30 October 2009
29 October 2009
break
(Jogador Fabão, assim que chegou no Flamengo)
'Na Bahia é todo mundo muito simpático. É um povo muito hospitalar.'
(Zanata, baiano, ex-lateral do Fluminense)
'O meu clube estava a beira do precipício, mas tomou a decisão correta, deu um passo a frente.'
(João Pinto, jogador do Benfica de Portugal)
'Nem que eu tivesse dois pulmões eu alcançava essa bola.'
(Bradock, amigo de Romário, reclamando de um passe longo)
'As pessoas querem que o Brasil vença e ganhe.'
(Dunga, em entrevista ao programa Terceiro Tempo)
28 October 2009
bill fontana
his website
"Musical Sculpture:
sounds lasting and leaving
forming and sounding
a sculpture that lasts."
Marcel Duchamp
Western Bridge is located in the Duwamish Industrial area of Seattle. The ambient soundscape that envelops the exterior of the building is rich with the frequently occurring sounds of train whistles from the nearby railroad crossings, and low flying aircraft going to Seatac and Boeing Field. As a building, it is designed to be an exhibition space, it is also designed to keep these sounds outside. This sound sculpture will bring these sounds into the building, turing its architecture into sound.
Eight steel and glass objects that were purchased from a nearby industrial surplus yard are setup in a room that resembles a recording studio. Microphones placed on the roof of Western Bridge bring in the live outside sounds to this studio where they are played from loudspeakers. Each of the eight objects has either a small microphone or sensitive vibration sensor (accelerometer) mounted within or on it that registers how these objects are acoustically excited by the outside sounds and become resonant harmonic filters. Ten loudspeakers are distributed throughout the gallery spaces of Western Bridge. The live outside sounds passing through these objects move in different permutations through the empty building, translating architecture into sound. This studio of resounding objects is visible through a large window as a kind of ensemble of musicians or a sonic still life.
eric archer
kinetic art fair
Kinetica Art Fair 2010 wil take place from 4th - 7th February 2010
Applications to exhibit at the fair are now open. Deadline 5th November
CLICK HERE for Exhibitor information.
27 October 2009
levitan e os tripulantes
Besides the great audition @ Lucas' Garden, the band spread few Cds around London, leaving them on the streets for others to take it.
Those pictures below are the testimonials of the fact.
Of course, the act was subtle and only few people could get the album and I wonder who were the lucky ones...
@ Trafalgar Square
Capitan TanTan commands the first act
@ Piccadilly Circus
@ The Foundry
website
waiting for the right moment..
if anyone found the Cd, please get in contact to pay us back.
here is the capitan's address: http://www.claudiolevitan.blogspot.com/
also http://www.myspace.com/levitaneostripulantes (check pictures from the audition)
contact mic
'The contact mic is passed through a cheapo multi fx pedal (Zoom GFX 1) and a mini Kaoss pad. The whistle in the video is more or less without effects, a bit of reverb maybe. Any flat metal surface works, it doesn't need to be a can. Contact Mic on one side and howl at the other, it'll pick it up.'stiofanbreathnach
[it is just here to remind me..]
26 October 2009
casa de ipanema
that's is the garden from my grand-parents house (Porto Alegre - Brasil). It is build up from aluminium mostly, and they started doing it in 1947, digging the small pond like a guitar shape to make a fish-tank.those visual images and mechanical systems interested me. I admit I'm looked backward to my childhood and got impressed about the pacience and effort they had to build this up. There was no other reason to do it, apart from expressing themselves, revival memories (from Russia and Lithuania, where they came from) and to give significance to their lives.
no one is there to maintain and to fix those toys lately.photos: Eneida Serrano
jean tinguely III
An apparently normal refrigerator activates, on opening the doors, the howling of an original American fire engine siren installed inside the refrigerator. The sound was recorded using special microphones, which are placed in the ears like little headphones.
video and text from here.
jean tinguely II
Study for an End of the World No. 2
sculpture that self-destructs in the presence of an audience in the desert near Las Vegas, Nevada, USA. 1962)
photographer: Allan Grantfind more pictures here.
jean tinguely
In 1960 Tinguely's friendship with Arman, César, Raymond Hains, Yves Klein and other artists, and the art critic Pierre Restany (b 1930), led to the founding of Nouveau Réalisme, which aimed at a reassessment of artistic form and material.
In the mid 1960s Tinguely produced his first monumental works for an urban setting. Welded together from scrap metal, they seem like monuments to the decline of the 19th-century cult of steam. In 1970, to celebrate the tenth anniversary of the founding of Nouveau Réalisme, he built a gigantic phallus (h. 8 m), which he exploded outside Milan Cathedral.
In the 1970s Tinguely began designing a number of fountains, but in the late 1970s his work took a new direction. In gigantic reliefs, links with traditional image-forms appear.
Tinguely owed much of his great popularity to the wit, charm, irony and sincerity of his objects. Sometimes the working of the parts and thus of the machines was quite unpredictable, resulting in a bewildering abundance of processes. They are like caricatures of the utilitarian, mechanical world, embodying Tinguely's critical posture towards technological optimism and his divergence from the Italian Futurists' belief that movement imbued with technology represented the most important objective of modern art.
Article provided by Grove Art Online www.groveart.com
24 October 2009
20 October 2009
Musicircus - 7 ª Bienal do Mercosul
Dia 17 de outubro às 17h
Cais do Porto – Armazém A7
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[mesmo que ja tenha passado, vale registrar o acontecido]
[internet is coming, so I'm not updated here... but that's is not the point anyway..] =) good to see interesting initiatives!!
[by the way, please don't miss James Thierree, wherever he is...
follow him or die!]
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http://www.bienalmercosul.art.br/
A 7 ª Bienal do Mercosul convida artistas de todas as disciplinas para participar da performance Musicircus, criada por John Cage e realizada pela primeira vez em 1967, na Universidade de Illinois. O evento vai reunir músicos, artistas sonoros, atores, intérpretes, poetas, artistas plásticos e muitos outros, num evento de pura imagem e som.
Musicircus reúne muitos dos principais conceitos de Cage. Sua primeira edição foi realizada com uma seleção de músicos, artistas, compositores, bailarinos e poetas em um grande espaço, onde a audiência tinha a liberdade de circular livremente. Um espaço repleto de luz, projeções de imagem e som, complementado por bebidas e petiscos, como em um circo. A intenção de Cage foi criar uma situação em que tanto a criação artística quanto a experiência do público pudessem ser compartilhadas, sem ditar uma estética única ou superior as demais. Sua principal preocupação foi demonstrar, num contexto real de espetáculo, que tanto a produção quanto a experiência da música devem ser processos colaborativos e inteiramente democráticos, que não podem ser regidos por um ego dominante. O resultado foi um ambiente de improvisação simultânea tanto de intérpretes quanto de público, onde cada indivíduo presente possuía autonomia, dentro de uma composição global de múltiplos estímulos.
Por outro lado, Musicircus é também um exemplo de como Cage estimulava a recreação, tendo sido sua esperança que este evento (entre outros) pudesse ser realizado em qualquer tempo ou lugar, sem a sua presença, mas apenas seguindo o princípio básico que ficou estabelecido durante a primeira manifestação; neste caso, em 1967. Desde então, essa performance foi realizada inúmeras vezes - em San Francisco, Chicago, Melbourne, e Londres, entre outras cidades - tanto antes como depois da morte de Cage. É em sintonia com estas idéias que a 7ª Bienal do Mercosul realizará Musicircus no Cais do Porto, em Porto Alegre, no dia 17 de Outubro de 2009. A realização deste Musicircus será possível graças ao inestimável aconselhamento e orientação de Laura Kuhn, diretora executiva da John Cage Trust, em Nova York.
A participação é espontânea e a 7ª Bienal do Mercosul não irá remunerar os artistas interessados, nem mesmo cobrirá despesas de viagem/ transporte. Após o período de inscrições, um calendário do evento será criado ao acaso, sob a orientação do I Ching. Os artistas selecionados serão informados com antecedência sobre quais obras serão executadas, bem como sobre sua localização para cada performance, e seu tempo de participação no evento. A inscrição é aberta a todos os artistas com base em Porto Alegre, bem como aqueles de diversos países e origens que participam na 7 ª Bienal Mercosul. Também é aberta a seguidores de John Cage, interessados em sua vida e de trabalho, onde quer que estejam.
15 October 2009
12 October 2009
Chris Corsano
Interview by Stewart Voegtlin
(Dec. 2004)
When you're privy to what a drummer like Chris Corsano stuffs into – and pulls out of – his stick-bag, much is revealed. One can make innumerable clichéd analogies to the implements of physician/sculptor/chef, yet, when you really think about it, any overheated analysis dies on the page.
"Implements?" Corsano's bag stocks mix-and-matched sticks of wood, chewed to pieces, worn down to their last bit of borrowed solidity. His mallets look as though they've struck concrete, not cymbals and drumheads. His tools whirr and blur and wrap around rhythms as if he's beating them out of the air.
Corsano is a discursive drummer: he moves quickly and easily from topic to topic, amplifying, extrapolating, and most often paying extraordinary attention to any partner musician's in vivo insta-comp. While this quality primes us for more quasi-philosophical spew, talking with the man himself disarms most heady analysis.
Perfect Sound Forever: When, or why, did you pick up drumming?
CC: I started more or less when I was 13, 'cos my older brother Tony played drums (and still does).
PSF: Are Tony's drum calisthenics similar to yours? When's the Corsano Family Duo coming out?
CC: Make that a trio – my mom's a drummer, too, though Tony and I are half-brothers, so, she's not his mother. Tony was drumming before I was born; my mom started about five or six years ago. Tony does all kinds of stuff. He was in the Contortions for a while, about ten years back. Then he drummed for the Harlem Gospel Choir. Now he's playing with different people, but mainly focusing on going into schools, showing kids how to make drums out of household items, and then teaching them some beats. He gets everybody rocking. My mom's getting a soul band together now.
PSF: Lots of drummers wax nostalgic about their first kits – do you? Was it the old plastic and tin Service Merchandise, or ad hoc pots and pans?
read the rest here
www.myspace.com/chriscorsano