Slave Pianos, The Execution Protocol (II), Programme Text
|---------------------------------------------------------------------------------|
| primary author: Laurie ANDERSON |
| title: It's not the bullet that kills you, it's the hole (for |
| Chris Burden) |
| year: 1977 |
| biographical details: American, performance artist, b.Glen Ellyn, IL 1947 |
| transcription for: Anti-Jazz Ben-tet |
| recording duration: 6'36'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 1 of 56 |
| status: Idle |
| no. of data sets: 4679 |
| no. of events: 5400 |
| execution time (ms): 391011 |
| terminal event: #80 #51 #6f |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Evgeny ASSE |
| secondary author: & V. FISHKIN & D. GUTOFF |
| title: Music-Hall Whistling Performance |
| year: 1995 |
| biographical details: Russian, installationists & painter, b. Moscow 1946 & |
| 1946 & 1960 |
| transcription for: String Quartet; Computer operated piano and tesla coil |
| recording duration: 1'47'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 2 of 56 |
| status: Idle |
| no. of data sets: 191 |
| no. of events: 768 |
| execution time (ms): 27826 |
| terminal event: #81 #27 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: John BALDESSARI |
| title: Throwing a Ball Once to get 3 Melodies and 15 Chords |
| year: 1973 |
| biographical details: American, photographer, b. National City, CA 1931 |
| transcription for: Trumpet and accordion; Computer operated piano and |
| tesla coil |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 3 of 56 |
| status: Idle |
| no. of data sets: 15 |
| no. of events: 84 |
| execution time (ms): 28000 |
| terminal event: #80 #4d #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Joseph BEUYS |
| secondary author: & Nam June PAIK |
| title: In Memoriam George Maciunas |
| year: 1978 |
| biographical details: German, sculptor, b. Krefeld 1921; d. 1986; Korean, |
| sculptor, b. Seoul 1932; d. 2006 |
| biographical sketch: Joseph BEUYS maintained a close association with |
| Fluxus but was never actually a Fluxus artist. He took |
| part in various Fluxus activities before developing |
| his own performances which stressed fixed actions on |
| his own body in contrast to the anti-individuality |
| that Maciunas promoted. Through performance Beuys |
| began to expand sculptural ideas using noise and sound |
| as artistic materials. For Beuys music moved between |
| the extremes of silence and noise. In his piano pieces |
| Beuys would often use techniques and devices to |
| restrain or mute the instrument. Nam June PAIK was a |
| central figure in Fluxus activities in Europe and |
| later America. While experimenting in his own |
| performative practice he completed a masters degree on |
| Stockhausen. Invitations to Flux concerts were issued |
| by Paik and he was the central conduit that connected |
| visual artists and composers. His own compositions, |
| defined as hot Fluxus, contain strong sexual |
| suggestions often directed at the musical instrument |
| and most famously at his collaborator Charlotte |
| Moorman. |
| transcription for: Computer operated piano; String Quartet; Computer |
| operated piano and tesla coil |
| recording duration: 0'41'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 4 of 56 |
| status: Idle |
| no. of data sets: 114 |
| no. of events: 326 |
| execution time (ms): 22219 |
| terminal event: #81 #39 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Christian BOLTANSKI |
| title: Songs that have been sung by Christian Boltanski |
| year: 1944-46 |
| biographical details: French, photographer, b. Paris 1944 |
| transcription for: Harmonica and accordion; Computer operated piano and |
| tesla coil |
| recording duration: 3'14'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 5 of 56 |
| status: Idle |
| no. of data sets: 104 |
| no. of events: 104 |
| execution time (ms): 26515 |
| terminal event: #81 #3b #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Louise BOURGEOIS |
| title: Otte |
| year: 1995 |
| biographical details: American, sculptor, b. Paris 1911 |
| transcription for: Computer operated piano |
| recording duration: 4'38'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 6 of 56 |
| status: Idle |
| no. of data sets: 5840 |
| no. of events: 7370 |
| execution time (ms): 214666 |
| terminal event: #80 #42 #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: George BRECHT |
| title: Comb Music (Comb Event) |
| year: 1959-62 |
| biographical details: American, sculptor & fluxist, b. Halfway, OR 1925 d. |
| 2008 |
| transcription for: Computer operated piano; String Quartet; Tesla coil |
| recording duration: 0'08'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 7 of 56 |
| status: Idle |
| no. of data sets: 80 |
| no. of events: 158 |
| execution time (ms): 5125 |
| terminal event: #81 #3c #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Lillian BUDD |
| secondary author: Merryln Tweedie |
| title: Studies For Existence |
| year: 1998 |
| biographical details: New Zealand, sculptor, b. Christchurch 1953 |
| transcription for: Computer operated piano |
| recording duration: 1'02'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 8 of 56 |
| status: Idle |
| no. of data sets: 801 |
| no. of events: 5840 |
| execution time (ms): 48000 |
| terminal event: #80 #6d #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Chris BURDEN |
| title: Velvet Water |
| year: 1974 |
| biographical details: American, sculptor, b. Boston, MA 1946 |
| transcription for: Computer operated piano; Turntables |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 9 of 56 |
| status: Idle |
| no. of data sets: 359 |
| no. of events: 2764 |
| execution time (ms): 118729 |
| terminal event: #90 #4c #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: David BYRNE |
| title: Artists Only |
| year: 1978 |
| biographical details: American, new wave musician, b. Dumbarton, Scotland |
| 1952 |
| transcription for: Anti-Jazz Ben-tet |
| recording duration: 4'48'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 10 of 56 |
| status: Idle |
| no. of data sets: 2728 |
| no. of events: 3088 |
| execution time (ms): 232879 |
| terminal event: #80 #34 #5e |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Euegene CARCHESIO |
| secondary author: & The Lost Domain |
| title: Truth and the abstract blues |
| year: Unknown |
| biographical details: Australian, collagist and drawer , b. Brisbane, QLD |
| 1960 |
| transcription for: Tesla coil |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 11 of 56 |
| status: Idle |
| no. of data sets: 285 |
| no. of events: 286 |
| execution time (ms): 190510 |
| terminal event: #81 #37 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Gunter CHRISTMANN |
| title: Audio Plastik No. 4 |
| year: 1974-77 |
| biographical details: Australian, painter, b. Berlin 1936 |
| biographical sketch: With a Fluxist sense of impromptu circumstance, in the |
| 1970's Christmann began to go beyond his rigorous, |
| optically accentuated abstract compositions. 'Jews |
| Harp and Traffic' has nothing to do with formal |
| musical composition, but rather comes from a deeply |
| registered psychological sense of the texture of the |
| modern city. Elwyn Lynn has described this feeling as: |
| "...of the 'not-quite' or 'kinship' order: they are |
| not quite about joyousness, melancholy, release, |
| hesitancy or shyness; they are akin to expansive ease |
| or cautious confrontation, they embody notions of a |
| veiled life of oblique and subtle suggestions and of a |
| tremulous untroubled uncertainty". |
| transcription for: String Quartet |
| recording duration: 1'40'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 12 of 56 |
| status: Idle |
| no. of data sets: 69 |
| no. of events: 280 |
| execution time (ms): 20000 |
| terminal event: #80 #32 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Domenico de CLARIO |
| title: From The Opaque |
| year: 1994-95 |
| biographical details: Australian, sculptor, b. Trieste 1947 |
| transcription for: Computer operated piano |
| recording duration: 2'23'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 13 of 56 |
| status: Idle |
| no. of data sets: 440 |
| no. of events: 968 |
| execution time (ms): 117599 |
| terminal event: #80 #32 #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Anthony CLARK |
| title: Intermezzo |
| year: 1981 |
| biographical details: Australian, painter, b. Canberra, ACT 1954 |
| biographical sketch: Clark was a founding participator in the activities of |
| Anti-Music beginning in 1979. His involvement |
| coincided with a renaissance in his own art practice |
| brought about through an interest in classicism. With |
| Nixon he began to explore operatic forms which Clark |
| described as Anti-Music/opera. Clark initiated operas |
| in Latin although he had never studied the language. |
| This curious practice could be explained as the |
| linguistic equivalent to Anti-Music's stated |
| preference for non-musicianship. By using the |
| intonation of Latin as a shell devoid of meaning, |
| Clark revealed a new musical form that distorted |
| classical models. Similarly he performed existing |
| musical compositions with only the most basic |
| knowledge of notation. |
| transcription for: Computer operated piano |
| recording duration: 4'16'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 14 of 56 |
| status: Idle |
| no. of data sets: 3174 |
| no. of events: 6036 |
| execution time (ms): 249218 |
| terminal event: #90 #56 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Anthony CLARK |
| secondary author: as The Living Rococo |
| title: Untitled |
| year: 1981 |
| biographical details: Australian, painter, b. Canberra, ACT 1954 |
| biographical sketch: Clark was a founding participator in the activities of |
| Anti-Music beginning in 1979. His involvement |
| coincided with a renaissance in his own art practice |
| brought about through an interest in classicism. With |
| Nixon he began to explore operatic forms which Clark |
| described as Anti-Music/opera. Clark initiated operas |
| in Latin although he had never studied the language. |
| This curious practice could be explained as the |
| linguistic equivalent to Anti-Music's stated |
| preference for non-musicianship. By using the |
| intonation of Latin as a shell devoid of meaning, |
| Clark revealed a new musical form that distorted |
| classical models. Similarly he performed existing |
| musical compositions with only the most basic |
| knowledge of notation. |
| transcription for: Computer operated piano; Brass ensemble; Computer |
| operated piano and tesla coil |
| recording duration: 1'49'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 15 of 56 |
| status: Idle |
| no. of data sets: 1501 |
| no. of events: 10212 |
| execution time (ms): 290356 |
| terminal event: #84 #2d #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Willie COLE |
| title: Carousel |
| year: 1996 |
| biographical details: American, sculptor, b. New Jersey 1955 |
| transcription for: Anti-Jazz Ben-tet |
| recording duration: 5'06'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 16 of 56 |
| status: Idle |
| no. of data sets: 3334 |
| no. of events: 3808 |
| execution time (ms): 303895 |
| terminal event: #80 #5f #2f |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Philip CORNER |
| title: Carrot Chew Performance |
| year: 1964 |
| biographical details: American, composer & trombonist, b. New York, NY 1933 |
| biographical sketch: A musician associated with Fluxus who also produced |
| graphic forms, collages and poetry, Philip Corner's |
| scores and graphic notations are open to multiple |
| interpretations and can be realized in modes of |
| activity other than music such as theatre and dance. |
| However, his work is always rooted to a statement of |
| intent that is so encompassing and inclusive that |
| there is no doubt in the performer's mind about what |
| (and why) he is doing when he does something (or |
| nothing). |
| transcription for: Solo violin |
| recording duration: 1'55'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 17 of 56 |
| status: Idle |
| no. of data sets: 154 |
| no. of events: 226 |
| execution time (ms): 27586 |
| terminal event: #80 #32 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Martin CREED |
| title: Work No. 117 |
| year: 1995 |
| biographical details: Scottish, sculptor, b. Wakefield 1966 |
| transcription for: MIDI controller and sampler |
| recording duration: 3'06'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 18 of 56 |
| status: Idle |
| no. of data sets: 368 |
| no. of events: 676 |
| execution time (ms): 21989 |
| terminal event: #80 #3d #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Jean DUBUFFET |
| title: Coq a L'oeil |
| year: 1961 |
| biographical details: French, painter, b. Le Havre 1901; d. 1985 |
| transcription for: Computer operated piano |
| recording duration: 0'40'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 19 of 56 |
| status: Idle |
| no. of data sets: 765 |
| no. of events: 3199 |
| execution time (ms): 34359 |
| terminal event: #80 #59 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Marcel DUCHAMP |
| title: La mariee mise a nu par ses celibataires |
| year: 1913 |
| biographical details: French, painter, b. Blainville-Crevon 1887; d. 1968 |
| transcription for: String Quartet |
| recording duration: 0'19'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 20 of 56 |
| status: Idle |
| no. of data sets: 22 |
| no. of events: 76 |
| execution time (ms): 12500 |
| terminal event: #80 #58 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Marcel DUCHAMP |
| title: Musical Erratum |
| year: 1913 |
| biographical details: French, painter, b. Blainville-Crevon 1887; d. 1968 |
| biographical sketch: Marcel Duchamp's 'Musical Erratum' of 1913, is the |
| first specific example of the exploitation of chance |
| to arrive at what might be described as a musical |
| composition. Described as a musical Readymade it is in |
| effect the application of Lewis Carroll's recipe for |
| chopping up an existing sentence and mixing its parts. |
| Composed with his sisters Yvonne and Magdeleine during |
| a New Year's visit to Rouen, Duchamp recalled this |
| event in 1951 as follows: "Each one of us drew as many |
| notes out of a hat as there were syllables in the |
| dictionary definition of the word imprimer |
| [empreinte], picked by chance." The notes were |
| inserted in the score in the order drawn, it is |
| thought that Duchamp's sisters who were both musicians |
| simply cut up a piano score to obtain the requisite |
| seventy-five notes. Writing on John Cage and his |
| circle, Henry Cowell points out several interesting |
| precedents for this procedure: "Various combinations |
| of chance and choice, preestablished or improvised, |
| are not without respectable musical precedent, in the |
| tala and raga systems of India, and possibly, on a |
| less serious plane, in the music of Mozart. Mozart is |
| said to have composed a set of contra-dances in which |
| dice are to be thrown to determine the order in which |
| the measures are to appear...(He) composed and set |
| down all the measures that might be called for by the |
| dice; a typical collection of opening measures for the |
| first cast, a typical set of second measures for the |
| second cast, and so on." In the esoteric tradition, |
| music is an allegory for the synthesis of polarities, |
| the union of opposites thus we may recognise in |
| Musical Erratum a sacred ceremony - the hierosgamos - |
| that involves two archetypal polarities: the Virgin |
| (represented here by Duchamp's two sisters) and the |
| Bachelor (the composer of the music). |
| transcription for: String Quartet and computer operated piano |
| recording duration: 3'22'' |
| |
| work no.: 21 of 56 |
| status: Idle |
| no. of data sets: 691 |
| no. of events: 3708 |
| execution time (ms): 220250 |
| terminal event: #80 #43 #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Phil EDWARDS |
| title: Hard Rubbish Drive By |
| year: 1998 |
| biographical details: Australian, performance artist, b. unknown |
| biographical sketch: Dr Philip EDWARDS was the former director the Museum |
| of Dirt. Hard Rubbish Drive By was a work for |
| irreverent guitars, slack strung and dirty. |
| transcription for: String Quartet |
| recording duration: 0'58'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 22 of 56 |
| status: Idle |
| no. of data sets: 26 |
| no. of events: 76 |
| execution time (ms): 7500 |
| terminal event: #80 #28 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Matt FINNISH |
| title: A Short Note |
| year: 1981 |
| biographical details: Australian, rock band, f. Melbourne 1977 |
| transcription for: Anti-Jazz Ben-tet |
| recording duration: 3'45'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 23 of 56 |
| status: Idle |
| no. of data sets: 3222 |
| no. of events: 3622 |
| execution time (ms): 238497 |
| terminal event: #80 #32 #5c |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Katharina FRITSCH |
| title: Unken |
| year: 1990 |
| biographical details: German, sculptor, b. Essen 1956 |
| transcription for: Computer operated piano |
| recording duration: 2'31'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 24 of 56 |
| status: Idle |
| no. of data sets: 2539 |
| no. of events: 6536 |
| execution time (ms): 145588 |
| terminal event: #80 #2e #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Marco FUSINATO |
| title: EP in E |
| year: 1997 |
| biographical details: Australian, painter, b. Melbourne, VIC 1964 |
| biographical sketch: Marco FUSINATO began composing from his interests in |
| rock, experimental and noise music. He sites the early |
| works of Glen Branca and the New York no-wave scene as |
| being particularly important to his practice. Fusinato |
| has developed a repertoire that investigates the |
| harmonic relationship between music and colour (pitch |
| and hue). To date his compositions have concentrated |
| on the primacy of the E chord and red, its harmonic |
| equivalent hue. These constant wavelengths - aural and |
| ocular - under amplification and feedback expand or |
| cancel nodal/anti-nodal characteristics thereby |
| creating kinaesthetic interference. |
| transcription for: Computer operated piano; Brass ensemble; Computer |
| operated piano and tesla coil |
| recording duration: 3'05'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 25 of 56 |
| status: Idle |
| no. of data sets: 1432 |
| no. of events: 5722 |
| execution time (ms): 319431 |
| terminal event: #80 #34 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Beck HANSEN |
| secondary author: as Beck |
| title: Devil's Haircut |
| year: 1996 |
| biographical details: American, musician, b. Los Angeles, CA 1970 |
| biographical sketch: From his scavenging and free punning Dada lyrics to |
| his performative stage events, Beck Hansen's work |
| crosses the boundaries of art and rock. His Fluxus |
| grandfather Al Hansen, permeates both his visual and |
| musical styles. According to Beck, Al Hansen was 'the |
| glue' that connected many of the artists associated |
| with radical performance movements in the 1950's and |
| 1960's. As a result, this gregarious figure, who |
| refused to make-work in conventional forms, has become |
| largely invisible amongst his Fluxus contemporaries |
| (George Brecht once described him as a graphic artist |
| and a bum). Beck, picking up on his grandfather's |
| penchant for cut and paste collage in his mix up of |
| samples and styles, continues the Fluxus traditions of |
| irreverence, suspicion of artistic solemnity and |
| scavenging instinct. |
| transcription for: String Quartet |
| recording duration: 0'43'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 26 of 56 |
| status: Idle |
| no. of data sets: 38 |
| no. of events: 112 |
| execution time (ms): 32000 |
| terminal event: #80 #47 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Rolf HARRIS |
| title: Australian traditional |
| year: Unknown |
| biographical details: Australian, painter, b. Bassendean, WA 1930 |
| biographical sketch: Harris established himself in London during the |
| swinging sixties. His multi-disciplinary approach |
| encompassed painting performance and song as |
| children's entertainment for film and television. The |
| Rolf Harris Show, broadcast extensively on British |
| Commonwealth television from 1969, presented a range |
| of performative acts varying from musical repertoire |
| scored for voice and other vernacular instrumentation. |
| Most notable was his 'wobble board', a thin wooden |
| sheet which oscillates kinetically producing rhythmic |
| accompaniment. Harris' faux-naive appropriations and |
| recuperations of Indigenous and folk Australian, |
| nationalist, masculinist and 'pop' themes were worked |
| into an intermedia variety concert format, placing him |
| with Bartok and Shostakovich in the mainstream Modern |
| European tradition of progressive pan-cultural |
| assimilation, with refracted yet ultimately |
| determinant political reference. |
| transcription for: Brass ensemble |
| recording duration: 1'26'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 27 of 56 |
| status: Idle |
| no. of data sets: 76 |
| no. of events: 988 |
| execution time (ms): 106666 |
| terminal event: #80 #27 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Ronnie van HOUT |
| secondary author: + Into The Void |
| title: Bank Roll |
| year: 1998 |
| biographical details: New Zealand, sculptor, b. Christchurch 1962 |
| transcription for: Computer operated piano |
| recording duration: 3'10'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 28 of 56 |
| status: Idle |
| no. of data sets: 2150 |
| no. of events: 23116 |
| execution time (ms): 215399 |
| terminal event: #80 #43 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Joe JONES |
| title: Flux Music Box |
| year: 1965 |
| biographical details: American, instrument maker, b. New York, NY 1934; d. |
| 1993 |
| biographical sketch: In 1962 the Fluxus artist Joe Jones began |
| experimenting with the construction of mechanical |
| musical instruments. More accurately described as |
| kinetic sound sculptures they avoid precise techniques |
| for reproduction in favor of a playful self-composing |
| element. The mechanics of his machines independently |
| determine pitch, dynamics and rhythm. The resultant |
| music is completely free and follows its own musical |
| impulses undisturbed by the human hand. |
| transcription for: String Quartet; Turntables |
| recording duration: 1'40'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 29 of 56 |
| status: Idle |
| no. of data sets: 10 |
| no. of events: 18 |
| execution time (ms): 12500 |
| terminal event: #80 #51 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Ilya KABAKOV |
| secondary author: + Vladimir TARASOV |
| title: Olga Georgievna, Something is Burning |
| year: 1993 |
| biographical details: Ukranian, installationist, b. Dniepropetrovsk 1933 |
| transcription for: String quartet, computer operated piano and radios |
| recording duration: 2'07'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 30 of 56 |
| status: Idle |
| no. of data sets: 935 |
| no. of events: 8046 |
| execution time (ms): 97773 |
| terminal event: #80 #30 #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Mike KELLEY |
| secondary author: + Destroy All Monsters |
| title: Raga |
| year: 1993 |
| biographical details: American, sculptor, b. Wayne, Michigan 1954 |
| biographical sketch: Mike Kelley cultivated his musical interests during |
| the early 1970's while enrolled at the University of |
| Michigan, Ann Arbor. During this time he became aware |
| of Fluxus and the musical experimentation of West |
| Coast composers Harry Parch, New York Minimalist |
| LaMonte Young, the noise music of Karlheinz |
| Stockhausen, the free jazz of Sun Ra and the Chicago |
| Art Ensemble. In Detroit he co-founded the band |
| Destroy All Monsters at a time when rock bands like |
| The Stooges and the MC5 were redefining performance |
| parameters, exploring links with free jazz, radical |
| politics and rock and roll counter-culture as a site |
| for social experimentation. Kelley initially |
| approached these concerns through non-traditional |
| instrumentation, predominantly vacuum cleaners and |
| squeeze toys. The band blended experimental techniques |
| - particularly noise - with pop, a result of Kelley's |
| interest in rock and roll, particularly the outrageous |
| and ironic proto-punk bands formed in the Detroit |
| area. |
| transcription for: Computer operated piano |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 31 of 56 |
| status: Idle |
| no. of data sets: 3565 |
| no. of events: 4831 |
| execution time (ms): 144723 |
| terminal event: #80 #1c #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Martin KERSELS |
| title: Fax Machine |
| year: 1995 |
| biographical details: American, sculptor, b. Los Angeles, California 1960 |
| transcription for: Computer operated piano |
| recording duration: 2'30'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 32 of 56 |
| status: Idle |
| no. of data sets: 2845 |
| no. of events: 9140 |
| execution time (ms): 136912 |
| terminal event: #80 #28 #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Vitaly KOMAR |
| secondary author: & Alexander MELAMID |
| title: Music Writing - Passport |
| year: 1976 |
| biographical details: Russian, dissident painters, b. Moscow 1943 & 1945 |
| transcription for: String Quartet |
| recording duration: 1'27'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 33 of 56 |
| status: Idle |
| no. of data sets: 474 |
| no. of events: 838 |
| execution time (ms): 4100474 |
| terminal event: #80 #40 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Thomas LAWSON |
| title: Untitled |
| year: 1980 |
| biographical details: Scottish, painter, b. Scotland 1950 |
| transcription for: Computer operated piano |
| recording duration: 0'56'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 34 of 56 |
| status: Idle |
| no. of data sets: 1435 |
| no. of events: 1876 |
| execution time (ms): 48583 |
| terminal event: #80 #32 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Daniel MALONE |
| secondary author: & Martin POPPERWELL |
| title: The Strike Church |
| year: 1990 |
| biographical details: New Zealand, sculptor, b. Greymouth 1970; New Zealand, |
| painter, b. unknown |
| transcription for: Computer operated piano |
| recording duration: 2'24'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 35 of 56 |
| status: Idle |
| no. of data sets: 1343 |
| no. of events: 15786 |
| execution time (ms): 134900 |
| terminal event: #80 #26 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Christian MARCLAY |
| title: One Thousand Cycles |
| year: 1981 |
| biographical details: American, turntablist,, b. San Rafael, California 1955 |
| biographical sketch: Christian Marclay emerged from the community of |
| concept-orientated sound artists active in the late |
| 1970's. Having integrated his practice in the |
| tradition of the New York underground scene (fluxus, |
| punk, no wave) Marclay was drawn to the turntable as |
| the central form of instrumentation as defined by the |
| virtuoso DJ musicians of the early 1980's. Marclay's |
| personalised approach to the turntable and its |
| attendant vinyl is very much that of the |
| structuralist/materialist. As turntablism established |
| itself around standardised instruments and traditional |
| forms, the art of the DJ devolved increasingly in |
| mannerist circles. By contrast Marclay's vinyl |
| collages (cut up records reglued together) and his |
| 'disque topographique' (modified with paint and other |
| textured materials) redefine the very notion of what a |
| vinyl sound recording can be. Marclay also works with |
| prepared turntables - these customised instruments |
| allow him to create and improvise his music to a much |
| more personalised degree. One Thousand Cycles (1981), |
| contains rhythms created by the process of cutting |
| vinyl records into pieces and reconfiguring them in |
| different combinations. The stylus tracing over each |
| vinyl shard amplifies not only the sounds of the |
| original recording but the rhythmic pop as it jumps |
| unpredictably between cuts. Groove (1982), was created |
| from loops recorded from multiple copies of the same |
| seven inch single. They were composed directly on to |
| vinyl by sticking small dot stickers onto the record |
| which causes the needle to skip. |
| transcription for: String Quartet |
| recording duration: 2'19'' |
| |
| |
| |
| |
| |
| |
| work no.: 36 of 56 |
| status: Idle |
| no. of data sets: 882 |
| no. of events: 3658 |
| execution time (ms): 115714 |
| terminal event: #80 #37 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Paul McCARTHY |
| title: Santa's Bells |
| year: 1997 |
| biographical details: American, sculptor, b. Salt Lake City, Utah 1945 |
| biographical sketch: Paul McCarthy developed his musical interests |
| initially through the Destruction Arts Symposium in |
| London which included composers such as Gustav |
| Metzger, Wolf Vostell and Ralph Ortiz. In particular |
| his interest lay in the piano smashing performances |
| that reportably inspired The Who's guitar wrecking |
| stage antics. Additionally McCarthy followed the works |
| of the beat generation, the music of John Cage and |
| Karlheinz Stockhausen. |
| transcription for: Violin and computer operated piano; Computer operated |
| piano and tesla coil |
| recording duration: 3'12'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 37 of 56 |
| status: Idle |
| no. of data sets: 2904 |
| no. of events: 18272 |
| execution time (ms): 164598 |
| terminal event: #81 #2d #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Bruce McLEAN |
| secondary author: + H. M. V. DIODES |
| title: Limpo-Wristo Poncho-Rocko |
| year: c.1980 |
| biographical details: Scottish, painter, b. Glasgow 1944 |
| transcription for: Computer operated piano |
| recording duration: 5'24'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 38 of 56 |
| status: Idle |
| no. of data sets: 21938 |
| no. of events: 27392 |
| execution time (ms): 497644 |
| terminal event: #80 #22 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: John NIXON |
| secondary author: as The Clock |
| title: Red and Black |
| year: 1980 |
| biographical details: Australian, painter, b. Sydney, NSW 1949 |
| biographical sketch: John Nixon established his musical path via an |
| awareness of the punk music scene from the mid 1970's. |
| His retrieval of the DIY attitude first associated |
| with punk has become a mantra for his various |
| practices. Shunning the rock world system he developed |
| Anti-Music, an umbrella term for a number of anonymous |
| experimental music/art recording groups. The resultant |
| sounds showed the influence of Pere Ubu's first LP |
| ('The Modern Dance') along with Futurist, Dada and |
| film music. Solver was founded by Nixon in 1997 and is |
| named after a commercial brand of paint he once used |
| when executing monochrome paintings. Using classical |
| rock instrumentation the noise music produced |
| maintains the vitality of punk's energy but is |
| mediated by the sound excursions of bands like Sonic |
| Youth and by what could be called musique concrete, a |
| 'truth to materials' approach which disavows all |
| musical virtuosity. The music develops as free |
| improvisation, each track being only briefly |
| considered prior to recording. |
| transcription for: Brass ensemble and narrator |
| recording duration: 0'38'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 39 of 56 |
| status: Idle |
| no. of data sets: 80 |
| no. of events: 1080 |
| execution time (ms): 39915 |
| terminal event: #80 #30 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: John NIXON |
| secondary author: as Two Greys Becoming |
| title: 2 |
| year: 1981 |
| biographical details: Australian, painter, b. Sydney, NSW 1949 |
| transcription for: Computer operated piano |
| recording duration: 2'40'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 40 of 56 |
| status: Idle |
| no. of data sets: 2657 |
| no. of events: 8512 |
| execution time (ms): 153600 |
| terminal event: #80 #26 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: John NIXON |
| secondary author: as John Barleycorn as The Ballet |
| title: Alexander Alexandrovich Blok Pt 1 |
| year: 1981 |
| biographical details: Australian, painter, b. Sydney, NSW 1949 |
| transcription for: Computer operated piano; Anti-Jazz Ben-tet |
| recording duration: 8'05'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 41 of 56 |
| status: Idle |
| no. of data sets: 2901 |
| no. of events: 3104 |
| execution time (ms): 199218 |
| terminal event: #90 #68 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Yoko ONO |
| title: Walking on thin ice |
| year: 1981 |
| biographical details: Japanese, sculptor, b. Tokyo 1933 |
| transcription for: Anti-Jazz Ben-tet |
| recording duration: 5'51'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 42 of 56 |
| status: Idle |
| no. of data sets: 7741 |
| no. of events: 9164 |
| execution time (ms): 345764 |
| terminal event: #80 #47 #7e |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Dennis OPPENHEIM |
| title: Broken Record Blues |
| year: 1976 |
| biographical details: American, conceptualist, b. Electric City, Washington |
| 1938 |
| transcription for: Violin and computer operated piano |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 43 of 56 |
| status: Idle |
| no. of data sets: 1587 |
| no. of events: 7310 |
| execution time (ms): 86374 |
| terminal event: #80 #25 #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Tony OURSLER |
| title: Trance Emissions |
| year: 1977-83 |
| biographical details: American, sculptor, b. New York, NY 1957 |
| transcription for: Violin and computer operated piano |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 44 of 56 |
| status: Idle |
| no. of data sets: 1141 |
| no. of events: 7380 |
| execution time (ms): 121000 |
| terminal event: #80 #24 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Stephen PRINA |
| title: No one calls me friend |
| year: 1997 |
| biographical details: American, sculptor and educator, b. Galesburg, IL 1954 |
| transcription for: Anti-Jazz Ben-tet |
| recording duration: 4'31'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 45 of 56 |
| status: Idle |
| no. of data sets: 4726 |
| no. of events: 5372 |
| execution time (ms): 234466 |
| terminal event: #80 #50 #5e |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Dieter ROTH |
| secondary author: as Diter ROT |
| title: Der Akkordeon Fluch |
| year: 1981-2 |
| biographical details: Swiss, sculptor, b. Hannover 1930; d. 1998 |
| transcription for: Computer operated piano |
| recording duration: 1'12'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 46 of 56 |
| status: Idle |
| no. of data sets: 3215 |
| no. of events: 6464 |
| execution time (ms): 81670 |
| terminal event: #90 #1f #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Kurt Merz SCHWITTERS |
| title: Ursonate |
| year: 1922-32 |
| biographical details: German, painter, b. Hanover 1887; d. 1948 |
| biographical sketch: Kurt Merz Schwitters was the great lyrical composer of |
| the Dada movement. He made music from incidental |
| social intercourse heard on the street. He saw the |
| city as being the contemporary trace of every living |
| moment. His Ursonate 1922-32 composed for solo voice |
| is grand opera-mechanical Wagner. Jackson Mac Low's |
| tribute Merzgedichte in Memoriam Kurt Schwitters casts |
| Schwitters as a proto- Fluxus figure, indeed his word |
| poems precede the concrete poetry of such Fluxists as |
| Emmett Williams and Dick Higgins. Schwitters attempted |
| to extend Dada experimentation into everyday life, a |
| notion best described by his term 'Merz' foregrounding |
| the work of Kaprow, Cage, Oldenburg and later Fluxus |
| activities. |
| transcription for: String Quartet |
| recording duration: 7'32'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 47 of 56 |
| status: Idle |
| no. of data sets: 1349 |
| no. of events: 2446 |
| execution time (ms): 452000 |
| terminal event: #80 #47 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Pat SCULL |
| title: Hotel Kalifornia |
| year: 1996 |
| biographical details: American, installationist, b. Anaheim, CA 1968 |
| transcription for: Computer operated piano |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 48 of 56 |
| status: Idle |
| no. of data sets: 6738 |
| no. of events: 10650 |
| execution time (ms): 235704 |
| terminal event: #90 #2b #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Alex SELENITSCH |
| title: Toora Lee, Four Pieces for Bellow Organ |
| year: 1973 |
| biographical details: Australian, architect, b. Regensburg, Germany 1946 |
| biographical sketch: Alexander Selenitsch is a composer, poet, writer, |
| dilettante musician and architect who has sustained an |
| enduring collaboration between diverse arts practices. |
| The model for his method is the enduring collaboration |
| between the architect Le Courbusier and the composers |
| Iannis Xanakis and Edgar Vaerse. Toora Lee was named |
| after, and composed at, painter and sculptor Trevor |
| Vickers property near Foster in Gippsland 1973. Toora |
| Lee infuses the cold-Fluxus experiments of George |
| Brecht with the foreboding expansiveness of the |
| Australian landscape, in much the same way as Vickers |
| paintings in The Field exhibition of 1968 are |
| antipodean variants of abstract minimalist serial |
| paintings. |
| transcription for: String Quartet |
| recording duration: 1'09'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 49 of 56 |
| status: Idle |
| no. of data sets: 2 |
| no. of events: 12 |
| execution time (ms): 12500 |
| terminal event: #80 #34 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Ross SINCLAIR |
| secondary author: + The Soup Dragons |
| title: Head Gone Astray |
| year: 1987 |
| biographical details: Scottish, sculptor, b. Glasgow 1966 |
| transcription for: Computer operated piano |
| recording duration: 3'02'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 50 of 56 |
| status: Idle |
| no. of data sets: 6441 |
| no. of events: 8174 |
| execution time (ms): 178370 |
| terminal event: #80 #47 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: SOLVER |
| secondary author: Stephen BRAM & Marco FUSINATO & John NIXON & Rose |
| NOLAN |
| title: 3 |
| year: 1997 |
| biographical details: Australian, project group, f. Melbourne 1997 |
| biographical sketch: SOLVER, founded in 1997 by John Nixon, is a visual |
| artists project group dedicated to the exploration of |
| musical form. Founded by John Barleycorn, SOLVER |
| developed into a collaborative venture with fellow |
| artist Marco Fusinato. In 1979, Barleycorn began to |
| make sound cassettes with like minded artists under |
| the umbrella term Anti-Music. The music recorded is |
| best described as experimental (rock) and reflects |
| Barleycorn's first hand experience of the independent |
| punk music scene. Fusinato's music sketches a |
| formal/conceptual framework for improvised electric |
| guitar performance. Both artists privilege action over |
| technical virtuosity and although SOLVER have only |
| performed live once (their music exists almost |
| exclusively as recordings) their ancestry lies in the |
| Dada, Futurist and Fluxus performances. |
| transcription for: String Quartet |
| recording duration: 1'08'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 51 of 56 |
| status: Idle |
| no. of data sets: 2 |
| no. of events: 32 |
| execution time (ms): 2500 |
| terminal event: #80 #43 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Richard SWALLOW |
| title: Operator |
| year: 1998 |
| biographical details: Australian, sculptor, b. San Remo, CA 1974 |
| transcription for: Computer operated piano |
| recording duration: 1'16'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 52 of 56 |
| status: Idle |
| no. of data sets: 1827 |
| no. of events: 7920 |
| execution time (ms): 69947 |
| terminal event: #80 #31 #40 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: D. M. THOMAS |
| secondary author: & Hany ARMANIOUS |
| title: November 1996 |
| year: 1997 |
| biographical details: Australian, painter, b. Sydney, NSW 1968; Australian, |
| sculptor, b. Egypt 1962 |
| transcription for: Computer operated piano |
| recording duration: 1'44'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 53 of 56 |
| status: Idle |
| no. of data sets: 3510 |
| no. of events: 4194 |
| execution time (ms): 98362 |
| terminal event: #80 #34 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Jean TINGUELY |
| title: Relief Meta-mechanique Sonore I |
| year: 1955 |
| biographical details: Swiss, sculptor, b. Fribourg 1925; d. 1989 |
| biographical sketch: From his first musical experiments in 1955, Jean |
| Tinguely's machines were constructed as much for their |
| sonic potential as for their kinetic and sculptural |
| properties. Tinguely constructed and composed his |
| sound works out of the new sounds of the mechanical |
| age, an approach that links him with Pierre |
| Schaeffer's Musique Concrete and Luigi Russolo's The |
| Art of Noise. Some of his early percussive |
| compositions were performed with detritus from the |
| street, glasses, bottles, tuna fish and sardine cans. |
| Tinguely was never associated with the Fluxus |
| activities, his eccentric practice isolated him from |
| such collectivist movements. |
| transcription for: Computer operated piano; String Quartet and computer |
| operated piano |
| recording duration: 3'15'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 54 of 56 |
| status: Idle |
| no. of data sets: 1277 |
| no. of events: 8574 |
| execution time (ms): 157500 |
| terminal event: #80 #26 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Peter TYNDALL |
| secondary author: as Slave Guitars |
| title: 6 |
| year: 1981 |
| biographical details: Australian, painter, b. Melbourne, VIC 1951 |
| biographical sketch: Peter Tyndall's interest in music crystallized in |
| 1974, at a time when he began to loose faith in |
| abstract painting as a suitable base for his art |
| practice. Through composers such as John Cage, he |
| became fluent in cryptic Oriental thought, brief but |
| contained wisdom that constructed a world view |
| grounded in simple, everyday life. Having moved to |
| Bonza View Hepburn Springs in Victoria he became |
| involved in the Melbourne music scene of the late |
| 1970's. During this time Tyndall performed his Slave |
| Guitars of the Art Cult, a sound/performance piece |
| that was a direct working out of his conceptual art |
| practice. In partnership with John Barleycorn and Tony |
| Clark he participated in the various activities of |
| Anti Music and contributed his Cagean notions of |
| chance, structure and everyday life in the associated |
| newsletter Pneumatic Drill. |
| transcription for: Computer operated piano; Brass ensemble |
| recording duration: 1'12'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 55 of 56 |
| status: Idle |
| no. of data sets: 11101 |
| no. of events: 21000 |
| execution time (ms): 236841 |
| terminal event: #80 #5e #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|
| primary author: Bill VIOLA |
| title: Buried Secrets |
| year: 1995 |
| biographical details: American, video artist, b. Westbury, NY 1951 |
| biographical sketch: Bill Viola had an early interest in experimental music |
| that developed via the soundtracks to his pioneering |
| video installations. On study trips to Indonesia and |
| the Pacific Viola made recordings of traditional |
| music. As ethnographer of universal human experience, |
| notions of ritual - such as the rites of passage - |
| have themselves become the focus of his own work which |
| has diverse roots in Sufism, Christian mysticism and |
| Zen Buddhism. The acoustic potential of sound in space |
| lead him to explore the sonic characteristics of |
| Gothic cathedrals, Greek amphitheatres and ancient |
| architecture. Viola uses the acoustic properties of |
| site such as reverberance to envelop the viewer in a |
| total environment. |
| transcription for: String Quartet |
| recording duration: 1'45'' |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| work no.: 56 of 56 |
| status: Idle |
| no. of data sets: 1986 |
| no. of events: 1988 |
| execution time (ms): 104654 |
| terminal event: #90 #40 #00 |
| wire data: #00 #00 #00 |
| |
| [b]ack; [f]orward; [p]lay; [s]top; [h]ome; [e]nd; page[u]p; page[d]own |
|---------------------------------------------------------------------------------|