |
| mannerist circles. By contrast Marclay's vinyl |
| collages (cut up records reglued together) and his |
| 'disque topographique' (modified with paint and other |
| textured materials) redefine the very notion of what a |
| vinyl sound recording can be. Marclay also works with |
| prepared turntables - these customised instruments |
| allow him to create and improvise his music to a much |
| more personalised degree. One Thousand Cycles (1981), |
| contains rhythms created by the process of cutting |
| vinyl records into pieces and reconfiguring them in |
| different combinations. The stylus tracing over each |
| vinyl shard amplifies not only the sounds of the |
| original recording but the rhythmic pop as it jumps |
| unpredictably between cuts. Groove (1982), was created |
| from loops recorded from multiple copies of the same |
| seven inch single. They were composed directly on to |
| vinyl by sticking small dot stickers onto the record |
| which causes the needle to skip. |
| transcription for: String Quartet |
| recording duration: 2'19'' |
| |
| |
| |
| |
| |
| |
| work no.: 36 of 56 |
| status: Idle |
| no. of data sets: 882 |
| no. of events: 3658 |
| execution time (ms): 115714 |
| terminal event: #80 #37 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Paul McCARTHY |
| title: Santa's Bells |
| year: 1997 |
| biographical details: American, sculptor, b. Salt Lake City, Utah 1945 |
| biographical sketch: Paul McCarthy developed his musical interests |
| initially through the Destruction Arts Symposium in |
| London which included composers such as Gustav |
| Metzger, Wolf Vostell and Ralph Ortiz. In particular |
| his interest lay in the piano smashing performances |
| that reportably inspired The Who's guitar wrecking |
| stage antics. Additionally McCarthy followed the works |
| of the beat generation, the music of John Cage and |
| Karlheinz Stockhausen. |
| transcription for: Violin and computer operated piano; Computer operated |
| piano and tesla coil |
| recording duration: 3'12'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 37 of 56 |
| status: Idle |
| no. of data sets: 2904 |
| no. of events: 18272 |
| execution time (ms): 164598 |
| terminal event: #81 #2d #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Bruce McLEAN |
| secondary author: + H. M. V. DIODES |
| title: Limpo-Wristo Poncho-Rocko |
| year: c.1980 |
| biographical details: Scottish, painter, b. Glasgow 1944 |
| transcription for: Computer operated piano |
| recording duration: 5'24'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 38 of 56 |
| status: Idle |
| no. of data sets: 21938 |
| no. of events: 27392 |
| execution time (ms): 497644 |
| terminal event: #80 #22 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: John NIXON |
| secondary author: as The Clock |
| title: Red and Black |
| year: 1980 |
| biographical details: Australian, painter, b. Sydney, NSW 1949 |
| biographical sketch: John Nixon established his musical path via an |
| awareness of the punk music scene from the mid 1970's. |
| His retrieval of the DIY attitude first associated |
| with punk has become a mantra for his various |
| practices. Shunning the rock world system he developed |
| Anti-Music, an umbrella term for a number of anonymous |
| experimental music/art recording groups. The resultant |
| sounds showed the influence of Pere Ubu's first LP |
| ('The Modern Dance') along with Futurist, Dada and |
| film music. Solver was founded by Nixon in 1997 and is |
| named after a commercial brand of paint he once used |
| when executing monochrome paintings. Using classical |
| rock instrumentation the noise music produced |
| maintains the vitality of punk's energy but is |
| mediated by the sound excursions of bands like Sonic |
| Youth and by what could be called musique concrete, a |
| 'truth to materials' approach which disavows all |
| musical virtuosity. The music develops as free |
| improvisation, each track being only briefly |
| considered prior to recording. |
| transcription for: Brass ensemble and narrator |
| recording duration: 0'38'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 39 of 56 |
| status: Idle |
| no. of data sets: 80 |
| no. of events: 1080 |
| execution time (ms): 39915 |
| terminal event: #80 #30 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: John NIXON |
| secondary author: as Two Greys Becoming |
| title: 2 |
| year: 1981 |
| biographical details: Australian, painter, b. Sydney, NSW 1949 |
| transcription for: Computer operated piano |
| recording duration: 2'40'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 40 of 56 |
| status: Idle |
| no. of data sets: 2657 |
| no. of events: 8512 |
| execution time (ms): 153600 |
| terminal event: #80 #26 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: John NIXON |
| secondary author: as John Barleycorn as The Ballet |
| title: Alexander Alexandrovich Blok Pt 1 |
| year: 1981 |
| biographical details: Australian, painter, b. Sydney, NSW 1949 |
| transcription for: Computer operated piano; Anti-Jazz Ben-tet |
| recording duration: 8'05'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 41 of 56 |
| status: Idle |
| no. of data sets: 2901 |
| no. of events: 3104 |
| execution time (ms): 199218 |
| terminal event: #90 #68 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Yoko ONO |
| title: Walking on thin ice |
| year: 1981 |
| biographical details: Japanese, sculptor, b. Tokyo 1933 |
| transcription for: Anti-Jazz Ben-tet |
| recording duration: 5'51'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 42 of 56 |
| status: Idle |
| no. of data sets: 7741 |
| no. of events: 9164 |
| execution time (ms): 345764 |
| terminal event: #80 #47 #7e |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Dennis OPPENHEIM |
| title: Broken Record Blues |
| year: 1976 |
| biographical details: American, conceptualist, b. Electric City, Washington |
| 1938 |
| transcription for: Violin and computer operated piano |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 43 of 56 |
| status: Idle |
| no. of data sets: 1587 |
| no. of events: 7310 |
| execution time (ms): 86374 |
| terminal event: #80 #25 #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Tony OURSLER |
| title: Trance Emissions |
| year: 1977-83 |
| biographical details: American, sculptor, b. New York, NY 1957 |
| transcription for: Violin and computer operated piano |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 44 of 56 |
| status: Idle |
| no. of data sets: 1141 |
| no. of events: 7380 |
| execution time (ms): 121000 |
| terminal event: #80 #24 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Stephen PRINA |
| title: No one calls me friend |
| year: 1997 |
| biographical details: American, sculptor and educator, b. Galesburg, IL 1954 |
| transcription for: Anti-Jazz Ben-tet |
| recording duration: 4'31'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 45 of 56 |
| status: Idle |
| no. of data sets: 4726 |
| no. of events: 5372 |
| execution time (ms): 234466 |
| terminal event: #80 #50 #5e |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Dieter ROTH |
| secondary author: as Diter ROT |
| title: Der Akkordeon Fluch |
| year: 1981-2 |
| biographical details: Swiss, sculptor, b. Hannover 1930; d. 1998 |
| transcription for: Computer operated piano |
| recording duration: 1'12'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 46 of 56 |
| status: Idle |
| no. of data sets: 3215 |
| no. of events: 6464 |
| execution time (ms): 81670 |
| terminal event: #90 #1f #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Kurt Merz SCHWITTERS |
| title: Ursonate |
| year: 1922-32 |
| biographical details: German, painter, b. Hanover 1887; d. 1948 |
| biographical sketch: Kurt Merz Schwitters was the great lyrical composer of |
| the Dada movement. He made music from incidental |
| social intercourse heard on the street. He saw the |
| city as being the contemporary trace of every living |
| moment. His Ursonate 1922-32 composed for solo voice |
| is grand opera-mechanical Wagner. Jackson Mac Low's |
| tribute Merzgedichte in Memoriam Kurt Schwitters casts |
| Schwitters as a proto- Fluxus figure, indeed his word |
| poems precede the concrete poetry of such Fluxists as |
| Emmett Williams and Dick Higgins. Schwitters attempted |
| to extend Dada experimentation into everyday life, a |
| notion best described by his term 'Merz' foregrounding |
| the work of Kaprow, Cage, Oldenburg and later Fluxus |
| activities. |
| transcription for: String Quartet |
| recording duration: 7'32'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 47 of 56 |
| status: Idle |
| no. of data sets: 1349 |
| no. of events: 2446 |
| execution time (ms): 452000 |
| terminal event: #80 #47 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Pat SCULL |
| title: Hotel Kalifornia |
| year: 1996 |
| biographical details: American, installationist, b. Anaheim, CA 1968 |
| transcription for: Computer operated piano |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 48 of 56 |
| status: Idle |
| no. of data sets: 6738 |
| no. of events: 10650 |
| execution time (ms): 235704 |
| terminal event: #90 #2b #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Alex SELENITSCH |
| title: Toora Lee, Four Pieces for Bellow Organ |
| year: 1973 |
| biographical details: Australian, architect, b. Regensburg, Germany 1946 |
| biographical sketch: Alexander Selenitsch is a composer, poet, writer, |
| dilettante musician and architect who has sustained an |
| enduring collaboration between diverse arts practices. |
| The model for his method is the enduring collaboration |
| between the architect Le Courbusier and the composers |
| Iannis Xanakis and Edgar Vaerse. Toora Lee was named |
| after, and composed at, painter and sculptor Trevor |
| Vickers property near Foster in Gippsland 1973. Toora |
| Lee infuses the cold-Fluxus experiments of George |
| Brecht with the foreboding expansiveness of the |
| Australian landscape, in much the same way as Vickers |
| paintings in The Field exhibition of 1968 are |
| antipodean variants of abstract minimalist serial |
| paintings. |
| transcription for: String Quartet |
| recording duration: 1'09'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 49 of 56 |
| status: Idle |
| no. of data sets: 2 |
| no. of events: 12 |
| execution time (ms): 12500 |
| terminal event: #80 #34 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Ross SINCLAIR |
| secondary author: + The Soup Dragons |
| title: Head Gone Astray |
| year: 1987 |
| biographical details: Scottish, sculptor, b. Glasgow 1966 |
| transcription for: Computer operated piano |
| recording duration: 3'02'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 50 of 56 |
| status: Idle |
| no. of data sets: 6441 |
| no. of events: 8174 |
| execution time (ms): 178370 |
| terminal event: #80 #47 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: SOLVER |
| secondary author: Stephen BRAM & Marco FUSINATO & John NIXON & Rose |
| NOLAN |
| title: 3 |
| year: 1997 |
| biographical details: Australian, project group, f. Melbourne 1997 |
| biographical sketch: SOLVER, founded in 1997 by John Nixon, is a visual |
| artists project group dedicated to the exploration of |
| musical form. Founded by John Barleycorn, SOLVER |
| developed into a collaborative venture with fellow |
| artist Marco Fusinato. In 1979, Barleycorn began to |
| make sound cassettes with like minded artists under |
| the umbrella term Anti-Music. The music recorded is |
| best described as experimental (rock) and reflects |
| Barleycorn's first hand experience of the independent |
| punk music scene. Fusinato's music sketches a |
| formal/conceptual framework for improvised electric |
| guitar performance. Both artists privilege action over |
| technical virtuosity and although SOLVER have only |
| performed live once (their music exists almost |
| exclusively as recordings) their ancestry lies in the |
| Dada, Futurist and Fluxus performances. |
| transcription for: String Quartet |
| recording duration: 1'08'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 51 of 56 |
| status: Idle |
| no. of data sets: 2 |
| no. of events: 32 |
| execution time (ms): 2500 |
| terminal event: #80 #43 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Richard SWALLOW |
| title: Operator |
| year: 1998 |
| biographical details: Australian, sculptor, b. San Remo, CA 1974 |
| transcription for: Computer operated piano |
| recording duration: 1'16'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 52 of 56 |
| status: Idle |
| no. of data sets: 1827 |
| no. of events: 7920 |
| execution time (ms): 69947 |
| terminal event: #80 #31 #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: D. M. THOMAS |
| secondary author: & Hany ARMANIOUS |
| title: November 1996 |
| year: 1997 |
| biographical details: Australian, painter, b. Sydney, NSW 1968; Australian, |
| sculptor, b. Egypt 1962 |
| transcription for: Computer operated piano |
| recording duration: 1'44'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 53 of 56 |
| status: Idle |
| no. of data sets: 3510 |
| no. of events: 4194 |
| execution time (ms): 98362 |
| terminal event: #80 #34 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Jean TINGUELY |
| title: Relief Meta-mechanique Sonore I |
| year: 1955 |
| biographical details: Swiss, sculptor, b. Fribourg 1925; d. 1989 |
| biographical sketch: From his first musical experiments in 1955, Jean |
| Tinguely's machines were constructed as much for their |
| sonic potential as for their kinetic and sculptural |
| properties. Tinguely constructed and composed his |
| sound works out of the new sounds of the mechanical |
| age, an approach that links him with Pierre |
| Schaeffer's Musique Concrete and Luigi Russolo's The |
| Art of Noise. Some of his early percussive |
| compositions were performed with detritus from the |
| street, glasses, bottles, tuna fish and sardine cans. |
| Tinguely was never associated with the Fluxus |
| activities, his eccentric practice isolated him from |
| such collectivist movements. |
| transcription for: Computer operated piano; String Quartet and computer |
| operated piano |
| recording duration: 3'15'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 54 of 56 |
| status: Idle |
| no. of data sets: 1277 |
| no. of events: 8574 |
| execution time (ms): 157500 |
| terminal event: #80 #26 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Peter TYNDALL |
| secondary author: as Slave Guitars |
| title: 6 |
| year: 1981 |
| biographical details: Australian, painter, b. Melbourne, VIC 1951 |
| biographical sketch: Peter Tyndall's interest in music crystallized in |
| 1974, at a time when he began to loose faith in |
| abstract painting as a suitable base for his art |
| practice. Through composers such as John Cage, he |
| became fluent in cryptic Oriental thought, brief but |
| contained wisdom that constructed a world view |
| grounded in simple, everyday life. Having moved to |
| Bonza View Hepburn Springs in Victoria he became |
| involved in the Melbourne music scene of the late |
| 1970's. During this time Tyndall performed his Slave |
| Guitars of the Art Cult, a sound/performance piece |
| that was a direct working out of his conceptual art |
| practice. In partnership with John Barleycorn and Tony |
| Clark he participated in the various activities of |
| Anti Music and contributed his Cagean notions of |
| chance, structure and everyday life in the associated |
| newsletter Pneumatic Drill. |
| transcription for: Computer operated piano; Brass ensemble |
| recording duration: 1'12'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 55 of 56 |
| status: Idle |
| no. of data sets: 11101 |
| no. of events: 21000 |
| execution time (ms): 236841 |
| terminal event: #80 #5e #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Bill VIOLA |
| title: Buried Secrets |
| year: 1995 |
| biographical details: American, video artist, b. Westbury, NY 1951 |
| biographical sketch: Bill Viola had an early interest in experimental music |
| that developed via the soundtracks to his pioneering |
| video installations. On study trips to Indonesia and |
| the Pacific Viola made recordings of traditional |
| music. As ethnographer of universal human experience, |
| notions of ritual - such as the rites of passage - |
| have themselves become the focus of his own work which |
| has diverse roots in Sufism, Christian mysticism and |
| Zen Buddhism. The acoustic potential of sound in space |
| lead him to explore the sonic characteristics of |
| Gothic cathedrals, Greek amphitheatres and ancient |
| architecture. Viola uses the acoustic properties of |
| site such as reverberance to envelop the viewer in a |
| total environment. |
| transcription for: String Quartet |
| recording duration: 1'45'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 56 of 56 |
| status: Idle |
| no. of data sets: 1986 |
| no. of events: 1988 |
| execution time (ms): 104654 |
| terminal event: #90 #40 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
Euegene Carchesio & The Lost Domain Truth and the abstract blues
John Baldessari Throwing a Ball Once to get 3 Melodies and 15 Chords, 1973
Slave Pianos, The Execution Protocol (II), Documentation (Aktuelle)
Slave Pianos, The Execution Protocol (II), Documentation (Aktuelle)
Slave Pianos, The Execution Protocol (II), Documentation (Aktuelle)
Slave Pianos, The Execution Protocol (II), Documentation (Aktuelle)
Slave Pianos, The Execution Protocol (II), Documentation (Aktuelle)
Slave Pianos, The Execution Protocol (II), Documentation (Aktuelle)
Slave Pianos, The Execution Protocol (II), Documentation (Aktuelle)
Slave Pianos, The Execution Protocol (II), Documentation (Aktuelle)
Slave Pianos, The Execution Protocol (II), Documentation (Aktuelle)
Slave Pianos, The Execution Protocol (II), Documentation (Aktuelle)
Slave Pianos, The Execution Protocol (II), Documentation (Aktuelle)
Slave Pianos, The Execution Protocol (II), Documentation (Aktuelle)
Slave Pianos, The Execution Protocol (II), Documentation (Aktuelle)
Slave Pianos, The Execution Protocol (II), Documentation (Relational)
Slave Pianos, The Execution Protocol (II), Documentation (Relational)
Anthony Gardner The Same River Twice, Art & Australia, 2009
The Same River Twice
By Anthony Gardner
‘The Same River Twice’ was a strikingly ambitious project helmed by two curators from Brisbane’s leading public art galleries. The Institute of Modern Art’s Director Robert Leonard, and Angela Goddard, the Queensland Art Gallery’s Curator, Australian Art to 1970, drew together eight international artists and collaborations in a two-part exhibition that spanned five months of Brisbane’s summer and autumn. More significantly still, it focused on one of the core concerns of recent contemporary art practice. This was the notion of the ’re’ as it has affected contemporary culture, from the restagings and re-enactments of historical events in a number of movies and theme parks worldwide (think Merchant Ivory period films or the earnestness of Old Sydney Town), to the so-called ‘historiographic turn’ of artists as they revisit and revise art’s past so as to rethink or even resolve the problems of the present.
These themes have often weighed heavily in other exhibitions, such as the revolutionary drives in Carolyn Christov-Bakargiev’s 2008 Biennale of Sydney or Marina Abramovic’s development of protocols for reproducing performance artworks in her 2005 series ‘Seven Easy Pieces’. For ‘The Same River Twice’, however, Goddard and Leonard brought a more playful and humorous spin to the topic, mixing renowned and less expected works from this relatively new art genre. This was evident from the project’s first instalment, which combined works by key figures from the emerging canon of ’re-enactment art’ — Irish and English artists Gerard Byrne and Jeremy Deller (working with filmmaker Mike Figgis), Thomas Demand from Germany and Pierre Huyghe from France — together with the high jinks of the Melbourne- and Berlin-based collective Slave Pianos (a group comprising Rohan Drape, Neil Kelly, Danius Kesminas and Michael Stevenson). Their installation, The execution protocol, or pianology: A schema & historo-materialist pro-gnostic, 1998—2008, continued their practice of mechanising grand pianos and transforming them into high-end pianolas playing experimental sound pieces from the historical avant-garde. The repetitive plinkety-plonks emanating from the robotic ‘piano, and the instrument’s presentation within an oversized execution chair a la Claes Oldenburg brought a vicious cutesiness to the surrounding works. Recounted in Byrne’s three-monitor video installation Newsexual lifestyles,2003, the tales of liberated sexuality drawn from a roundtable discussion printed in a 1973 issue of Playboy magazine’ including details of some women’s engagements with their dogs that go far beyond a walk in the park ’ became more silly than scandalous or sordid. Similarly, Goddard and Leonard brought a pathos and futility to the mix-ups between memory and fiction in Huyghe’s The third memory, 1999, and between re-enactment and performance in Deller and Figgis’s The Battle of Orgreave, 2001, that have been difficult to experience in other presentations of these works.
This combination of the amusing and the pathetic was extended in part two of the exhibition. British artist Emma Kay’s Shakespeare from memory, 1998, abridged each of the Bard’s plays according to the details remembered by the artist; some summaries remained completely blank, as though the relevant text had not yet been read, while others were relayed in colloquial English, riddled with blatant errors and the ever-so-slightly misremembered. American Omer Fast’s two-channel video projection Godville, 2005, directly tackled the tourist industry of ‘living history’ museums, presenting a series of interviews with ‘interpreters’ from a theme park in Virginia called Colonial Williamsburg. Fast had fractured and re-edited the interviews so that words taken from different discussions some conducted in historical character, others more personalised and emotional ’ were combined like a videoed ransom note, making the interviewees appear locked in a netherworid between lived and re-enacted histories, projection and experience, and hostage to cultural memory. In a side gallery, Mike Kelley and Paul McCarthy’s video FreshAcconci, 1995, showed naked porn stars re-enacting Vito Acconci’s seminal performances from the 1970s, an odd yet fitting conjunction that ultimately teased out the fine line that both porn and performance art tread between the earnest and the ridiculous.
Indeed, it was precisely this path between that ‘The Same River Twice’ identified as the core of contemporary re-enactment cultures. Such remobilisations of the past are never simply nostalgic, just as they are not inherently full of potential. They cannot be boiled down to pathos, to memorials, to a long-dead past or a sense of amusement garnered from the naivety of our forebears. As this two-part exhibition correctly revealed, aesthetics of restaging and re-imagining operate instead between these various positions, perpetually countering the ease of forgetting while ensuring that the rethinking of history can be a continuing font of wry pleasure.
The Same River Twice, Institute of Modern Art, Brisbane; Part 1:6 December 2008 28 February 2009; Part 2:7 March’25 Aprii 2009.
Slave Pianos, The Execution Protocol (II), Archival Material (Business Card)
Slave Pianos, The Execution Protocol (II), Institutional (Catalogue Essay)
Tomorrow Will Be the Same but Not as This Is
By Angela Goddard and Robert Leonard
IMA Catalogue Essay (Extract)
Artists don’t always seek to unveil reality through their reconstructions. The Melbourne-based group Slave Pianos use reenactment to honour and dishonour father-figures. A collaboration between two artists, Danius Kesminas and Michael Stevenson, and two musicologists, Rohan Drape and Neil Kelly, Slave Pianos has gathered an archive of obscure recordings of sound and music works by artists, including canonical international figures like George Maciunas and Louise Bourgeois and local heroes like Peter Tyndall and John Nixon. While much of the material is avant-garde fare, like George Brecht’s Comb Music, some is more traditional, like Domenico de Clario’s ECM-esque ‘Pensive Piano Moods’. Slave Pianos transcribed the recordings into standard Western musical notation, producing printed sheet music like grandma used to play. (This patient endeavour recalls the work of ethnomusicologists documenting ‘other’ musics by transcribing them into Western notation, as if it were a neutral form.) Adding insult to injury, Slave Pianos has these scores mechanically performed by a robotic ‘slave’ on a grand piano (typically, for these musics, a most inappropriate instrument). In the project’s latest iteration, The Execution Protocol, the piano sits in a giant electric chair—recalling the one at Sing-Sing, immortalised by Andy Warhol. An arcing Tesla Coil hums along in selected pieces. 1 Perhaps it is an in-joke about ‘executing’ experimental music. Danius Kesminas argues, with a straight face, that the work has educational value, introducing new audiences to the avant-garde tradition. Some of the artists whose works are covered, especially those who have written cease-and-desist letters, would disagree. Slave Pianos’s cover versions productively miss the point of the originals and insert one of their own. Thus, the group enacts a measure of revenge on the historical avant-garde, although one suspects they may be belated avant-gardists themselves, sadly doomed to repeat the unrepeatable.
Slave Pianos’s The Same River Twice installation reenacts a 2007 Slave Pianos installation The Execution Protocol: A War of Currents: Floating Paintings / Piano Execution—On Andy Warhol’s Electric Chair at the National Gallery of Victoria, Melbourne, in which their electric chair was surrounded by Andy Warhol’s Silver Clouds. ↩