Slave Pianos, The Execution Protocol (II), Programme Text

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| 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''                                                    |
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| 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                                                          |
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| 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''                                                    |
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| 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                                                          |
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| 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                                                |
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| 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                                                          |
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| 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''                                                    |
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| 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                                                          |
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| 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''                                                    |
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| 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                                                          |
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| primary author:       Louise BOURGEOIS                                          |
| title:                Otte                                                      |
| year:                 1995                                                      |
| biographical details: American, sculptor, b. Paris 1911                         |
| transcription for:    Computer operated piano                                   |
| recording duration:   4'38''                                                    |
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| 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                                                          |
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| 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''                                                    |
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| 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                                                          |
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| 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''                                                    |
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| 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                                                          |
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| primary author:       Chris BURDEN                                              |
| title:                Velvet Water                                              |
| year:                 1974                                                      |
| biographical details: American, sculptor, b. Boston, MA 1946                    |
| transcription for:    Computer operated piano; Turntables                       |
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| 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                                                          |
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| 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''                                                    |
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| 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                                                          |
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| 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                                                |
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| 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                                                          |
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| 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''                                                    |
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| 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                                                          |
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| 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''                                                    |
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| 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                                                          |
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| 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''                                                    |
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| 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                                                          |
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| 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''                                                    |
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| 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''                                                    |
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| 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                                                          |
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| [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''                                                    |
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| 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                                                          |
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| [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''                                                    |
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| 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                                                          |
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| [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''                                                    |
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| 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                                                          |
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| [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''                                                    |
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| 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                                                          |
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| [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                                                          |
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| [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''                                                    |
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| 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                                                          |
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| [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''                                                    |
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| 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                                                          |
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| [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''                                                    |
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| 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                                                          |
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| [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''                                                    |
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| 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                                                          |
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| [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''                                                    |
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| 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                                                          |
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| [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''                                                    |
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| 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                                                          |
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| [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''                                                    |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| 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''                                                    |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| 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''                                                    |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| 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                                   |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| 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''                                                    |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| 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''                                                    |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| primary author:       Thomas LAWSON                                             |
| title:                Untitled                                                  |
| year:                 1980                                                      |
| biographical details: Scottish, painter, b. Scotland 1950                       |
| transcription for:    Computer operated piano                                   |
| recording duration:   0'56''                                                    |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| 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''                                                    |
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| 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                                                          |
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| [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''                                                    |
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| 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                                                          |
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| [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''                                                    |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| 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''                                                    |
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| 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                                                          |
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| [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''                                                    |
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| 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                                                          |
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| [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''                                                    |
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| 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                                                          |
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| [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''                                                    |
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| 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                                                          |
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| [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''                                                    |
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| 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                                                          |
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| 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                        |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| 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                        |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| 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''                                                    |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| 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''                                                    |
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| 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                                                          |
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| 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''                                                    |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| primary author:       Pat SCULL                                                 |
| title:                Hotel Kalifornia                                          |
| year:                 1996                                                      |
| biographical details: American, installationist, b. Anaheim, CA 1968            |
| transcription for:    Computer operated piano                                   |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| 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''                                                    |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| 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''                                                    |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| 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''                                                    |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| 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''                                                    |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| 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''                                                    |
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| 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                                                          |
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| [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''                                                    |
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| 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                                                          |
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|---------------------------------------------------------------------------------|
| 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''                                                    |
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| 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                                                          |
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| 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''                                                    |
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| 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                                                          |
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