tim burton

famous famous, everyone saw it already, but pay attention at the details... wonderful..





his website!







at the wired blog

Han Bennink

Cheese Kit Diptych part 1


part 2
part 3

Cheese Kit Diptych is an installation by artist Walter Willems consisting of two drum kits. In one, full rounds of real (mainly Dutch) cheese sit atop drum stands; in the other, plastic cheese replicas usually found in store display windows are employed. In this absurd setting Willems reinforces the international stereotype of the Dutch by using a classic Dutch export product as its main ingredient.

Cheese Kit Diptych was created specifically to be played by world-renowned Dutch improvisational jazz drummer Han Bennink. Bennink, ambassador of the Dutch free jazz scene, is known for his ability to drum on any surface, teeming with humor, virtuosity, and creativity through his animated style. Willems considered his installation incomplete until Bennink played both of the drum kits.

(...) "sometimes I try to concentrate on the story I would like to write, and I realise that what interests me is something else entirely or, rather, not anything precise but everything that goes not fit in with what I ought to write - the relationship between a given argument and all its possible variants and alternatives, everything that can happen in time and space. This is a devoting and destructive obsession, which is enough to render writing impossible. In order to combat it, I try to limit the field of what I have to say, divide it into still more limited fields, then subdivide these again and so on and on. then another kind of vertigo seizes me, that of the detail of the detail of the detail, and I am drawn into the infinitesimal, the infinitely small, just as I was previously lost in the infinitely vast."

Italo Calvino - Exactitude on the book Six Memos for the Next Millenium

max eastley

find out more about this project here

Max Eastley
links to albums and clip:
www.myspace.com/maxeastley

David Toop and Max Eastley – Buried Dreams
bbc review

Watch 'Max Eastley - Clocks Of The Midnight Hours video clip'

David Toop and Max Eastley – New And Rediscovered Musical Instruments

david tudor

Tudor's Rainforest IV


I found this website www.emf.org/tudor with lots of informations about Tudor and links to different websites that this group is researching.

"In 1973 I made “Rainforest IV” where the objects that the sounds are sent through are very large so that they have their own presence in space. I mean, they actually sound locally in the space where they are hanging as well as being supplemented by a loudspeaker system. The idea is that if you send sound through materials, the resonant nodes of the materials are released and those can be picked up by contact microphones or phono cartridges and those have a different kind of sound than the object does when you listen to it very close where it’s hanging. It becomes like a reflection and it makes, I thought, quite a harmonious and beautiful atmosphere, because wherever you move in the room, you have reminiscences of something you have heard at some other point in the space. It’s (can be) a large group piece actually, any number of people can participate in it. It’s important that each person makes their own sculpture, decides how to program it, and performs it themselves. Very little instruction is necessary for the piece. I’ve found it to be almost self-teaching because you discover how to program the devices by seeing what they like to accept. Its been a very rewarding type of activity for me. It’s been done by as large a group as 14 people. So that was how our Rainforest was done.”

John Cage's Variations V


John Cage's Variations VII

'words are only a finger pointing to the moon, only a fool will take the finger to be the moon.'

cornelia parker

grayson perry

"If performers, who are the very people who mediate between new music and musical life in its broader sense, were to refuse to participate, the upshot would only be to help neutralise new art and turn it into the cultural property of experts, thereby increasing the general indifference toward it. Even though productive artists must refrain from casting amorous glances at the public, they cannot remain wholly indifferent to a complete lack of resonance."
'New Music, Interpretation, Audience' T. Adorno

principios da musica universal criada por hermeto pascoal

fluxus manifesto

Maciunas
by Joseph

Boyes
by George

harry partch

follow the link to watch part 3 and 4

watch it now! before they took it out!
('they' always 'they'!) :P

uakti

official site
myspace.com/oficialuakti

to download the album 'Mapa' click here

the myth of UAKTI:
Uakti is a mythical musician described by the Tukano natives of the Alto Rio Negro region of the Amazon. According to the legend, the creature had holes in his body that they would produce sound when he ran or the wind blew through him. This music seduced the women of the tribe and so the other men burned and buried his body. The myth holds that out of Uakti's remains grew the palm trees from which the Tukanos' flutes are made.

uakti no mao da massa parte 2

Se citações vão me provar inteligente, dispenso todas elas de uma vez. Sou burra mesmo, uma mula ingnorante, que age feito louca e não dá a mínima pra bonita ética e para os feios e sem graça bons costumes.

Mas é de se provar em laboratório, passar em cartório e formalizar pelo senso comum e geral que para se entender e apreciar a beleza do vago é necessário tamanha exatidão. Claro que não fui eu que disse isso, apenas concordo que é preciso concisão ao escrever. E que só vou te apreciar o obscuro na tua clareza de linguagem.

Sim, isso tudo assim, jogado, feito latinha em festa e cigarro em sargeta. Um esporro de palavras.

Foi assim?

Não, não, há tudo dentro de uma razão, tu dirias. E sabe o que diz o dicionário? "A razão nos obriga a ser cautelosos" ... Posso fechar aspas e arredondar a tragada. Minha cautela escorre entre os dedos e eu lavo a mão na sujeira. Escolher uma razão apenas e isso já bastaria para alguns.

De qualquer forma, ao redor dessas pontuais certezas dissolve todo o indefinido, permeando os obstáculos. Somos vagos, todos. Vago, trilho de um caminho só, eu.

ps: 'E que só vou te apreciar o obscuro na tua clareza de linguagem.' (eh assim mesmo: 'te apreciar o obscuro')

hermeto pascoal - live at Montreux Jazz Festival

Spotify: Hermeto Pascoal – Montreux Jazz Festival

the screen as big as you are!
i go back to you all the time! mestre!
lots of love c.

JASON RHOADES

Born 1965 in Newcastle, California, USA.
Died 2006 in Los Angeles, California, USA.

During his all too brief career, Jason Rhoades achieved international notoriety for immense, genre-defying sculptural environments which have been described as 'testosterone-driven' and 'sort of obnoxious-impish-dissonant-sublime'. In his complex and rampageous installations, Rhoades probed the role of the artist, the purpose of art and the sources of creativity.

"The Creation Myth is about how one creates, how one sees creation, how one sees the act of creation... It’s basically about how we see things in the world. We put them into the brain and then we file them and then they break up and get filed in different parts of the brain, and different things get stuck in different areas.'

Eroica (the movie) part 3/9

E procede com explanações sobre a motivação do ser humano e de suas conseqüências, lembrando que ao negar a si próprio, ou seja, vender-se por dinheiro ou posição, o homem comete o pecado mortal de se tornar uma coisa, algo heteronômico. E que, se temos opiniões distintas, é preferível lutarmos, e que ambos sejamos mortos, do que entrarmos em um consenso. Uma profunda admiração por mártires, por homens que dediquem todas as suas energias à expressão do que há em si, mesmo que fracasse.

ps: achei este texto no meio do meu outro blog.. Eh uma parte de um texto que eu escrevi pra faculdade.. desculpe, mas me bateu uma certa depressao.. Merda, estou escrevendo neste instante sobre a comunicacao em musica, e estou bem feliz por ter encontrado um assunto subjetivo pra poder discorrer e driblar as explicacoes monotonas.. a depre eh porque o texto eh em ingles, e a dificuldade duplica! e encarei agora a consciencia de que eu nao vou alcancar o esperado.. :(
pena..

andrew bird

www.andrewbird.net

Calling Out Of Context

14 November 2009 - 22 November 2009
@ ICA

Calling Out Of Context is a new festival of experimental music and sound. For nine days our main gallery becomes a performance space; the upper gallery a working recording studio; and the theatre hosts gigs, workshops and discussions. The festival features more than 40 performers and groups, revealing the vitality and relevance of the sonic avant-garde with new work and performances from participants including Lucky Dragons, Rhys Chatham, Gravetemple, Aaron Dilloway, Alexander Tucker, Seb Rochford, Micachu, Kammer Klang, The Red Krayola, AGF and Mira Calix

The festival concludes with a weekend symposium dedicated to the British avant-garde musician and activist Cornelius Cardew . All of the participants in Calling Out Of Context push at the boundaries of sound, but importantly they also use it to inspire ideas and actions.

For more information download the Calling Out Of Context Guide (PDF, 1.5MB).

violeiros do brasil

I went to Cafe Oto yesterday and was amazing!

Brazilian Memory Project brings Violeiros do Brasil to London/Kent/Cambridge

Brazilian festivals in London are still going on in November; this time it's about music and specifically, ten-string guitar players. The Brazilian Memory Project was created in 1987 to highlight the most popular instruments and segments in the country through a documentary followed by a concert.

The project shows rhythms, traditions, common beliefs and stories of Brazilian culture. Starting with a presentation by director Myriam Taubkin, the event goes on to the exhibition of "Violeiros do Brasil" (which means ten-string guitar players of Brazil), documentary that shows the different musical scenery in the country and shows how the ten string guitar has become one of the most popular musical instruments in the countryside. The doc still emphasizes on the rich Brazilian beauty through images. With an alliance between image and sound, the project tries to represent all of Brazil.

The film will be followed by a concert with ten-string guitar players Ivan Vilela, one of the mais players currently, with 13 recorded albums, and Pereira da Viola, singer, composer and player. They are getting together to bring the UK over two decades of this musical style so fundamentally Brazilian.
words: Simone Noguera Cesar Goulart from JungleDrums Magazine

The Brazilian Memory Project
10 November - 8pm
Café Oto
Whitstable, Kent
FILM + CONCERT WITH IVAN VILELA
13 Nov - 8pm | £ 8 / £6 (concs)
Cambridge
FILM + CONCERT WITH IVAN VILELA
14 Nov - 7:30pm

The Music of the Suyá - Central Brasil

video from Anthony Seeger talking about Suyá's music and society.
artistshousemusic.org

eu dou a volta, mas eu nao saio do Brasil nem a pau!!

Arseny Avraamov

avant-garde Russian composer. (1886-1944)

His most famous work is Simfoniya gudkov (Гудковая симфония, "Symphony of factory sirens"). This piece involved navy ship sirens and whistles, bus and car horns, factory sirens, cannons, the foghorns of the entire Soviet flotilla in the Caspian Sea, artillery guns, machine guns, hydro-airplanes, a specially designed "whistle main," and renderings of Internationale and Marseillaise by a mass band and choir. The piece was conducted by a team of conductors using flags and pistols.

In the article, 1916, “Upcoming Science of Music and the New Era in the History of Music”, Arseny Avraamov proclaimed his view on the future of the Art of Music: “By knowing the way to record the most complex sound textures by means of a phonograph, after analysis of the curve structure of the sound groove, directing the needle of the resonating membrane, one can create synthetically any, even most fantastic sound by making a groove with a proper structure of shape and depth".

Russian artists link

[lack of material... which to see and hear that..]

Bogdan Raczynski

www.bogdanraczynski.com nice stuffs! \o/

Julius Sumner Miller - Electrostatic Toys

Julius Sumner Miller - Mechanical Toys

London Jazz Festival

Friday 13 to Sunday 22 November

The London Jazz Festival, in association with BBC Radio 3, returns to Southbank Centre promising another exceptional line-up for this year’s ten day celebration of jazz.

From Friday 13 through to Sunday 22 November this pan-London festival brings together an eclectic mix of jazz talents from across the globe, presenting international stars alongside the best emerging talent. The landmark music event offers the chance to catch an array of premieres, new commissions, free events and the Festival’s renowned learning and participation programme.

who is playing??

the linbury prize

The Linbury Prize for Stage Design 2009

The Linbury Prize for Stage Design is the UK’s most prestigious award for stage design, and a unique opportunity for graduating designers to work with leading directors and gain a professional commission with one of four major companies, which this year are Birmingham Opera Company, Royal & Derngate, Sound&Fury for Fuel, and Unicorn Theatre.

evelyn glennie!!!

http://www.evelyn.co.uk

coming to London @ cadoganhall
26 November







" (...) Hearing is basically a specialized form of touch. Sound is simply vibrating air which the ear picks up and converts to electrical signals, which are then interpreted by the brain. The sense of hearing is not the only sense that can do this, touch can do this too. If you are standing by the road and a large truck goes by, do you hear or feel the vibration? The answer is both. With very low frequency vibration the ear starts becoming inefficient and the rest of the body's sense of touch starts to take over. For some reason we tend to make a distinction between hearing a sound and feeling a vibration, in reality they are the same thing. It is interesting to note that in the Italian language this distinction does not exist. The verb 'sentire' means to hear and the same verb in the reflexive form 'sentirsi' means to feel. Deafness does not mean that you can't hear, only that there is something wrong with the ears. Even someone who is totally deaf can still hear/feel sounds. (...)"

excerpt from Hearing Essay read more here is super interesting!

daphne oram - oramics

In 1962, Daphne Oram presented Oramics, the project that consumed so much of her time and resources. She received two consecutive Gulbenkian Foundation grants in the region of £3,500, a sizeable sum in the 1960s, to develop her research. Daphne said of Oramics, “I visualize the composer learning an alphabet of symbols with which he will be able to indicate all the parameters needed to build up the sound he requires. These symbols, drawn…freehand on an ordinary piece of paper, will be fed to the equipment and the resultant sound will be recorded onto magnetic tape.”

The concept of drawn sound was not new. The technique of drawing patterns by hand onto the thin strip at the edge of 35mm film had been around since the 1920s. Russian film makers Arseny Arraamov and Yevgeny Sholpo created soundtracks from intricate ink drawings on thin strips that were 1.93 - 2.5.mm in width. Norman McClaren used drawn sound in many films. (...) read more

daphne oram

Daphne Oram (1925 - 2003) is one of the central figures in the development of British experimental electronic music. Early in her career she declined a place at the Royal College of Music to become a "music balancer" at the BBC, and as co-founder and first director of the BBC Radiophonic Workshop, she is credited with the invention of a new form of sound synthesis – Oramics. Not only is this one of the earliest forms of electronic sound synthesis, it is noteworthy for being audiovisual in nature - i.e. the composer draws onto a synchronised set of ten 35mm film strips which overlay a series of photo-electric cells, generating electrical charges to control amplitude, timbre, frequency, and duration.This system was a key part of early BBC Radiophonic Workshop practice. However, after Daphne left the BBC (in 1959), her research, including Oramics, continued in relative secrecy.

daphneoram.org
sound on sound article

Doctor Who

Deep in the bowels of BBC Maida Vale studios, behind a door marked B11, is all that's left of an institution in British television history.

A green lampshade, an immersion tank and half a guitar lie forlornly on a shelf, above a couple of old synthesisers in a room full of electrical bric-a-brac.

These are the sad remnants of the BBC Radiophonic Workshop, set up 50 years ago to create innovative sound effects and incidental music for radio and television.

The corporation initially only offered its founders a six-month contract, because it feared any longer in the throes of such creative and experimental exercises might make them ill.

Using reel-to-reel tape machines, early heroines such as Daphne Oram and Delia Derbyshire recorded everyday or strange sounds and then manipulated these by speeding up, slowing down or cutting the tape with razor blades and piecing it back together.

The sound of the Tardis was one sound engineer's front-door key scraped across the bass strings on a broken piano. Other impromptu props included a lampshade, champagne corks and assorted cutlery.

Ten years ago the workshop was disbanded due to costs but its reputation as a Heath Robinson-style, pioneering force in sound is as strong as ever, acknowledged by ambient DJs like Aphex Twin.

Although much of its equipment has long been sold off, every sound and musical theme it created has been preserved. To mark its 50 years, there are plans for a CD box-set.

read more here.