Tuesday, June 09, 2015

Marcus Schmickler

An auto-reactive installation, one that plays with our sense of reality by continually causing us to perceive and experience a space and an object in new ways. Its surfaces projected with impossible light situations, the object becomes a mirror of changing realities. Ideas are seized upon and returned; the space is transformed into a sound box that enters into a reflexive dialogue with the sculpture. 10.2 channel audio, 1500 ft. DMX-controlled, electro-luminiscent wire, 360ยบ quasi-spherical light projections. Duration ~90 mins. Premiere: Cologne, January 2010 http://piethopraxis.org/projects/revolving-realities/

Soft Power and Branding


Sunday, June 07, 2015

Sound Ethno display

Friday, June 05, 2015

Iowa Writers Workshop

Tuesday, June 02, 2015

Peter Garland

Julia Wolfe

on the importance of performer body energy

John Lutern Adams Interview in NYC

multiple tempo streams

Thursday, May 28, 2015

Early electronic music


Sunday, May 24, 2015

Halim El-Dabh - "Wire Recorder Piece" from 1944

This is possibly the earliest piece of electronic music ever composed, or more specifically, the first piece of electronic tape music, also known as "musique concrete" or "electroacoustic" music. Halim El-Dabh, then a student at Cairo, Egypt, produced this music piece using samples taken from an ancient Egyptian "Zar" ceremony. He edited, manipulated and arranged these sounds to create the earliest piece of electronic tape music. He first presented his piece at an art gallery event in 1944, predating Pierre Schaeffer's musique concrete recordings by four years. Having borrowed a wire recorder from the offices of Middle East Radio, El-Dabh took it to the streets to capture outside sounds, specifically an ancient zaar ceremony. Intrigued by the possibilities of manipulating recorded sound for musical purposes, he believed it could open up the raw audio content of the zaar ceremony to further investigation into "the inner sound" contained within. According to El-Dabh, "I just started playing around with the equipment at the station, including reverberation, echo chambers, voltage controls, and a re-recording room that had movable walls to create different kinds and amounts of reverb." He further explains: "I concentrated on those high tones that reverberated and had different beats and clashes, and started eliminating the fundamental tones, isolating the high overtones so that in the finished recording, the voices are not really recognizable any more, only the high overtones, with their beats and clashes, may be heard." His final 20-25 minute piece was recorded onto magnetic tape and called The Expression of Zaar, which was publicly presented in 1944 at an art gallery event in Cairo. This version is a 2 minute sample of the original 20-25 minute piece.

Thursday, May 07, 2015

Slit Scan Film