From artwerks at slingshot.co.nz Wed Feb 1 12:32:04 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Thu, 2 Feb 2006 09:32:04 +1300 Subject: [af_list] Fall survivors Message-ID: <00dc01c6276e$905b82c0$e033b8cb@d400> Possibly a smidge off-topic for this list but there's been mention of Mark E. here before so some of you might enjoy this Guardian story: http://www.guardian.co.uk/arts/features/story/0,,1678307,00.html I wonder if Martin Phillips has been taking notes on band management techiques. Andrew -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060202/df57b135/attachment.htm From simon at obscure.co.nz Wed Feb 1 14:08:22 2006 From: simon at obscure.co.nz (Simon Swain) Date: Thu, 02 Feb 2006 09:08:22 +1100 Subject: [af_list] fighting song Message-ID: <43E13156.6070506@obscure.co.nz> http://www.artspace.org.au/2006/02/hannah_furmage.html a r t s p a c e 43 - 51 Cowper Wharf Road Woolloomooloo NSW 2011 Australia www.artspace.org.au HANNAH FURMAGE fighting song NEW MEDIA BY WADE MARYNOWSKY BOXING MANAGER DENVER MATHEWS CURATED BY SALLY BREEN ?Each boxing match is a story - a unique and highly condensed drama without words, this doesn't mean that it has no text or language only that the text is improvised in action? - Joyce Carol Oates. Fighting Song is a new media performance collaboration developed by Sydney based artist Hannah Furmage in collaboration with new media artist Wade Marynowsky, boxer Denver Matthews and a small group of professional and amateur boxers. The performance element of Fighting Song involves a group of boxers presenting a one off evening of live boxing rounds in a ring installed at Artspace. New sensor technologies are attached to Denver Matthews' body. The sensors translate the actions of Matthews' fighting each of his opponents into live sound. The installation exhibits the debris of the fights, the sound and video recordings from the fights and the paraphernalia of the setting ? ring, ropes, stained mats, discarded gloves. The language of a boxing match is difficult for us to understand. Not only because the action happens at the speed of light, with grace and cunning but because what is happening is too painful to incorporate into our perception of civilised humanity. Fighting Song attempts to analyse the language of this wordless spectacle through sound. Uppercuts and jabs become rhythmic notes in an improvised song of ?the sweet science of bruising'. The manipulated sound that is triggered by Matthew's fighting reveals the complex and sophisticated patterns of his actions, which are both violent and poetic. The sound is generated by Matthews only. It is therefore not a dialogue between two fighters but a one way conversation. This questions exactly who he is fighting? His weakness, shadow self, death? Silence is also used to dramatic effect in the song. Allowing the terrible silence of the boxing match to communicate alone, creates a sense that the profound experience we are witnessing exists beyond any language we are capable of. The installation that is exhibited for the duration of the exhibition includes the empty boxing stage and the physical remnants of the fights. The recorded sound from the boxing lingers in the space but the action that created it has gone. The brutality that was seemingly willed into being by the collective desire of the audience, sinks beneath the surface of our human conscience. Though it is never completely forgotten, the traces left in the space are a terrifying yet thrilling reminder of our forgotten and potential selves. Or ideally (like a cathedral or an opera stage) the space reverberates with the potential of being able to fleetingly transcend our physical lives, to gauge a deeper understanding of the human condition. -- Simon Swain Obscure - Dance Culture in New Zealand www.obscure.co.nz p +61 2 9460 3311 m +61 418 30 20 20 -------------- next part -------------- A non-text attachment was scrubbed... Name: fighting_song.gif Type: image/gif Size: 58545 bytes Desc: not available Url : http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060202/a3f9d52d/fighting_song.gif From turnstyle at obscure.co.nz Thu Feb 2 14:33:24 2006 From: turnstyle at obscure.co.nz (Simon Kong) Date: Fri, 03 Feb 2006 11:33:24 +1300 Subject: [af_list] MIDI exoskeleton In-Reply-To: <43E04735.7050105@obscure.co.nz> References: <20060201031214.20927.qmail@web32809.mail.mud.yahoo.com> <43E04735.7050105@obscure.co.nz> Message-ID: <43E288B4.3040607@obscure.co.nz> further on this subject .. Seems someone has dug up a similar device created in Japan over a decade ago .. http://web.media.mit.edu/~joep/SpectrumWeb/captions/Miburi.html The list I swiped the link from .. have been having interesting discussion surrounding the use of physical interfaces for digital music. Do people consider the lack of interface devices a hindrance to the audience understanding digital music ?? .. that is compared to traditional instruments like guitars, violin or even a piano .. which have broad cultural relationships that allow listeners to interact with the performer .. .. Considering that instruments like the Thermin have existed for a long time .. and are still not fully exploited by digital performers. I do see many people developing their own interfaces to extend expression of their compositions .. Do people see this arriving at a singular instrument ? Or will the expression of digital music continue to evolve the instrument in new and peculiar ways .. ? Would the development of singular universal instrument help to extend the viability of digital music .. ? In a comparative way to guitar culture ! / is this a discussion list ? .simon > > Yea .. I'm digging this .. Dj's have a reason to put their hands in the air.. > > http://www.sonalog.com/product.htm > > _______________________________________________ > Audio Foundation (AF) mailing list > Af_list at audiofoundation.org.nz > http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz > From admin at audiofoundation.org.nz Thu Feb 2 15:32:23 2006 From: admin at audiofoundation.org.nz (Admin) Date: Fri, 03 Feb 2006 12:32:23 +1300 Subject: [af_list] BUS B at the Fringe Festival Message-ID: BUS B is a videographic and musical experiment in public transport, recreated inside an inflatable bus through live audio manipulation and remix. This is a collaboration between Parisian video artist Kartini B and Wellington musicians Disasteradio and Saali Marks. Playing with acoustic isolation, open source software, ancient synthesizers and mp3 players, they create an improbable dialogue between image, sound/noise and silence in a habitually non-social urban interstice. BUS B will be showing at the Thistle Hall Gallery, top of Cuba Street in Wellington, February 25-27. Advanced booking is recommended. Consult www.busb.co.nz for more information and reservations. From jcontag at paradise.net.nz Thu Feb 2 17:46:44 2006 From: jcontag at paradise.net.nz (johannes contag) Date: Fri, 03 Feb 2006 14:46:44 +1300 Subject: [af_list] MIDI exoskeleton In-Reply-To: Message-ID: > > Do people consider the lack of interface devices a hindrance to the > audience understanding digital music ?? > > .. that is compared to traditional instruments like guitars, violin or > even a piano .. which have broad cultural relationships that allow > listeners to interact with the performer .. > > / is this a discussion list ? don't know about discussion, but i can offer you some raving: despite being in the market for it myself, i've always had an issue with people on a stage bent over a collection of obscure back boxes twisting some knobs and calling it a "performance". i mean, as far as the audience is concerned, the performer might as well push play on a cd and spend the rest of the time fixing a dodgy lead or checking their email etc., because experientally, it makes pretty much no difference to the audience - unless you have some arcane understanding of what the performer is doing (which software, which particular effects etc.) - but this turns you more into a privileged observer than an audience member who's there to experience the aesthetics of a musical performance. (or is this a totally antiquated, romanticised view of audience?) myself, i see this a dead end, and i climb/cop out of it by giving the audience something to latch on to - such as an acoustic instrument that is being processed etc. then again, the line is so blurred between playing a piano keyboard and a synthesizer/controller keyboard that maybe this approach is just a superficial pandering to visual expectations? i guess i think it's important to SHOW the audience a feasible cause-effect performance situation, seeing the sound per-formed with an instrument (or meta-instrument or whatever). "aaah, this is live music, someone is creating it for me on the spot, i can see it and hear it and feel it, how glad i am to witness this singular, unrepeatable event in time." which seems pretty much impossible with a laptop! one idea i once had was to project the computer desktop onto a video projector, but who really wants to have a roving mouse and dialog boxes mingling with their art experience... or is it a dead end to expect a cause-effect performance in the first place? horses for courses, i suppose, lots of totally different performance situations out there, lots that try to avoid "entertaining" the audience or putting on some kind of a "show". call me conservative, but i like to get at least a little bit of bang for my buck. having said that, i'm totally happy to sit on the floor of some concrete bunker watching a couple of people twisting their digi-knobs if the music blows my mind... but this is taking the music out of context (i like the music regardless of where i hear it, e.g., despite the performance situation), and we're talking about the context of instruments in performance here. to return to the exoskeleton/guitar culture musings - maybe we need to look at the definition of "instrument" as it relates to the performer and to audience, and where the two intersect. no intersection with laptop twiddling - this is a performer-only instrument. my laptop is my castle. full intersection with screaming guitar solo - audience sees sex dripping off the strings. some tenuous intersection with the solo piano concerto, mostly given by the facial and spinal contortions of the pianist. similarly the mpc-player putting his fist in the air like he just don't care. enter the exoskeleton, laptoppists, and start practicing your pantomines... ouch. as rave turns to rant, i better stop. thanks for indulging me, jo From transient at darcy.co.nz Fri Feb 3 15:32:39 2006 From: transient at darcy.co.nz (transient@darcy.co.nz) Date: Fri, 3 Feb 2006 15:32:39 -0800 (PST) Subject: [af_list] Live-to-air on Sunday night In-Reply-To: References: Message-ID: <7409.210.246.20.149.1139009559.squirrel@webmail.darcy.co.nz> Andrew Weeks/Ben Spiers live-to-air Sunday 5 February 11pm-1am "The Zero Hour" Radio Active 89FM in Wgtn or listen online at http://www.radioactive.co.nz/ Andrew is an American improv guitarist (and multi-instrumentalist) based in Wellington. He's a stunning young player who you all need to hear. I will do my best to keep up (also on guitar) but be warned it is my birthday on Sunday and I may therefore be drunk. We'll be playing in the first half of the show. From pippalot at ihug.co.nz Sun Feb 5 12:30:34 2006 From: pippalot at ihug.co.nz (Zoe) Date: Mon, 06 Feb 2006 09:30:34 +1300 Subject: [af_list] MIDI exoskeleton In-Reply-To: Message-ID: i dunno Theres a lot to be said for listening to sound without any distractions. One of my favorite activities in fact. isnt that what happens when we listen to a CD anyway? Even though its always a pleasure to see musicianship as well, some of the best gigs i have heard are where there isnt anything to see. with all the media happening around us all the time - i quite like that there is this space sometimes where one has to stop and just listen. z on 2/3/06 2:46 PM, johannes contag at jcontag at paradise.net.nz wrote: > >> >> Do people consider the lack of interface devices a hindrance to the >> audience understanding digital music ?? >> >> .. that is compared to traditional instruments like guitars, violin or >> even a piano .. which have broad cultural relationships that allow >> listeners to interact with the performer .. >> >> / is this a discussion list ? > > don't know about discussion, but i can offer you some raving: > > despite being in the market for it myself, i've always had an issue with > people on a stage bent over a collection of obscure back boxes twisting some > knobs and calling it a "performance". i mean, as far as the audience is > concerned, the performer might as well push play on a cd and spend the rest > of the time fixing a dodgy lead or checking their email etc., because > experientally, it makes pretty much no difference to the audience - unless > you have some arcane understanding of what the performer is doing (which > software, which particular effects etc.) - but this turns you more into a > privileged observer than an audience member who's there to experience the > aesthetics of a musical performance. (or is this a totally antiquated, > romanticised view of audience?) > > myself, i see this a dead end, and i climb/cop out of it by giving the > audience something to latch on to - such as an acoustic instrument that is > being processed etc. > then again, the line is so blurred between playing a piano keyboard and a > synthesizer/controller keyboard that maybe this approach is just a > superficial pandering to visual expectations? > > i guess i think it's important to SHOW the audience a feasible cause-effect > performance situation, seeing the sound per-formed with an instrument (or > meta-instrument or whatever). "aaah, this is live music, someone is creating > it for me on the spot, i can see it and hear it and feel it, how glad i am > to witness this singular, unrepeatable event in time." > which seems pretty much impossible with a laptop! one idea i once had was to > project the computer desktop onto a video projector, but who really wants to > have a roving mouse and dialog boxes mingling with their art experience... > > or is it a dead end to expect a cause-effect performance in the first place? > horses for courses, i suppose, lots of totally different performance > situations out there, lots that try to avoid "entertaining" the audience or > putting on some kind of a "show". call me conservative, but i like to get at > least a little bit of bang for my buck. > having said that, i'm totally happy to sit on the floor of some concrete > bunker watching a couple of people twisting their digi-knobs if the music > blows my mind... but this is taking the music out of context (i like the > music regardless of where i hear it, e.g., despite the performance > situation), and we're talking about the context of instruments in > performance here. > > to return to the exoskeleton/guitar culture musings - maybe we need to look > at the definition of "instrument" as it relates to the performer and to > audience, and where the two intersect. no intersection with laptop twiddling > - this is a performer-only instrument. my laptop is my castle. full > intersection with screaming guitar solo - audience sees sex dripping off the > strings. some tenuous intersection with the solo piano concerto, mostly > given by the facial and spinal contortions of the pianist. similarly the > mpc-player putting his fist in the air like he just don't care. enter the > exoskeleton, laptoppists, and start practicing your pantomines... > ouch. > > as rave turns to rant, i better stop. > thanks for indulging me, > jo > > > > _______________________________________________ > Audio Foundation (AF) mailing list > Af_list at audiofoundation.org.nz > http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz > > From infodesign at xtra.co.nz Sun Feb 5 19:23:18 2006 From: infodesign at xtra.co.nz (Bruce Russell) Date: Mon, 6 Feb 2006 16:23:18 +1300 Subject: [af_list] Af_list Digest, Vol 11, Issue 6 In-Reply-To: Message-ID: <003701c62acc$ad342ad0$bf4959db@brucehgt7e5g6s> I sympathise with those who maintain that fully digital performances lack a 'performance aspect'. I personally try to keep at least one live sound-producing element involved. I also work a lot with analogue tape loops because the audience, if they are remotely paying attention, can see what you are doing in real space, with actual 'things' ie loops coming on and off machines, and also going round and round. Eyes always follow the splices. I am also mainly interested in integrating live electro-acoustic sound with realtime improvisation, so the 'performance aspect' is catered to inherently in the concept. I find pure laptop shows need some sort of projection to be engaging. Personally I would gladly watch the desktop, projected on a screen, but some might find that gives away too many secrets. I prefer to demystify, myself. Bruce Russell -----Original Message----- From: Af_list-bounces at audiofoundation.org.nz [mailto:Af_list-bounces at audiofoundation.org.nz] On Behalf Of Af_list-request at audiofoundation.org.nz Sent: Monday, 6 February 2006 12:00 p.m. To: Af_list at audiofoundation.org.nz Subject: Af_list Digest, Vol 11, Issue 6 Send Af_list mailing list submissions to Af_list at audiofoundation.org.nz To subscribe or unsubscribe via the World Wide Web, visit http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.n z or, via email, send a message with subject or body 'help' to Af_list-request at audiofoundation.org.nz You can reach the person managing the list at Af_list-owner at audiofoundation.org.nz When replying, please edit your Subject line so it is more specific than "Re: Contents of Af_list digest..." Today's Topics: 1. Re: MIDI exoskeleton (Zoe) ---------------------------------------------------------------------- Message: 1 Date: Mon, 06 Feb 2006 09:30:34 +1300 From: Zoe Subject: Re: [af_list] MIDI exoskeleton To: A list digest for the support of innovative audio culture in NZ Message-ID: Content-Type: text/plain; charset="US-ASCII" i dunno Theres a lot to be said for listening to sound without any distractions. One of my favorite activities in fact. isnt that what happens when we listen to a CD anyway? Even though its always a pleasure to see musicianship as well, some of the best gigs i have heard are where there isnt anything to see. with all the media happening around us all the time - i quite like that there is this space sometimes where one has to stop and just listen. z on 2/3/06 2:46 PM, johannes contag at jcontag at paradise.net.nz wrote: > >> >> Do people consider the lack of interface devices a hindrance to the >> audience understanding digital music ?? >> >> .. that is compared to traditional instruments like guitars, violin >> or even a piano .. which have broad cultural relationships that allow >> listeners to interact with the performer .. >> >> / is this a discussion list ? > > don't know about discussion, but i can offer you some raving: > > despite being in the market for it myself, i've always had an issue > with people on a stage bent over a collection of obscure back boxes > twisting some knobs and calling it a "performance". i mean, as far as > the audience is concerned, the performer might as well push play on a > cd and spend the rest of the time fixing a dodgy lead or checking > their email etc., because experientally, it makes pretty much no > difference to the audience - unless you have some arcane understanding > of what the performer is doing (which software, which particular > effects etc.) - but this turns you more into a privileged observer > than an audience member who's there to experience the aesthetics of a > musical performance. (or is this a totally antiquated, romanticised > view of audience?) > > myself, i see this a dead end, and i climb/cop out of it by giving the > audience something to latch on to - such as an acoustic instrument > that is being processed etc. > then again, the line is so blurred between playing a piano keyboard > and a synthesizer/controller keyboard that maybe this approach is just > a superficial pandering to visual expectations? > > i guess i think it's important to SHOW the audience a feasible > cause-effect performance situation, seeing the sound per-formed with > an instrument (or meta-instrument or whatever). "aaah, this is live > music, someone is creating it for me on the spot, i can see it and > hear it and feel it, how glad i am to witness this singular, unrepeatable event in time." > which seems pretty much impossible with a laptop! one idea i once had > was to project the computer desktop onto a video projector, but who > really wants to have a roving mouse and dialog boxes mingling with their art experience... > > or is it a dead end to expect a cause-effect performance in the first place? > horses for courses, i suppose, lots of totally different performance > situations out there, lots that try to avoid "entertaining" the > audience or putting on some kind of a "show". call me conservative, > but i like to get at least a little bit of bang for my buck. > having said that, i'm totally happy to sit on the floor of some > concrete bunker watching a couple of people twisting their digi-knobs > if the music blows my mind... but this is taking the music out of > context (i like the music regardless of where i hear it, e.g., despite > the performance situation), and we're talking about the context of > instruments in performance here. > > to return to the exoskeleton/guitar culture musings - maybe we need to > look at the definition of "instrument" as it relates to the performer > and to audience, and where the two intersect. no intersection with > laptop twiddling > - this is a performer-only instrument. my laptop is my castle. full > intersection with screaming guitar solo - audience sees sex dripping > off the strings. some tenuous intersection with the solo piano > concerto, mostly given by the facial and spinal contortions of the > pianist. similarly the mpc-player putting his fist in the air like he > just don't care. enter the exoskeleton, laptoppists, and start practicing your pantomines... > ouch. > > as rave turns to rant, i better stop. > thanks for indulging me, > jo > > > > _______________________________________________ > Audio Foundation (AF) mailing list > Af_list at audiofoundation.org.nz > http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation > .org.nz > > ------------------------------ _______________________________________________ Af_list mailing list Af_list at audiofoundation.org.nz http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.n z End of Af_list Digest, Vol 11, Issue 6 ************************************** -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.375 / Virus Database: 267.15.2/251 - Release Date: 4/02/2006 -- No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.1.375 / Virus Database: 267.15.2/251 - Release Date: 4/02/2006 From pippalot at ihug.co.nz Sun Feb 5 21:50:23 2006 From: pippalot at ihug.co.nz (Zoe) Date: Mon, 06 Feb 2006 18:50:23 +1300 Subject: [af_list] Af_list Digest, Vol 11, Issue 6 In-Reply-To: <003701c62acc$ad342ad0$bf4959db@brucehgt7e5g6s> Message-ID: yep i also include an instrument with my practise now for the same reasons, and have projected the screen of my computer when i play too. but when its really good - there is something meditative about being forced, through lack of anything to see, to just listen. and i guess apart from going to a symphony orchestra, there aren't many places where this happens anymore ...my daughter says, why bother going there at all then, why not listen to it at home musings... on 2/6/06 4:23 PM, Bruce Russell at infodesign at xtra.co.nz wrote: > I sympathise with those who maintain that fully digital performances lack a > 'performance aspect'. I personally try to keep at least one live > sound-producing element involved. I also work a lot with analogue tape loops > because the audience, if they are remotely paying attention, can see what > you are doing in real space, with actual 'things' ie loops coming on and off > machines, and also going round and round. Eyes always follow the splices. I > am also mainly interested in integrating live electro-acoustic sound with > realtime improvisation, so the 'performance aspect' is catered to inherently > in the concept. I find pure laptop shows need some sort of projection to be > engaging. Personally I would gladly watch the desktop, projected on a > screen, but some might find that gives away too many secrets. I prefer to > demystify, myself. > > Bruce Russell From stanier_black5 at hotmail.com Sun Feb 5 23:18:34 2006 From: stanier_black5 at hotmail.com (Stanier Black-Five) Date: Mon, 06 Feb 2006 07:18:34 +0000 Subject: [af_list] The Soundmine - now on Wednesdays! In-Reply-To: Message-ID: The Soundmine has been promoted to alternate Wednesday nights, from 11pm to 1am on Chirstchurch's RDU 98.5FM - serving up the extremes of electronica, edgiest experimental, the most broken of beats, psycho pop and outsider music, with regular guests and documentary features. On this week's show, I'll be interviewing master of the audio oddity, the UK's Deepkiss 720, aka Jason Williams. The ex-I'm Being Good member and the driving force behind the Quick Latin Handful label will be talking to me about his music before doing a live mix on the show of his own tracks and inspirational pieces. Tune in to hear more and watch out for the forthcoming interview with him in Bizarre magazine. Anyone tuning into The Soundmine in December will have noted Nomex filling in for me while I was away. Nomex now has his own own show, Sonic Subversion at the Apocalypse Lounge, in the same slot alternate Wednesdays, playing "no-step, mesmeric melodies, splatter breaks and hypnosis". A taster from the last Soundmine: Masonna – Beast Cassette Boy – excerpts from Dead Horse SLK – Hype Hype – the DJ wonder refix Mark One – Stargate 92 Remix Jon E Cash – Still Heavy Pierre Shaeffer – Etude aux son Animes Luc Ferrari - Music Promenade Vitamin B12 - Usherette DJ Ordeal – Ordeal’s Big Band The Sparticus Stargazer – One Nest Rolls After Another DJ Ordeal – Usher Cosey Fanni Tutti - Time To Tell Controlled Bleeding –Phlegm Bag Spattered Bag Brain Eno – Neroli excerpt All the best Stanier Black-Five From jcontag at paradise.net.nz Mon Feb 6 16:13:15 2006 From: jcontag at paradise.net.nz (johannes contag) Date: Tue, 07 Feb 2006 13:13:15 +1300 Subject: [af_list] re. the music only approach In-Reply-To: Message-ID: Am 07.02.2006 12:00 pm schrieb "Af_list-request at audiofoundation.org.nz" unter : > > yep > i also include an instrument with my practise now for the same reasons, and > have projected the screen of my computer when i play too. > > but when its really good - there is something meditative about being forced, > through lack of anything to see, to just listen. > > and i guess apart from going to a symphony orchestra, there aren't many > places where this happens anymore > > ...my daughter says, why bother going there at all then, why not listen to > it at home > > musings... > i guess the challenge with this is to actually convince the audience that the music is worthy of their exclusive attention. which can prove quite difficult, spoilt-for-choice entertainment consumers that most punters are. especially in traditional live venues, like pubs, festivals, clubs - ever staged a night of quiet ambient music in a venue with a bar? it's a nightmare, beer (clonk, shout) always wins. the most attentive audiences, in my experience, can be gathered at theatres, art galleries, cinemas, planetariums. all places with a visual focus... maybe when that focus isn't there to pull people's eyes in one direction, they become more aware of their communal presence, i.e. they wanna talk and drink. i absolutely agree with you that it's great to just listen to live music, but i find i only do it when i chose to on grounds of the music being good. i.e., the music has to convince me before i give it my undivided attention. which fine on an individual basis, but if this applies to every audience member, the inevitable variances in taste mean that there's always going to be some people at the back ignoring the music (or just outside that half-opened glass door at the back, socialising merrily and loudly). for quiet gigs, maybe classical venues are the way to go after all. or experimental music clubhouses jo From slow.learner at xtra.co.nz Mon Feb 6 16:59:17 2006 From: slow.learner at xtra.co.nz (John Kennedy) Date: Tue, 7 Feb 2006 13:59:17 +1300 Subject: [af_list] MIDI exoskeleton - Performance - Expression - other stuff Message-ID: <001001c62b81$cfe05940$bf4936d2@r2x6t8> Cool It's good to see some participation in this thread. It seems to me a fairly crucial one. On the topic of "performance", on the most base level aren't we talking about "working the audience" - although "engaging" does have a nicer ring. The avant garde has its fair share of showsters, for sure. I can remember someone telling me about a prominent experimental musician's show (not a Kiwi, so don't even go there!) where he would make sporadic dramatic strums on a guitar at pivotal points in a mostly electro set. Great effect/look, but the sound was surreptitiously coming from his sampler. I am not saying he was "cheating", but this illustrates the point that one way to engage an audience is physical demonstration, movement, emotive gestures and expressions, sweat etc.. There are countless other ironic examples of people exploring the dissociation of music and gesture. I suspect that stacks of mostly boring performance art have been made with this premise. My favourite rock example, and I don't think it would have been boring, was British rock band This Heat (has everyone heard them - surely they're one of the core listens of the last millennia) miming to a pre-recorded tape for one song in their late 70's concerts. I like Bruce's point on mystification, because that's what's happening. Even where the person plays a conventional instrument, to a non-musician (whatever that means - in this case I am referring to someone who does not have the experience of "playing an instrument" to some sort of measurable level of competency) this quite conventional act can be completely mystifying. I watch my 9-year old son learning the guitar and songs and I re-visit this same feeling of awe and strangeness (my own "learning of music" revolves around drums, keyboards and recording devices). As an audience we layer all this stuff onto sound performers, which may have nothing to do with the intention being acted out. That's can be a really good thing about music, but kind of frustrating if your sound work is being consistently understood or somehow consumed in a way that is contrary to your intentions. Experimentalists can have very unformed intentions, or keep it all very open and ambiguous. There are also questions to ask about musical expression and emotional content - does "sweat" = expression; digital = cool detachment. Obviously not. [Any monkey can learn the blues, but does that make them more "expressive" than Derek Bailey fr'instance?] I still like work that is, maybe only distantly, related to old music ideas, but creates a tension or contradiction to those ideas. It seems a very rich area of activity. I also think it's nice (sigh, I am listening to The Basement Tapes by Bob Dylan and the Band as I type this. ) when traditional forms like r&b, folk, country can re-emerge in new shapes and shades. The improvisational impulse has a lot to contribute in this regard. But we can also be simply moved by sound, where we have absolutely no representational connection, or a remote link to "musical" forms. Thanks for reminding us about that Z. This is where "sound art" [where, it seems to me, the link to "music" is often severed completely] can sometimes be so great. Surely this is something to treasure. On a practitioner level, I like to know about the "how"/"what" of musical activity - especially the evolution of skills or techniques or concepts that sit outside the conventional bag of musical performance apprenticeships - the decision-making paths in a musical situation can say a lot about where music is at and maybe who we are (!!!!!). Where improvising has intersected with new instrument technology and "non-musical" skills, is where some nice stuff can happen. I have no wish (anymore) to "unlearn" whatever musical skills I developed by playing rock music, but I try not to let those skills and experiences always guide the choices I make. There is also the folk notion of "craft". I think there are many instances of beautiful "craft" at work in the experimental arena - although often it's more evident in the cover, than with the sounds inside. If I can't see what is being done in a performance, I may just go and chat to the person afterwards. Sometimes, though, it is good to NOT watch, (see my review of the Plains CD elsewhere in the Af site) but I usually can't help myself. Didn't Stravinsky have a problem with people closing their eyes during concerts - I think he felt that it let them wander too easily into private musings on the insides of their eyelids and away from the musical experience. Music (or sound art, or whatever) is still about people doing stuff - an activity of play and, in this respect, an area of still many freedoms waiting to be enjoyed. We just need to keep "standards", criteria, or any notions of value quite fluid - as Evan Parker so eloquently said to Kim Hill in response to her skepticism about improvised music "I'm not trying to convert you to anything." [or words to that effect.] There are new synergies and languages coming through all the time. But also some tired ideas parading as innovation. There are now just as many corny traditions in the digital and experimental fields, as in the old music world. And we all thought that electronics would set us free! Jk -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060207/c831b199/attachment.htm From samukun at gmail.com Mon Feb 6 21:27:12 2006 From: samukun at gmail.com (Sam Hamilton) Date: Tue, 7 Feb 2006 18:27:12 +1300 Subject: [af_list] a theatre shaped like a laptop Message-ID: <19ccf87f0602062127pd61a912m63f27ba318d0e690@mail.gmail.com> there are a few ideas i would like to express about the laptop performance discussion although mainly i think this for know is only going to be yet another abstract analysis that will probably result in another contrasting abstract analysis in response.i dont this this will 'prove' anything other than you agree or disagree with an idea which i think is simply down to whether or not you choose to recognise it as a performance. for example a guitarist on a stage maybe not be consciously 'giving' a performance,yet because in order for him to make a sound he can not avoid moving,resulting in giving the audience something to look at and associate with the sound. with a laptop performance this physical-aural association is,in most cases,completely fucking severed (personally i cant see why we dont embrace this as a pretty exciting development theatrically and musically) anyway the main reason im replying to this subject is not to add any new arguments to the discussion (well that was my intention anyway),but i thought i might express my feelings about an auckland group called Plains who are essentially a laptop band of 6 people within a little story or some such thing. PLAINS LIVE plains are a 6 piece group consisting of essentially electronic,quite often computer based musicians such as mark sadgrove,richard francis,rosy parlane,tim coster,paul W and clinton watkins.although they dont all perform on a laptop i think its safe to say there closer to a laptop band than any other group round here. anyway i guess it helps personally knowing most of these people but plains performances i always look forward to,not cause they sound any good ( no you guys arent tooo fucking back) but because i find when someone locks into a screen and lock into listening and concentrating they seem to drop there masks a little.like watching someone on a bus when there not aware,just dreaming of ice shaved ice as they stare into space. maybe its cause theres 6 of them but when you put them together,let them sit there and twiddle there nobs of obscurity there characters bleed out like quiet little animals entranced by this confusing sound there little box's are making. mark sadgrove's beautiful gestures,super slow but unsettled,constantly agreeing a disagreeing,sometimes it seems 3 or 4 times before anything is actually decided on. paul W,although not a laptoper usually sits behind some explanatory instruments facial expressions tell how alert he is to whats happening like a rabbit,eyes sharpened to the horizon ready to pounce in any direction at anytime. richard francis (please dont take this wrong,its only a musing),richard looks like caption kurk sometimes,has this slow raised eyebrow and slight turn of head,possibly to get a sense of the spacial acoustics of the room or whatever,who knows?.usually the most baffling of all,sometimes richards performances i just truly have no understanding of what the hell he might be doing or thinking,its fantastic and mystifying,just as music should be. i think Plains are a great example of laptop theatre,maybe because it offers a better chance to distinguish certain characters from one another,maybe just cause those guys are people and there passion is making sound,not checking there emails and cant help but put there energy into what there doing just the same as a more obvious instrumentalist.if you brake it down a little you see that a laptop is a tool,just the same as a guitar is a tool.laptops cant perform just as a guitar cannot perform,it is the person behind which is the center of all music performances and Plains represent a grouping that work just like another with social dynamics,if you try hard enough it can become a whole fucking theatrical saga in front of your eyes. blah blah blah,thats enough from me to last a while sam ps. i dont own a laptop -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060207/1f6aa040/attachment.html From caleb.k at impermanent.info Mon Feb 6 21:52:59 2006 From: caleb.k at impermanent.info (caleb k) Date: Tue, 7 Feb 2006 16:52:59 +1100 Subject: [af_list] watching music... i prefer to listen In-Reply-To: References: Message-ID: <5fc13b7dbc56970f2d7fde513d7d90be@impermanent.info> i can't help myself... if jo can rant... i have never felt any need for a visual element in sound. in fact i feel that visuality and visual performativity (not aural) is out of place in most experimental music sets. after four years of not allowing projections of any sort at impermanent i have let a couple of people include them (although many who usually projections usually choice not to at impermanent, good on them i say). i rekin in a thinking scene (sorry if i am generalising here) people should be able to listen without the need for background visuals, this isn't MIT. if the music is boring then that is another story, if the instrument requires performativity that is also another story... if the audience requires entertainment then perhaps they have chosen the wrong sort of music (you can always tell them in the crowd as they giggle as they leave). projecting the screen is possibly the worst option as it ends up being some sort of game where-by one watches the screen and tries to join the dots to the sound they hear, ending in a fader goes up- sound goes up... fader goes down-sound goes down. once you enter this game all that is happening is trainspotting applications and patches (this can be saved until after the set for those inclined). don't get me wrong, i like a bit of live-ness in performance, a good pa, an acoustically interesting space, a few beers, a musician who knows what they are doing and has something to say, a mistake here and there to prove s/he is alive, maybe even some facial expression, but if i want to watch something i will go to the cinema the only person i have come across whose work is enhanced by projections is mr.robin fox, who i think was in ak recently... a bit of academic blather here for those inclined: http://hypertext.rmit.edu.au/dac/papers/Stuart.pdf .kk From damian at frey.co.nz Tue Feb 7 03:42:00 2006 From: damian at frey.co.nz (Damian Stewart) Date: Wed, 08 Feb 2006 00:42:00 +1300 Subject: [af_list] MIDI exoskeleton In-Reply-To: <43E288B4.3040607@obscure.co.nz> References: <20060201031214.20927.qmail@web32809.mail.mud.yahoo.com> <43E04735.7050105@obscure.co.nz> <43E288B4.3040607@obscure.co.nz> Message-ID: <43E88788.90107@frey.co.nz> Simon Kong wrote: > The list I swiped the link from .. have been having interesting discussion > surrounding the use of physical interfaces for digital music. what list, out of interest? > Do people consider the lack of interface devices a hindrance to the > audience understanding digital music ?? ho yes. and yet I feel the need to have it democratic - in other words, no special hardware. in theory, I have plenty with a keyboard and mouse. I often end up playing the band-pass filters when I'm performing, by dragging the little graph blips around on screen with the mouse. It's a bit limited, but this year I'm planning to study postgrad artificial intelligence and human/computer interaction papers, and work on something better. -- f r e y live music with computers http://www.frey.co.nz From damian at frey.co.nz Tue Feb 7 03:43:34 2006 From: damian at frey.co.nz (Damian Stewart) Date: Wed, 08 Feb 2006 00:43:34 +1300 Subject: [af_list] Af_list Digest, Vol 11, Issue 6 In-Reply-To: <003701c62acc$ad342ad0$bf4959db@brucehgt7e5g6s> References: <003701c62acc$ad342ad0$bf4959db@brucehgt7e5g6s> Message-ID: <43E887E6.4040505@frey.co.nz> Bruce Russell wrote: > engaging. Personally I would gladly watch the desktop, projected on a > screen, but some might find that gives away too many secrets. I prefer to > demystify, myself. hear hear. http://www.toplap.org: 'show us your screens' -- f r e y live music with computers http://www.frey.co.nz From midget at ihug.co.nz Tue Feb 7 14:43:38 2006 From: midget at ihug.co.nz (Rachel Shearer) Date: Wed, 8 Feb 2006 11:43:38 +1300 Subject: [af_list] watching music... i prefer to listen etc thread Message-ID: <3f72fda9b70d3c2bd4407106dc4421a7@ihug.co.nz> 'Acousmatic (A sound that we hear without knowing it's cause) is a key word for me in creating experimental soundworks, and informs how the music might be presented to an audience. It was originally a term that Pythagorus used that described a learning situation where he spoke from behind a curtain - believing the students would learn more by just listening to his voice. It refers specifically to a listening situation that considers the "distance which separates sounds from their origin", i.e., an audio-only presentation of sound common to electroacoustic music, but it is also describes a genre which derives itself from the Musique Concrete tradition. (Francois Bayle describes his music as 'acousmatic composition') Francisco Lopez's (who among many things has blindfolded his audiences so they can hear properly and performed behind a curtain) essay 'Against the Stage' is also relevant this thread of conversation. http://www.franciscolopez.net/essays.html best rachel . -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: text/enriched Size: 1244 bytes Desc: not available Url : http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060208/a5b0ef89/attachment.bin From m.chest at paradise.net.nz Tue Feb 7 16:17:29 2006 From: m.chest at paradise.net.nz (m.chest) Date: Wed, 08 Feb 2006 13:17:29 +1300 Subject: [af_list] MAUForum 06 Message-ID: Hi, check out: MAUForum 06 30.01.06 - 19.02.06 PERFORMANCES + DISCUSSIONS + WORKSHOP SERIES architecture . art . culture . body . light . ceremony . sound www.mau.co.nz Yumiko Yoshioka BEFORE THE DAWN performances this Sat 11/Sun12 Feb 8pm Turbulence Wed 15 Feb 8pm MAU TUTAU: Standing in Time Thurs Feb 16 8pm MAU OPUS DEI Sat Feb 18 9pm VENUE: MAU ? Corban Estate 426 Great North Rd Henderson Waitakere City New Zealand mau at mau.co.nz +64 (0)9 836 9345 +64 (0)21 634 432 -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: text/enriched Size: 980 bytes Desc: not available Url : http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060208/d8198b1e/attachment.bin From transient at darcy.co.nz Tue Feb 7 18:12:57 2006 From: transient at darcy.co.nz (transient@darcy.co.nz) Date: Tue, 7 Feb 2006 18:12:57 -0800 (PST) Subject: [af_list] Af_list Digest, Vol 11, Issue 8 In-Reply-To: References: Message-ID: <14606.202.22.18.241.1139364777.squirrel@webmail.darcy.co.nz> Last night I wrote a long thing about all this sound/vision stuff and proceeded to lose it through computer bastardry and human stupidity. Ugh. But regarding This Heat: there is a box set coming out and all the albums are being reissued so don't go paying $50-90 USD for them on ebay, which is what they've been going for lately. The Pop Group need a good reissue scheme too I reckon. And completely[?] unrelated ... is anyone going to see James Brown? I wonder if it would be any good. Ben From simon at modus.com.au Tue Feb 7 20:11:40 2006 From: simon at modus.com.au (Simon Swain) Date: Wed, 08 Feb 2006 15:11:40 +1100 Subject: [af_list] [Fwd: famicom techno junk] Message-ID: <43E96F7C.7050902@modus.com.au> http://robotandproud.com/6955/ From admin at audiofoundation.org.nz Tue Feb 7 20:45:17 2006 From: admin at audiofoundation.org.nz (Admin) Date: Wed, 08 Feb 2006 17:45:17 +1300 Subject: [af_list] Robin Fox, Sean Kerr and mhfs at Artspace, Feb 18th 7 pm Message-ID: ONE NIGHT ONLY! Robin Fox (MELB) Sean Kerr (AK) mhfs (AK) Artspace - 7 pm, Feb 18th $10 waged, $8.00 unwaged Robin Fox is a Melbourne based computer sound and visual artist currently exploring the sonic possibilities of a hybrid that melds ecological contingency theory with live interactive computer music and cutting edge digital diffusion techniques. Robin is one of Australia?s most interesting experimental music exports. His work covers the live performance of electroacoustic music, the symbiosis of sound and light phenomena and the live processing of instrumental and other live electronic sources. His career to date covers solo electroacoustic performance, collaborations with some of the worlds finest improvisers (John Rose, Tony Buck, Clayton Thomas, Anthony Pateras, Erki Veltheim, Clare Cooper among many others) and an ongoing audio visual project that melds electrical signals to create synaesthetic sound/light works. Sean Kerr is an artist and freelance curator. Currently Sean is Senior Lecturer/HOS in Intermedia and Timebased Arts at Elam School of Fine Arts, University of Auckland. Sean has strong interests in sound and its relationship to image, pop culture and visual art. He explores these themes in multiple formats including installation, live performance, painting and the web. Kerr's practice is frequently multi-disciplinary. During 2003 Kerr was invited by Artspace Auckland to curate an annual season of sound projects for their permanent stairwell music installation, resulting in the publication of an experimental music CD. His collaborative working method is well respected and his curatorial projects have all involved the production of new work. mhfs is Mark Sadgrove, an Auckland based sound artist who has released solo work on Celebrate Psi Phenomenon (Lower Hutt), Scarcelight (America) and his own label a binary datum. He is also a member of Auckland ensemble Plains and performs in numerous duos. mhfs has recently performed in Berlin and Tokyo in a micro world-tour. A neo-Luddite, he plans to eventually replace all the equipment he doesn't understand with his own creations and enter a hermetically sealed sound world of insular sonic gestures. Until that day, you get to enjoy his home made pipe guitar and decimator circuits channelled through an angry array of csound processors, creating a barrage of decaying waveforms. Eat up! THANKS TO AUDIO FOUNDATION, COLUMBARD, ELAM, AUT AND ARTSPACE From airdrummer at hotmail.com Tue Feb 7 21:12:59 2006 From: airdrummer at hotmail.com (mike m) Date: Wed, 08 Feb 2006 18:12:59 +1300 Subject: [af_list] Discussion Message-ID: Having just read Bruce's opinion i thought I would weigh in with my own... How many of us have a day-job where we spend 8, 9, or more hours a day sitting in front of a computer,and then on a Saturday evening you go see a performance which consists of... a person sitting behind a computer.I suppose you could play an album by Pita, or whoever, on your headphones at work, and just stare at one of your co-workers typing away, and it wouldn't be to disimilar to actually being at a Pita show, although your co-worker may be marginally more attractive to look at,possibly. On the other hand I guess it takes some courage to get up in front of however many people with nary but a laptop or P.C. to work with.Obviously in terms of travelling artists as well, I would much prefer to see an overseas artist be able to come and perform with just their computer, as opposed to them not being able to perform at all due to prohibitive travel costs etc. O.K., thats it. Thanks Mike Come check me out on Myspace at http://www.myspace.com/47240581 _________________________________________________________________ Discover fun and games at @ http://xtramsn.co.nz/kids From zita at ethermap.org Wed Feb 8 02:47:52 2006 From: zita at ethermap.org (zita) Date: Wed, 8 Feb 2006 23:47:52 +1300 Subject: [af_list] P.D. (Pure Data) workshop Feb 25-26, Auckland Message-ID: Dear af-ers We will be hosting a small + friendly workshop on making sound with Pure Data (open source, free, multi-platform, graphical programming environment) on the weekend of Feb 25 and 26 at the wee home of myself and Adam Willetts in Freemans Bay, Auckland. It will run from 10am to 5pm each day, and will cost $40 per person for the two days. Our living room isn't all that big (but it's free!), so numbers will be restricted to about 5 people. The workshop will be taught by Slovenian musician Luka Princic, who is currently touring the North Island in Adam Hyde's palatial camper van. Luka is an electronic musician and DJ, who has collaborated, performed with or worked for various and varied artists, researchers, musicians, theoreticians, from various fields like new media, sound/noise, music, art, video, film, music for advertising, programing, curating and writing. And he knows a lot about Linux audio. There's more about Luka and gigs etc that he's doing in nz, here: He says that "the workshop will cover an overview of installation options of Pure Data over three platforms, basic syntax, run-through of most of objects, how to use help and tutorial patches, overview of available libraries out in the wild and then some good examples - like building a very basic granular synthesizer - or basic VJ tool. The rest is up to playfulness of all." We can cover all skill levels, as long as you can bring a computer (preferably a laptop, it can be running linux, OSX, or windows). So, if you'd like to come and be playful with some data, please email me asap to reserve a place. thanks Zita zita at ethermap.org From artwerks at slingshot.co.nz Wed Feb 8 16:22:58 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Thu, 9 Feb 2006 13:22:58 +1300 Subject: [af_list] Fw: RHYTHM IS BEST... opening Tuesday 14 Message-ID: <0aa401c62d0e$facbf360$d620b8cb@d400> ----- Original Message ----- From: Enjoy Rhythm is Best Considered Fractally... Chris Cudby Opening Tuesday February 14 6pm Wednesday February 15 - Friday March 10 Artist talk Thursday March 2 6pm Over the next four weeks Chris Cudby will be a daily resident at Enjoy, producing weekly printed booklets with accompanying audio CDs documenting his artistic activities. These publications will be available for purchase in editions of twenty at the beginning of each week and will include drawings, photos, music, interviews, collaborations and sound. Each edition will be colour coded and sold at the beginning of the week: Yellow week one (opening night) Green week two Blue week three Magenta week four Red week four (end of week) Within this format Chris will develop a slow-motion mix of audio and visual narratives that mix, bounce, and collapse into one other, while remaining easily digestible as bite-sized chunks. Perhaps feeding a collector mentality, the collection of all five editions provides individuals with an intimate overview of the entire project. Rhythm is Best Considered Fractally engages with ideas of multi-tasking, space/time manipulation and interstitial states. Rhythm is Best Considered Fractally looks at the remote-viewing and re-organisation of various time based activities with the use of colour as a (non-exclusive) ordering principle. Chris Cudby graduated from Elam, Auckland University in 2003, where he studied in the Intermedia department. For the last two years he has performed extensively throughout New Zealand as half of the musical/sound performance duo of 'Golden Axe'. Chris has shown his work in various galleries and was involved with establishing artist-run space Special gallery, Auckland, where he has both exhibited and curated. Enjoy's five year retrospective catalogue is on sale now. Contact the gallery to find out how you can get your limited edition copy Enjoy Public Art Gallery Level 1, 147 Cuba Street Wellington P: 04 384 0174 E: enjoy at enjoy.org.nz W: www.enjoy.org.nz Enjoy facilitates contemporary art projects and is liberated from commercial constraints to actively promote critical dialogue Enjoy gratefully acknowledges support form Creative New Zealand, Big Image Print and our valuable volunteers -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060209/7fcfd7dd/attachment.htm From stabbiesetc at yahoo.com.au Wed Feb 8 16:30:52 2006 From: stabbiesetc at yahoo.com.au (stefan geoffrey neville) Date: Thu, 9 Feb 2006 13:30:52 +1300 (NZDT) Subject: [af_list] computerworld In-Reply-To: Message-ID: <20060209003052.70032.qmail@web32808.mail.mud.yahoo.com> isnt people playing computers pretty normal by now? i remember when people wouldnt accept DJs as musicians and ive read about how people playing drum machines and synthesizers were treated with horror back in the day. anyone can push a button aye? ....i heard this funny story about how fennesz was getting weird reactions from his electronic purist fans cos he was playing a guitar as well as a laptop. reminds me of when dylan went electric.... ive seen great laptop performances and shit ones where seemingly the performers have done much the same things, the quality of the music had alot to do with it of course but you can still tell when the performer is really performing it. concentration/frantic mouse clicking/taptaptap. i rememebr seeing kraftwerk and while yes they had great visuals i was just as compelled watching those 4 old men standing really still at their computers. at the end when florian actually starting tapping his foot it was like he was really breaking loose....has anyone ever played laptop on a guitar strap like those keyboard guitars? has anyone smashed up their computer on stage like the Who or when cypress hill smashed up their turntables?....another great show was seeing Mattin waving his laptop in front of a giant amp, piercing feedback and yelling into its active mic....or whatabout when rosy parlane turns off the lights and the glare from his screen shines right up his big nose, or merzbow playing two laptops at once! reminded me of those monster two bass drum kits...i dunno. carry on. Af_list-request at audiofoundation.org.nz wrote: Send Af_list mailing list submissions to Af_list at audiofoundation.org.nz To subscribe or unsubscribe via the World Wide Web, visit http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz or, via email, send a message with subject or body 'help' to Af_list-request at audiofoundation.org.nz You can reach the person managing the list at Af_list-owner at audiofoundation.org.nz When replying, please edit your Subject line so it is more specific than "Re: Contents of Af_list digest..." Today's Topics: 1. MAUForum 06 (m.chest) 2. Re: Af_list Digest, Vol 11, Issue 8 (transient at darcy.co.nz) 3. [Fwd: famicom techno junk] (Simon Swain) 4. Robin Fox, Sean Kerr and mhfs at Artspace, Feb 18th 7 pm (Admin) 5. Re: Discussion (mike m) 6. P.D. (Pure Data) workshop Feb 25-26, Auckland (zita) ---------------------------------------------------------------------- Message: 1 Date: Wed, 08 Feb 2006 13:17:29 +1300 From: "m.chest" Subject: [af_list] MAUForum 06 To: Af_list at audiofoundation.org.nz Message-ID: Content-Type: text/plain; charset="windows-1252" Hi, check out: MAUForum 06 30.01.06 - 19.02.06 PERFORMANCES + DISCUSSIONS + WORKSHOP SERIES architecture . art . culture . body . light . ceremony . sound www.mau.co.nz Yumiko Yoshioka BEFORE THE DAWN performances this Sat 11/Sun12 Feb 8pm Turbulence Wed 15 Feb 8pm MAU TUTAU: Standing in Time Thurs Feb 16 8pm MAU OPUS DEI Sat Feb 18 9pm VENUE: MAU ? Corban Estate 426 Great North Rd Henderson Waitakere City New Zealand mau at mau.co.nz +64 (0)9 836 9345 +64 (0)21 634 432 -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: text/enriched Size: 980 bytes Desc: not available Url : http://audiofoundation.org.nz/pipermail/af_list_audiofoundation.org.nz/attachments/20060208/d8198b1e/attachment-0001.bin ------------------------------ Message: 2 Date: Tue, 7 Feb 2006 18:12:57 -0800 (PST) From: transient at darcy.co.nz Subject: Re: [af_list] Af_list Digest, Vol 11, Issue 8 To: Af_list at audiofoundation.org.nz Message-ID: <14606.202.22.18.241.1139364777.squirrel at webmail.darcy.co.nz> Content-Type: text/plain;charset=iso-8859-1 Last night I wrote a long thing about all this sound/vision stuff and proceeded to lose it through computer bastardry and human stupidity. Ugh. But regarding This Heat: there is a box set coming out and all the albums are being reissued so don't go paying $50-90 USD for them on ebay, which is what they've been going for lately. The Pop Group need a good reissue scheme too I reckon. And completely[?] unrelated ... is anyone going to see James Brown? I wonder if it would be any good. Ben ------------------------------ Message: 3 Date: Wed, 08 Feb 2006 15:11:40 +1100 From: Simon Swain Subject: [af_list] [Fwd: famicom techno junk] To: A list digest for the support of innovative audio culture in NZ Message-ID: <43E96F7C.7050902 at modus.com.au> Content-Type: text/plain; charset=ISO-8859-1; format=flowed http://robotandproud.com/6955/ ------------------------------ Message: 4 Date: Wed, 08 Feb 2006 17:45:17 +1300 From: Admin Subject: [af_list] Robin Fox, Sean Kerr and mhfs at Artspace, Feb 18th 7 pm To: af Message-ID: Content-Type: text/plain; charset="ISO-8859-1" ONE NIGHT ONLY! Robin Fox (MELB) Sean Kerr (AK) mhfs (AK) Artspace - 7 pm, Feb 18th $10 waged, $8.00 unwaged Robin Fox is a Melbourne based computer sound and visual artist currently exploring the sonic possibilities of a hybrid that melds ecological contingency theory with live interactive computer music and cutting edge digital diffusion techniques. Robin is one of Australia?s most interesting experimental music exports. His work covers the live performance of electroacoustic music, the symbiosis of sound and light phenomena and the live processing of instrumental and other live electronic sources. His career to date covers solo electroacoustic performance, collaborations with some of the worlds finest improvisers (John Rose, Tony Buck, Clayton Thomas, Anthony Pateras, Erki Veltheim, Clare Cooper among many others) and an ongoing audio visual project that melds electrical signals to create synaesthetic sound/light works. Sean Kerr is an artist and freelance curator. Currently Sean is Senior Lecturer/HOS in Intermedia and Timebased Arts at Elam School of Fine Arts, University of Auckland. Sean has strong interests in sound and its relationship to image, pop culture and visual art. He explores these themes in multiple formats including installation, live performance, painting and the web. Kerr's practice is frequently multi-disciplinary. During 2003 Kerr was invited by Artspace Auckland to curate an annual season of sound projects for their permanent stairwell music installation, resulting in the publication of an experimental music CD. His collaborative working method is well respected and his curatorial projects have all involved the production of new work. mhfs is Mark Sadgrove, an Auckland based sound artist who has released solo work on Celebrate Psi Phenomenon (Lower Hutt), Scarcelight (America) and his own label a binary datum. He is also a member of Auckland ensemble Plains and performs in numerous duos. mhfs has recently performed in Berlin and Tokyo in a micro world-tour. A neo-Luddite, he plans to eventually replace all the equipment he doesn't understand with his own creations and enter a hermetically sealed sound world of insular sonic gestures. Until that day, you get to enjoy his home made pipe guitar and decimator circuits channelled through an angry array of csound processors, creating a barrage of decaying waveforms. Eat up! THANKS TO AUDIO FOUNDATION, COLUMBARD, ELAM, AUT AND ARTSPACE ------------------------------ Message: 5 Date: Wed, 08 Feb 2006 18:12:59 +1300 From: "mike m" Subject: Re: [af_list] Discussion To: Af_list at audiofoundation.org.nz Cc: airdrummer at hotmail.com Message-ID: Content-Type: text/plain; format=flowed Having just read Bruce's opinion i thought I would weigh in with my own... How many of us have a day-job where we spend 8, 9, or more hours a day sitting in front of a computer,and then on a Saturday evening you go see a performance which consists of... a person sitting behind a computer.I suppose you could play an album by Pita, or whoever, on your headphones at work, and just stare at one of your co-workers typing away, and it wouldn't be to disimilar to actually being at a Pita show, although your co-worker may be marginally more attractive to look at,possibly. On the other hand I guess it takes some courage to get up in front of however many people with nary but a laptop or P.C. to work with.Obviously in terms of travelling artists as well, I would much prefer to see an overseas artist be able to come and perform with just their computer, as opposed to them not being able to perform at all due to prohibitive travel costs etc. O.K., thats it. Thanks Mike Come check me out on Myspace at http://www.myspace.com/47240581 _________________________________________________________________ Discover fun and games at @ http://xtramsn.co.nz/kids ------------------------------ Message: 6 Date: Wed, 8 Feb 2006 23:47:52 +1300 From: zita Subject: [af_list] P.D. (Pure Data) workshop Feb 25-26, Auckland To: Af_list at audiofoundation.org.nz Message-ID: Content-Type: text/plain; charset=US-ASCII; format=flowed Dear af-ers We will be hosting a small + friendly workshop on making sound with Pure Data (open source, free, multi-platform, graphical programming environment) on the weekend of Feb 25 and 26 at the wee home of myself and Adam Willetts in Freemans Bay, Auckland. It will run from 10am to 5pm each day, and will cost $40 per person for the two days. Our living room isn't all that big (but it's free!), so numbers will be restricted to about 5 people. The workshop will be taught by Slovenian musician Luka Princic, who is currently touring the North Island in Adam Hyde's palatial camper van. Luka is an electronic musician and DJ, who has collaborated, performed with or worked for various and varied artists, researchers, musicians, theoreticians, from various fields like new media, sound/noise, music, art, video, film, music for advertising, programing, curating and writing. And he knows a lot about Linux audio. There's more about Luka and gigs etc that he's doing in nz, here: He says that "the workshop will cover an overview of installation options of Pure Data over three platforms, basic syntax, run-through of most of objects, how to use help and tutorial patches, overview of available libraries out in the wild and then some good examples - like building a very basic granular synthesizer - or basic VJ tool. The rest is up to playfulness of all." We can cover all skill levels, as long as you can bring a computer (preferably a laptop, it can be running linux, OSX, or windows). So, if you'd like to come and be playful with some data, please email me asap to reserve a place. thanks Zita zita at ethermap.org ------------------------------ _______________________________________________ Af_list mailing list Af_list at audiofoundation.org.nz http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz End of Af_list Digest, Vol 11, Issue 10 *************************************** Send instant messages to your online friends http://au.messenger.yahoo.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060209/0bedeb8c/attachment.html From stephen at dorkinglabs.com Wed Feb 8 16:58:34 2006 From: stephen at dorkinglabs.com (Your Name) Date: Thu, 09 Feb 2006 13:58:34 +1300 Subject: [af_list] RHYTHM IS BEST... opening Tuesday 14 Message-ID: > Rhythm is Best Considered Fractally engages with ideas of > multi-tasking, space/time manipulation and interstitial states. > Rhythm is Best Considered Fractally looks at the remote-viewing > and re-organisation of various time based activities with the > use of colour as a (non-exclusive) ordering principle. Who writes this shit? I mean, really. Who are they trying to reach? What are they trying to convey? For e.g. "interstitial states" is just wanton obfuscation. *hrrrrmmpphhh* [stephen clover::::www.dorkinglabs.com/seht.php] From sam99 at student.canterbury.ac.nz Thu Feb 9 03:46:17 2006 From: sam99 at student.canterbury.ac.nz (sam99) Date: Fri, 10 Feb 2006 00:46:17 +1300 Subject: [af_list] Joel Stern's review of Trans Acoustic in realtime Message-ID: <43E97EC9@webmail> something to add to your bibliographies: Joel Stern, Brisbane based practitioner, curator, writer (and Trans Acoustic participant - as one half of Abject Leader with partner Sally Golding) has published a review of December's Trans Acoustic festival in the latest issue of Real Time, a print/online bi-monthly from Sydney. It's an insightful overview of the performances which highlights the work of the Audio Foundation and briefly grounds the festival within various concerns, such as the wider context of historic synaesthesic art activity, the growing attention to conjunctive filmic/sonic projects, and the unique possibilities of the live forum . It also serves as a useful insight for those AF list members not able to make it to Auckland for all, or some, of the festival. .. "Robot music was once supposed to sound clean and precise like Kraftwerk, but Willett?s robots are punkish and temperamental, hacking out epileptic staccato rhythms interspersed by waves of feedback. " "Cunningham?s droning electric guitar accompanies, nicely offsetting the squiggly electronics. Once again, a literal sound/image connection has been constructed; ie, a sound signal is output directly into a visual input or vice versa. This kind of signal synaesthesia is undoubtedly a major theme of the festival." covers: The Electric Biorama Spectacular/ Andrew Clifford Bees and Spandex Botborg Plains A History of Mapmaking Robin Fox Adam Willetts The Professionals Abject Leader http://www.realtimearts.net/rt71/stern_transacoustic.html and for anyone interested in the history of Synaesthesia in artistic modernity, the recently released Thames and Hudson book 'Visual Music - Synaesthesia in Art & Music since 1900' is definately worth a browse. At least one New Zealander (Mr Lye, naturally) is there in force... Sally From fiffdimension at hotmail.com Thu Feb 9 11:27:53 2006 From: fiffdimension at hotmail.com (David Edwards) Date: Fri, 10 Feb 2006 08:27:53 +1300 Subject: [af_list] Aussie album + music journalism Message-ID: Hey guys, New release from www.fiffdimension.co.nz - my fifth solo album, 'After Maths & Sciences'. This one's quite a departure from the others. It's got an 'Australia' theme and is all recorded in Melbourne, Sydney and Gosford between May 2005 and January 2006. Instrumentation consists of banjo, computer beats/sounds, and field recordings of Australian voices, birdlife, street sounds etc. There's an element of journalism to it, as there are Aussies talking about bomb threats, climate change, the race riots at Cronulla etc. It also features Fran Mountfort on cello, plus acoustic guitar, shakuhachi (Japanese woodwind), and drums pieces. Cover art and a couple of mp3s are on the website. Email me to get a copy ($15 or can do trades). I also fixed up the www.fiffdimension.co.nz/davewriting.htm page, so you can read some of my published music writing. Has pieces on The Space, Antony Milton, Birchville Cat Motel etc. Let me know what you think.... Dave PS re live performance with computers - I'm definitely of the 'display the desktop' school of thought. Half the fun of watching a live performance is seeing the musicians play their instrument, so why not computer users? On the other hand, it really pisses me off when players of any kind (feedback guitarists are quite prone to this) turn their back to the audience. The notorious Gate performance in Wellington a few years ago where Morley sat behind a laptop AND turned his back the whole time may in retrospect have gone so far it became performance art in itself? Or maybe we were supposed to be able to see the screen over his shoulder? www.fiffdimension.co.nz _________________________________________________________________ Need more speed? Get Xtra Broadband @ http://jetstream.xtra.co.nz/chm/0,,202853-1000,00.html From turnstyle at obscure.co.nz Thu Feb 9 12:45:48 2006 From: turnstyle at obscure.co.nz (Simon Kong) Date: Fri, 10 Feb 2006 09:45:48 +1300 Subject: [af_list] MIDI exoskeleton In-Reply-To: <43E88788.90107@frey.co.nz> References: <20060201031214.20927.qmail@web32809.mail.mud.yahoo.com> <43E04735.7050105@obscure.co.nz> <43E288B4.3040607@obscure.co.nz> <43E88788.90107@frey.co.nz> Message-ID: <43EBA9FC.3000909@obscure.co.nz> Damian Stewart wrote: > Simon Kong wrote: > >> The list I swiped the link from .. have been having interesting discussion >> surrounding the use of physical interfaces for digital music. > > what list, out of interest? Ah .microsound .. at hyperreal From admin at audiofoundation.org.nz Thu Feb 9 14:36:58 2006 From: admin at audiofoundation.org.nz (Admin) Date: Fri, 10 Feb 2006 11:36:58 +1300 Subject: [af_list] ONE PLACE NOW AVAILABLE FOR MAX MSP WORKSHOPS NEXT WEEK! Message-ID: Due to unforseen circumstances, one of the attendees has had to drop out. They are hoping that someone can take their place to cover their payment. The details are: 10 - 4 Tues 14th feb - Sat 18th feb next week beginners course of Max MSP workshops with Robin Fox at AUT $160.00 contact admin at audiofoundation.org.nz asap to secure this one time opportunity! From admin at audiofoundation.org.nz Thu Feb 9 16:42:40 2006 From: admin at audiofoundation.org.nz (Admin) Date: Fri, 10 Feb 2006 13:42:40 +1300 Subject: [af_list] round 6 is up for your remixing pleasure! Message-ID: organ organ organ From douglas at paradise.net.nz Fri Feb 10 15:34:05 2006 From: douglas at paradise.net.nz (Douglas Bagnall) Date: Sat, 11 Feb 2006 12:34:05 +1300 Subject: [af_list] is rhythm best considered fractally? In-Reply-To: References: Message-ID: <43ED22ED.8030201@paradise.net.nz> Stephen wrote: > Who writes this shit? I mean, really. Who are they > trying to reach? What are they trying to convey? For > e.g. "interstitial states" is just wanton obfuscation. "interstitial states" would read "free beer at Enjoy, this Tuesday, with musical accompaniment". Actually, I have a question prompted by the title: >> Rhythm is Best Considered Fractally Now I think music is conventionally considered as epicyclic. There are little cycles of beats, bars, riffs, phrases layered on top of big cycles of verses, movements etc. This is more or less the same as a fractal view -- it is self-similar at different scales. Epicycles were of course once used to describe the movement of planets. By layering cycles upon cycles, people were able to explain their movements with some degree of success. After Copernicus and Kepler, it became simpler to describe their movements in terms of coaxial ellipses. So I wonder, is there any music that uses this analogy? It would involve some kind of projection between points within a set of concentric elliptical orbits. Each point of view within the system would give you different sounds. I suspect this is quite commonly used, but I have not met it. I should say that, while a fractal view may be just a minor restatement of the conventional system, there is really nothing wrong with that. douglas From intergalactim at gmail.com Fri Feb 10 18:11:00 2006 From: intergalactim at gmail.com (Tim Coster) Date: Sat, 11 Feb 2006 15:11:00 +1300 Subject: [af_list] AUDIO POCKET 4 Message-ID: <7929e4710602101811p5c63f2abu@mail.gmail.com> Audio Pocket 4 -------------------------------------------------- sound performances by: Nova Viator (Luka Princic, Slovenia) Jane Austen + guests for finale -------------------------------------------------- Sunday 26th February 2006 7pm $5 -------------------------------------------------- rm103 Gallery 1st Floor, Archilles House cnr Commerce & Customs St East Auckland From sclover at xtra.co.nz Fri Feb 10 18:46:05 2006 From: sclover at xtra.co.nz (stephen) Date: Sat, 11 Feb 2006 15:46:05 +1300 Subject: [af_list] http://audiofoundation.org.nz/remix-archive.php Message-ID: <20060211024557.XOOQ14226.mta3-rme.xtra.co.nz@SN2790677022> Hi Zoe, I'm really just being a nerd here, but Get first participant Make my_participant_list an empty string While I don't run out of participants if my_participant_list is not empty add ", " to my_participant_list end if add participant to my_participant_list get next participant End while :) [stephen clover::::www.dorkinglabs.com/seht.php] -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060211/fbcb8945/attachment.htm From admin at audiofoundation.org.nz Fri Feb 10 21:59:53 2006 From: admin at audiofoundation.org.nz (Admin) Date: Sat, 11 Feb 2006 18:59:53 +1300 Subject: [af_list] FW: SoundLab: call for soundart In-Reply-To: <20060210102417.7BD9FE65.F59E8FFE@127.0.0.1> Message-ID: ---------- From: "[soundLAB]" Reply-To: "[soundLAB]" Date: Fri, 10 Feb 2006 10:24:17 +0100 To: Subject: SoundLab: call for soundart Call for soundart deadline 30 June 2006 http://netex.nmartproject.net/index.php?blog=8&cat=54 . Soundlab http://soundlab.newmediafest.org is invited to launch its 4th edition in the framework of the Cologne based soundart event KlangDrang Festival www.klangdrang.org 6-7 October 2006 and be part of the interactive media exhibition by [R][R][F]2006--->XP - http://rrf2006.newmediafest.org on the same occasion. . ---> --->Call for submissions Deadline 30 June 2006 . SoundLab is looking for soundart works of a) experimental character b) electronic music c) Voice -sound/music integration d) and other forms . Theme : "Memoryscapes" based on the subjects: ---> "memory" and "identity" . The submission has to be posted on a webpage for download, please do not send it as an email attachement. Submission format: .mp3 Size: Max 5MB, exceptions possible, but on request. . The authors/artists keep all rights on their submitted works. . Deadline 30 June 2006 Please use this form for submitting: ******************* 1.name of artist, email address, URL 2. short biography/CV (not more than 300 words) 3. works (maximum 3), year of production, running time a) URL for download 4. short statement for each work (not more than 300 words each) . Confirmation/authorization: The submitter declares and confirms that he/she is holding all author's rights and gives permission to include the submitted work in "Soundlab" online environment until revoke. Signed by (submitter) . Please send the complete submission to soundlab at newmediafest.org subject: Soundlab edition IV . Deadline 30 June 2006 . This call can be also found on http://netex.nmartproject.net/index.php?blog=8&cat=54 . ***************************** editions I - III of SoundLab - can be found on SoundLab Channel/Memory Channel 7-->at [R][R][F]2006--->XP http://rrf2006.newmediafest.org via the artistic body or separately also via http://rrf2006.newmediafest.org/schannel.htm or http://soundlab.newmediafest.org Both are corporate parts of [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net the experimental platform for art and New Media operating from Cologne/Germany and its common weblog is NetEX - networked experience http://netex.nmartproject.net ************************************************ info(at)nmartproject.net From transient at darcy.co.nz Fri Feb 10 23:46:50 2006 From: transient at darcy.co.nz (transient@darcy.co.nz) Date: Fri, 10 Feb 2006 23:46:50 -0800 (PST) Subject: [af_list] http://audiofoundation.org.nz/remix-archive.php In-Reply-To: References: Message-ID: <16958.210.246.20.246.1139644010.squirrel@webmail.darcy.co.nz> Stephen, what the fuck are you talking about? _______________________ Hi Zoe, I'm really just being a nerd here, but Get first participant Make my_participant_list an empty string While I don't run out of participants if my_participant_list is not empty add ", " to my_participant_list end if add participant to my_participant_list get next participant End while :) [stephen clover::::www.dorkinglabs.com/seht.php] From lduncalfe at eml.cc Sat Feb 11 01:22:31 2006 From: lduncalfe at eml.cc (Luke Duncalfe) Date: Sat, 11 Feb 2006 22:22:31 +1300 Subject: [af_list] http://audiofoundation.org.nz/remix-archive.php References: <16958.210.246.20.246.1139644010.squirrel@webmail.darcy.co.nz> Message-ID: <000b01c62eec$b163b8e0$c70098de@twwrb> oh you big fat nerd you. feature implemented, but only because you are so obtuse. it ended up being: make participants an empty string while i don't run out of participants get next name of a participant add it to the participants string with a comma get next partipant end while chop last character off participants string (,) luke ----- Original Message ----- From: To: Sent: Saturday, February 11, 2006 8:46 PM Subject: Re: [af_list] http://audiofoundation.org.nz/remix-archive.php > Stephen, what the fuck are you talking about? > > _______________________ > Hi Zoe, > I'm really just being a nerd here, but > > Get first participant > Make my_participant_list an empty string > While I don't run out of participants > if my_participant_list is not empty > add ", " to my_participant_list > end if > add participant to my_participant_list > get next participant > End while > > :) > > [stephen clover::::www.dorkinglabs.com/seht.php] > > > _______________________________________________ > Audio Foundation (AF) mailing list > Af_list at audiofoundation.org.nz > http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz > From artwerks at slingshot.co.nz Sat Feb 11 15:22:12 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Sun, 12 Feb 2006 12:22:12 +1300 Subject: [af_list] NODE.London Message-ID: <10dc01c62f61$fd1fa300$d620b8cb@d400> Lots of sound-related stuff in this March festival, which might be worth keeping an eye/ear on. According to the front page, they're looking for projects too: http://nodel.org http://nodel.org/events.php?ID=24 http://nodel.org/events.php?ID=106 http://nodel.org/events.php?ID=40 etc. Andrew -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060212/d16bb292/attachment.html From artwerks at slingshot.co.nz Sat Feb 11 15:46:06 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Sun, 12 Feb 2006 12:46:06 +1300 Subject: [af_list] Fw: [Ada_list] FW: CALL FOR ENTRIES 2006 Message-ID: <119d01c62f65$53d7ece0$d620b8cb@d400> FILE | ELECTRONIC LANGUAGE INTERNATIONAL FESTIVALAnother post gleaned from the ADA list that might be of interest to AFers... ----- Original Message ----- From: FILE [mailto:contato at file.org.br] Sent: Sunday, February 12, 2006 9:04 AM Subject: CALL FOR ENTRIES 2006 FILE NEWSLETTER/// ELECTRONIC LANGUAGE INTERNATIONAL FESTIVAL FEBRUARY 10TH 2006/// S?O PAULO/// BRAZIL/// 10 DE FEVEREIRO DE 2006/// S?O PAULO/// BRASIL/// FILE FESTIVAL 2006 FILE - Electronic Language International Festival is opening registrations for its seventh edition, that will be held at Sesi Paulista's cultural space, in Sao Paulo, Brazil, in the period from August 14 to September 3, 2006. Subscriptions are open from Febraury 10 to March 31, 2006. Submissions are free and open to professionals, researchers and students of the electronic language. In the last six years, FILE has shown what's been happening in the global networks related to digital and electronic arts, becoming a reference for studies and research on new media. It has exhibited web art, net art, artificial life, hypertext, computer animation, real time teleconference, virtual reality, soft art, games, interactive movies, e-videos, digital panoramas and electronic art installations and robotics, through interactive and immersive rooms. FILE SYMPOSIUM has become a meeting point in the city of S?o Paulo, proposing discussions and tackling the electronic-digital culture in its relations to art, science and technologies. FILE HIPERS?NICA, the festival's sonorous branch, is on it's 4th edition and intends to elaborate connections between the world of images, the world of sonorities and the world of texts. Sound installations and real time performances will be presented by a number of groups and collectives, comprising both erudite and pop electronic music, but also electronic compositions, sound poetry, radio art, video music and sonic landscapes, as well as Djs and VJs presenting their sets through specific apparatus and installations with experimental and immersive projections. For more information visit: [+] -------------------------------------------------------------------------- Click here to unsubscribe Caso n?o queira receber a newsletter clique aqui -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.375 / Virus Database: 267.15.2/253 - Release Date: 2/7/2006 -- No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.1.375 / Virus Database: 267.15.2/253 - Release Date: 2/7/2006 -------------------------------------------------------------------------------- _______________________________________________ Ada_list mailing list Ada_list at list.waikato.ac.nz http://aotearoadigitalarts.org.nz/ -------------------------------------------------------------------------------- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.375 / Virus Database: 267.15.6/257 - Release Date: 10/02/2006 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060212/1481a580/attachment.htm From minimmusic at yahoo.co.uk Sat Feb 11 19:04:13 2006 From: minimmusic at yahoo.co.uk (rose and melody) Date: Sun, 12 Feb 2006 03:04:13 +0000 (GMT) Subject: [af_list] Nova Viator Live at minim Message-ID: <20060212030413.53474.qmail@web27013.mail.ukl.yahoo.com> Just to let you guys know about another performance by Nova Viator(Slovenia), this time at Galatos as part of minim on Thursday the 23rd of February, starting at 9pm. The evening will feature Micheal Gemmell, DJing first, followed by Nova Viator who will be playing live for two hours. His music will be more beat based than the stuff he's gonna play on the following Sunday. Ending the night will be minimal maestro Miles Kuen. oh, and the night is FREE as well..... ___________________________________________________________ To help you stay safe and secure online, we've developed the all new Yahoo! Security Centre. http://uk.security.yahoo.com From artwerks at slingshot.co.nz Sun Feb 12 11:25:32 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Mon, 13 Feb 2006 08:25:32 +1300 Subject: [af_list] Fw: ECHOES FROM THE MOUNTAINS in Bardonecchia, Cesana, Salice d'Ulzio, San Sicario, Sestriere; Susa Valley, Torino, Italy Message-ID: <126101c6300a$17cb1830$d620b8cb@d400> e-flux ----- Original Message ----- From: e-Flux 02/12/06 -------------------------------------------------------------------------- ECHOES FROM THE MOUNTAINS ECHOES FROM THE MOUNTAINS From February 11th to 26th 2006 in Bardonecchia, Cesana, Salice d'Ulzio, San Sicario, Sestriere; Susa Valley, Torino, Italy Eleven Italian and international artists, five sound showcases and a performance set in the mountains that will host the XX Olympic Winter Games Conceived and curated by Ombretta Agr? in collaboration with Galleria One Off, Torino http://www.echoesfromthemountains.info -------------------------------------------------------------------------- ECHOES FROM THE MOUNTAINS Suoni in Alta Quota Sound surrounds us all the time. John Cage pointed out that there is no such thing as silence; from practically the time we are conceived until the time we die, we live bathed in non-stop sound. Echoes From the Mountains - Suoni in Alta Quota, a sound project of the official Cultural Olympiad program, is about tuning into this force of nature and of art creating "sound environments" which will stimulate the public to pay more attention to the world of sounds, may these be natural or the elaboration of an artist or a composer. For a couple of weeks, during the XX Olympic Winter Games in the ski resorts hosting the races, eleven Italian and international artists selected by the curator will present sound installations created for the occasion. All of the artists involved in Echoes from the Mountains - Suoni in Alta Quota, with the exception of the ones showcased in the Morrow Sound Cube, were asked to produce specific sound works responding to the unique characteristics of the project such as its geographical location, the Winter Olympic Games framework, and the diverse and heterogeneous audience that is going to interact with their installations. Special event of the project will be Phil Kline's performance Chinook, a sound sculpture of many individual parts, recorded on audio tapes or CD and played through multiple moving boom boxes. The participants to the performance are asked to meet at a certain time and in a given location and to bring along their own boom boxes (some will be provided by the organizers and available for those who may not have their own). Kline will then give out the cassettes and CDs to those provided with a stereo and at his go! they are asked to push the play button. The artist leads the crowd in a 30 minutes "musical stroll" throughout the streets of the town. Press conference: Sunday, February 12th 2006 at 6.00 pm, at LOV DURDEN / GALLERIA ONE OFF (Via Bonelli angolo via Sant'Agostino, Torino) Sound installations (from February 11th to 26th 2006): JOE DIEBES, Emblem: Salice d'Ulzio, giardini pubblici di Via della Torre ENRICO GLEREAN, Nipha: Cesana, Via Roma MorrowSoundT Cube, with Charlie Morrow, Olivia Block, Steve McCaffery, Miya Masaoka, Scanner, Vlada Tomova: Sestriere, Piazzale Fraiteve STEPHEN VITIELLO, Whoosh: Bardonecchia, Piazza Valle Stretta ZIMMERFREI, Frozen: San Sicario, arrivo telecabina Live performance: PHIL KLINE, Chinook: Salice d'Ulzio, via Assietta, p.tta ufficio postale February 14th, 6.00 pm Bardonecchia, meeting point via Medail 61, February 19th, 5.30 pm For further info: http://www.echoesfromthemountains.info - info at echoesfromthemountains.info Design and communication, press office: AdfarmandChicas -------------------------------------------------------------------------- email to a friend contact subscribe electronic flux corporation / www.e-flux.com 295 greenwich street #532, nyc ny 10007 to unsubscribe click / here -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060213/1901ae33/attachment.html From admin at audiofoundation.org.nz Sun Feb 12 14:05:44 2006 From: admin at audiofoundation.org.nz (Admin) Date: Mon, 13 Feb 2006 11:05:44 +1300 Subject: [af_list] thoughts about laptop styles being the new"folk" from microsound list Message-ID: To: microsound From: Graham Miller Subject: Re: [microsound] folk-music instrument Message-ID: <43EED498.50903 at sympatico.ca> folk music = people (folk) music ('volk' from the german - as in volkswagen - peoplemobile) more specifically, (and more importantly) 'a' people's music. we, as computer users, internet dwellers, software dabblers - the technologically inclined - are such a people, and this is our 'folk' music. music -of- the people. music -for- the people. idealized as separate from the marketplace (although, this is, of course, an illusion). but you get the idea... the southern porch clich? is the internet for us. microsound.org is our town meeting. it has nothing to do w/ banjos. you can talk about bluegrass as a genre, as an aesthetic, but not folk (although i understand the popular misconception). there are just as many folk traditions as there are 'folk.' my roots, my folk, my people, have absolutely zero to do w/ anything bob dylan pre or post - the so-called mainstream folk artists (there's a contradiction in terms...). i come from computer culture. i come from growing up upper middle class, immersed in technology and personal computers from day one, in a wealthy, clean, safe, major north american metropolitan experience in the 70s, 80s and 90s. my folk music is techno. folk music is a discourse, not a sound. and laptop music as 'folk music' is without a doubt an extremely valid and useful way for describing and understanding the kinds of grassroots (well, closer to astroturf, for sure) spread of our culture and music via electronic channels, such as the internet. global village music, perhaps. there's lots of 'academic' writing on these kinds of ideas out there for the academically inclined. but i'm retired from that kind of self-inflicted pain now:) my $0.02 g. jeff gburek wrote: >maybe you're right. the laptop isn't disposable enough >yet. maybe in a decade? > >--- roberth wrote: > > > >>the dead c are my favorite folk band. >>actually i am quoting jack rose. >> >>i don't agree about the laptop sorry, >>actually the cheap casio is the folk music >>instrument all over the world. >>robert >>----- Original Message ----- >>From: "jeff gburek" >>To: "microsound" >>Sent: Friday, February 10, 2006 10:25 PM >>Subject: [microsound] folk-music instrument >> >> >> >> >>>i don't think devlashnull was saying laptoppers >>> >>> >>should >> >> >>>start "covering" folk-music traditions. maybe the >>>duelling banjos bit is a little too "hee-haw" to >>> >>> >>take >> >> >>>seriously. but there is a concept underlying this >>> >>> >>that >> >> >>>i find compelling: that the laptop has become very >>>common tool for expressing, akin one's voice, >>> >>> >>which is >> >> >>>also part of one's experience. i don't think of >>>folk-music as just a genre wherein you have your >>> >>> >>rosco >> >> >>>holcomb and your skip (or joseph) spence or >>> >>> >>records >> >> >>>and your harry smith anthology etc. set out on the >>>table to define what the music is. the argument >>> >>> >>has >> >> >>>been made that all folk-music is essentially >>> >>> >>popular >> >> >>>music. but i think of it differently: it comes out >>> >>> >>of >> >> >>>the songs you sing while working or after work >>> >>> >>when >> >> >>>waiting for the dinner that isn't coming because >>> >>> >>the >> >> >>>government seized all your chickens saying they >>> >>> >>got >> >> >>>some kind of flu. like that. arguably most people >>> >>> >>with >> >> >>>laptops don't have those kind of blues to sing. >>> >>> >>but on >> >> >>>the other hand, there is still isolation, death, >>>loneliness and desperation and the laptop itself >>> >>> >>to >> >> >>>make the material of laments >>>jg >>> >>>--- roberth wrote: >>> >>> >>> >>>>nice image >>>>except going no deeper into the folk tradition >>>>than a commerialized thing like dueling banjos >>>>sure ain't dock boggs >>>>maybe says something about >>>>laptop shit >>>>robert >>>>----- Original Message ----- >>>>From: "devslashnull" >>>>To: "microsound" >>>>Sent: Wednesday, February 08, 2006 8:00 AM >>>>Subject: Re: [microsound] visual artists >>>> >>>> >>>> >>>> >>>>>to me this is a further reinforcement of the >>>>> >>>>> >>>>notion of much "laptop" >>>> >>>> >>>>>music (and by extension "laptop musicians") who >>>>> >>>>> >>>>exist outside of >>>> >>>> >>>>>academia, or without much formal training, >>>>> >>>>> >>being >> >> >>>>considered more as >>>> >>>> >>>>>"folk-artists" or making a new kind of >>>>> >>>>> >>>>"folk-music". >>>> >>>> >>>>>the laptop and/or personal computer (and >>>>> >>>>> >>related >> >> >>>>software) having >>>> >>>> >>>>>become, in our time, in our culture, as >>>>> >>>>> >>ubiquitous >> >> >>>>as the odd guitar or >>>> >>>> >>>>>harmonica laying around the house, are now what >>>>> >>>>> >>>>could be considered >>>> >>>> >>>>>"folk instruments". >>>>> >>>>>conjures up images of "Deliverance" where >>>>> >>>>> >>dueling >> >> >>>>banjo's is played out >>>> >>>> >>>>>by a couple of folks sitting on the porch with >>>>> >>>>> >>>>laptops. >>>> >>>> >>>>>in fact on a tour in the summer of 2002 we ( >>>>> >>>>> >>>>3-piece laptop improv >>>> >>>> >>>>>group) played a version of "dueling banjo's" on >>>>> >>>>> >>>>our laptops to >>>> >>>> >>>>>represent that very idea. we cut up all the >>>>> >>>>> >>>>guiitar and banjo sections >>>> >>>> >>>>>individually and loaded them on seperate >>>>> >>>>> >>machines >> >> >>>>and proceeded to >>>> >>>> >>>>>mangle them into sonic suuuuu-weeee. >>>>> >>>>> >>>>> >>>>>On Feb 7, 2006, at 5:16 PM, David Powers wrote: >>>>> >>>>> >>>>> >>>>>>It wouldn't surprise me if people with a >>>>>> >>>>>> >>"proper" >> >> >>>>musical background >>>> >>>> >>>>>>of some sort (I'm a music school dropout) are >>>>>> >>>>>> >>a >> >> >>>>minority, >>>> >>>> >>>>>CommTom >>>>>Communications of Tomorrow >>>>>"it's only a day away" >>>>> >>>>>unique electronic music for the adventurous >>>>> >>>>> >>ear. >> >> >>>>>http://www.commtom.com >>>>> >>>>> >>>>> >>>> >>>> >--------------------------------------------------------------------- > > >>>>To unsubscribe, e-mail: >>>>microsound-unsubscribe at hyperreal.org >>>>For additional commands, e-mail: >>>>microsound-help at hyperreal.org >>>>website: http://www.microsound.org From damian at frey.co.nz Sun Feb 12 22:09:11 2006 From: damian at frey.co.nz (Damian Stewart) Date: Mon, 13 Feb 2006 19:09:11 +1300 Subject: [af_list] Nova Viator Live at minim and at Happy In-Reply-To: <20060212030413.53474.qmail@web27013.mail.ukl.yahoo.com> References: <20060212030413.53474.qmail@web27013.mail.ukl.yahoo.com> Message-ID: <43F02287.1060005@frey.co.nz> rose and melody wrote: > Just to let you guys know about another performance by > Nova Viator(Slovenia), this time at Galatos as part of > minim on Thursday the 23rd of February, starting at > 9pm. also for the Wellingtonites at Happy on Tomorrow Tuesday the 14th of February with 'local support' which includes me. love you all. -- f r e y live music with computers http://www.frey.co.nz From damian at frey.co.nz Sun Feb 12 22:18:17 2006 From: damian at frey.co.nz (Damian Stewart) Date: Mon, 13 Feb 2006 19:18:17 +1300 Subject: [af_list] is rhythm best considered fractally? In-Reply-To: <43ED22ED.8030201@paradise.net.nz> References: <43ED22ED.8030201@paradise.net.nz> Message-ID: <43F024A9.7060408@frey.co.nz> Douglas Bagnall wrote: > Now I think music is conventionally considered as epicyclic. There > are little cycles of beats, bars, riffs, phrases layered on top of big > cycles of verses, movements etc. This is more or less the same as a > fractal view -- it is self-similar at different scales. i was dancing at Fat Freddy's Drop last night (then we came back here and put Bongmaster on and it became amazingly apparent how much soul Dallas and Mu have /lost/ in the intervening years, but anyway). One thing that happens when I dance is I make bits of my body move in little circles independent of each other, each body bit following a certain bit of the beat - if the beat is good (eg a Mu beat) the circles all coincide at a low/high energy point on the beat, and so matching the beat with a head-bop or a hip-swirl becomes a natural effortless thing. Anyway I think rhythm is all bounces. I'm going to write a rhythm analysing/generating system that uses some kind of overlaid cycles setup like this - assign an energy value to each point around the cycle and set the cycles in motion such that the overall (summed) energy of all cycles at any given point follows a certain pattern - stays constant, or follows a sine pattern over time, or a sawtooth, or something. Hmm, must talk to physics dept. -- f r e y live music with computers http://www.frey.co.nz From admin at audiofoundation.org.nz Sun Feb 12 21:26:47 2006 From: admin at audiofoundation.org.nz (Admin) Date: Mon, 13 Feb 2006 18:26:47 +1300 Subject: [af_list] FW: how can you fit so much entertainment in one week and still find time for your self pity? In-Reply-To: <03be01c6304c$e4dc04f0$9b11f6d2@happy> Message-ID: ---------- From: HAPPY Reply-To: HAPPY Date: Mon, 13 Feb 2006 16:23:43 +1300 To: happymusic at paradise.net.nz Subject: how can you fit so much entertainment in one week and still find time for your self pity? Monday 13th: I, Keyboard - An adventure in Scifi Soundtravel by Nigel Patterson - 8pm Tuesday 14th: I, Keyboard - 8pm, Nova Viator (Slovenian laptop based pure data, linux, granular synthesis artist) + accompanied by local guests - 10pm Luka Princic (Nova Viator) (b. 1977). Works in the field of sound and programming as a performer and composer. He is an artist, web-developer, dj, writer, critic, reverse engineer, part-time hacker and open source agent. Released number of web-albums (mono211.com, kahvi.org, theralite.avalon.hr, letusplay.net), running online projects skylined.org and letusplay.net, worked at Ljubljana Digital Media Lab - Ljudmila (.si) on various online, streaming and sound projects (Ljudmila Audio Studio, Ops!Comuna). Co-curated first slovene digital moving image festival Scan Line (scan-line.org), collaborated with r a d i o q u a l i a on free media system Frequency Clock and created software art project Music for Hard Disks (letusplay.net/m4hd) with Dunja Kukovec - recently exhibited as sound installation at Kapelica Gallery (.si). All his work is based on copyleft ethics and DIY philosophy. Recently he is especially interested in transection of subjectivity, hackerism, technology, programming, anarctivism, user interfaces, digital networks, music and sound. At the moment he's settled in Ljubljana, working as sound designer, composer, producer, dj and 'pure data' programer of/for interactive and generative sound interventions, performances and installations, mostly through "No-Org Sonic Artitextures" entity. http://viator.si/nz2006/ Wednesday 15th: I Keyboard - 8pm, Daphne Owers (Shirleys) - 10pm Thursday 16th: Jasmine Lovellsmith and The Night Dreamers present Music For an Elastic Jazz Band - 8pm, Verso & Prion - 10pm Friday 17th: Jasmine Lovellsmith and The Night Dreamers present Music For an Elastic Jazz Band - 8pm, Chris O'Connor/Jeff Henderson Duo - 10pm JASMINE LOVELL-SMITH and THE NIGHT DREAMERS present 'MUSIC FOR AN ELASTIC JAZZ BAND' An evening of evocative new compositions for 10 musicians. 8 P.M. Thursday 16 - Friday 17 February, 2006 @ HAPPY (Corner of Vivian and Tory Streets, under LATINOS) $20 Full / $15 Concession / $10 Fringe Card Holders Presales available now from REAL GROOVY! Or book directly with Jasmine (Ph. 021 1075250 or email j_lovellsmith at hotmail.com) Limited doorsales also available Come see the unmissable Jasmine Lovell-Smith and The Night Dreamers performing for two nights only as part of Fringe 06! Their aptly titled show, 'MUSIC FOR AN ELASTIC JAZZ BAND', is made up of all new compositions by saxophonist Jasmine Lovell-Smith. The music is an eclectic blend of Contemporary Jazz, Flamenco, Fugue and Hard Bop, which defies classification (we dare you to come along and try for yourself)! Journey with the Night Dreamers through sung poetry, electrifying improvisations and lush arrangements, featuring brass, woodwinds, guitars, piano, bass, drums and the sublime vocals of Hannah Griffin. THE NIGHT DREAMERS are: Nils Olsen - Saxophone, Bass Clarinet, Flute (C.L. Bob, Deville Brothers) Hannah Griffin - Vocals (Zirkus, the Hannah Griffin Quartet) Nick van Dijk - Trombone (Deville Brothers, Zirkus) Hugo Mintz - Trumpet, Flugelhorn (Night Train) Anita van Dijk - Piano (the Hannah Griffin Quartet) Misha Marks - Classical Guitar (Mundi, Niko Nezna) Dave Ward - Guitar (Super Sausage, Niko Nezna) Reuben Bradley - Drums (the Jonathan Crayford Trio, the Norman Meehan Quintet) Paul Dyne - Double Bass (a New Zealand jazz legend!) Music for an Elastic Jazz Band has been made possible by Fringe 06, the Creative New Zealand Kakano Funding Scheme and HAPPY, thanks guys! Saturday 18th: Das Ben's Million Miles Away CD release gig "Wellytown Acoustic Punk Anti-Folk, The Way it's Meant to Be" - 9.30pm Comming Soon: Rick Jensen, Ryan Prebble, The Shruggs and maybe if you're very lucky an evening with mr Anthony Donaldson _______________________________________ Happy corner Vivian and Tory Streets PO Box 9069 Wellington New Zealand +64 4 384 1965 www.happy.net.nz Come with me, I will show you how to fly like a bird To join the Happy email list, contact: happymusic at paradise.net.nz For great music, listen to: The Zero Hour - 89FM Sundays 11pm - 1am Internal Virus Database is out-of-date. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.5.7 - Release Date: 1/03/2005 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060213/772dd572/attachment.htm -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: image/jpeg Size: 90219 bytes Desc: not available Url : http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060213/772dd572/attachment.jpe -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: image/jpeg Size: 45631 bytes Desc: not available Url : http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060213/772dd572/attachment-0001.jpe From stuiestuie at yahoo.com Mon Feb 13 12:02:13 2006 From: stuiestuie at yahoo.com (Stuart McDonald) Date: Mon, 13 Feb 2006 12:02:13 -0800 (PST) Subject: [af_list] reel to reel? Message-ID: <20060213200213.25460.qmail@web30910.mail.mud.yahoo.com> Hello, I'm after a reel-to-reel tape player/recorder - and some tape. Does anyone know if I can borrow, rent, or steal such equipment in the Wellington area? Thanks Stuart __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com From stabbiesetc at yahoo.com.au Mon Feb 13 13:17:24 2006 From: stabbiesetc at yahoo.com.au (stefan geoffrey neville) Date: Tue, 14 Feb 2006 10:17:24 +1300 (NZDT) Subject: [af_list] calvin johnson performance AK! In-Reply-To: Message-ID: <20060213211724.33647.qmail@web32811.mail.mud.yahoo.com> that guy calvin johnson (beat happening/k records etc) is playing a one off show in auckland this sunday 19th feb. hes got a deeep voice an hes been on beck records and blues explosion records. its all ages at 155 k rd. AK. with support from the coolies and catcatcat! how about that? Send instant messages to your online friends http://au.messenger.yahoo.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060214/b2c149c1/attachment.html From artwerks at slingshot.co.nz Mon Feb 13 18:32:35 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Tue, 14 Feb 2006 15:32:35 +1300 Subject: [af_list] is rhythm best considered fractally? References: <43ED22ED.8030201@paradise.net.nz> Message-ID: <033b01c6310e$ea9ed9e0$8e05b8cb@d400> I guess anything that has elements working on different length cycles would fit. I think Phil Dadson/From Scratch have explored this a lot. And I think John Lyall may have done similar things too. For example, having one performer working in loops of four, another in five, and another in six. After 20 beats, Mr Four and Mr Five would be back on the same beat. Mr Five and Mr Six would meet again after 30. Mr Four and Mr Six after 24. And they would all start again after 60 beats. I don't know a whole lot on the topic but I'm sure a lot of Eastern music works in this way - Gamelan, I suspect. And Steve Reich has no doubt borrowed a lot from this territory. Phil, you out there? Mike Hodgson recorded a piece for Artspace's Fourth Window project (available on CD/CDROM, but they're as good as sold out) based on planetary cycles. Mike, you out there? And hasn't Stockhausen spent most of the last 20 years or so working on a Music of the Spheres type project? I curated a piece by Sean Feeney for Artspace's stairwell, which had him collaborating blindly with a colleague in Texas; one working at 120bpm, the other at 150, or something like that, to create a 30min piece. It was further complicated by placing each component in a separate CD play so, each time they looped, they fell slightly out of synch. It took about two weeks before they went full cycle and started again at the same point but they always sounded like they were playing together, generated plenty of fortuitous synchronicities. Andrew ----- Original Message ----- From: "Douglas Bagnall" > > Actually, I have a question prompted by the title: > >>> Rhythm is Best Considered Fractally > > So I wonder, is there any music that uses this analogy? It would > involve some kind of projection between points within a set of > concentric elliptical orbits. Each point of view within the system > would give you different sounds. I suspect this is quite commonly > used, but I have not met it. > > I should say that, while a fractal view may be just a minor > restatement of the conventional system, there is really nothing wrong > with that. > > > douglas From aliak77 at gmail.com Tue Feb 14 02:15:37 2006 From: aliak77 at gmail.com (Kath O'Donnell) Date: Tue, 14 Feb 2006 23:15:37 +1300 Subject: [af_list] NODE.London In-Reply-To: <10dc01c62f61$fd1fa300$d620b8cb@d400> References: <10dc01c62f61$fd1fa300$d620b8cb@d400> Message-ID: <383607190602140215w23430386y5c341398e4358b68@mail.gmail.com> On 2/12/06, Andrew Clifford wrote: > > Lots of sound-related stuff in this March festival, which might be worth > keeping an eye/ear on. According to the front page, they're looking for > projects too: > node.a for auckland node.b for brisbane node.s for sydney node.m for melbourne or node.nz / node.au perhaps? looks like a nice grass roots collective. amazing amount of projects lined up! Kath -- http://www.aliak.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060214/a0f6d345/attachment.htm From sam at postmoderncore.com Tue Feb 14 03:55:09 2006 From: sam at postmoderncore.com (Sam Stephens) Date: Wed, 15 Feb 2006 00:55:09 +1300 Subject: [af_list] FW: how can you fit so much entertainment in one week and still find time for your self pity? In-Reply-To: References: Message-ID: <43F1C51D.3070308@postmoderncore.com> Admin wrote: > > ---------- > *From: *HAPPY > *Reply-To: *HAPPY > *Date: *Mon, 13 Feb 2006 16:23:43 +1300 > *To: *happymusic at paradise.net.nz > *Subject: *how can you fit so much entertainment in one week and still > find time for your self pity? > > > *Tuesday 14th*:*/ I, Keyboard /*- 8pm, > */ Nova Viator /*(Slovenian laptop based pure > data, linux, granular synthesis artist) + accompanied by > local guests - 10pm Wow, what a great night that was. Make sure you head down to see I, Keyboard on Wednesday, those who can. That was stunning, a sensory overload experience at times, very beautiful at times, and always interesting. Also loved Nova Viator's sets with locals. Very interesting to meet a hardcore PD hacker - I really wish I could have gone to his workshop, as someone who has only had a brief glance at PD. All four players in both sets had unique sounds and ideas, and great listening from all performers made for great music. The balance between analog and digital sounds was interesting - the first set had two laptops and two analog synths, and the second set had one analog synth replaced with a violin. I'm in love with Nova Viator's controller - a midi box that consists of 64 knobs arranged in four banks ! Got to meet AF's own Damien Stewart, which was great. I hope to have more to do with him - and am looking forward to his performance at the Newtown Poetry night on the 24th where he will record spoken word from the night and play using those recordings for his source material. On an entirely unrelated note, my CD I recently released in Korea has got a rather nice review in Wire magazine. See http://postmoderncore.com/reviews-antlerjuice.html if you're interested Sam -- postmoderncore weblabel (w/ mp3s & art) http://postmoderncore.com/ dadashopping - art and words http://dadashopping.net postmoderncore webcast - slab of sound http://psurkit.net From samukun at gmail.com Tue Feb 14 04:21:48 2006 From: samukun at gmail.com (Sam Hamilton) Date: Wed, 15 Feb 2006 01:21:48 +1300 Subject: [af_list] folk,rebirth and morphic love Message-ID: <19ccf87f0602140421s1c0d3faehb628c77a03c1a5d7@mail.gmail.com> someone spoke recently here of the idea of folk music and laptops tonight i was talking with 2 friends and one mentioned,while talking about hip hop,said something like "these music forms,like free jazz, that were once great forms are now just such empty shit" this i a agree with and disagree with. firstly what i think ifeel about the latter statement i think relates to the first one about laptop folk also. firstly i dont think you can be quick to judge musical forms like free jazz to be dead or current free jazz to be empty because i dont think musical forms like that are static,free jazz didnt dye,free jazz changed.admittedlyit changed into many many different things,but few of the things that i feel today have come from free jazz i hardly identify as sounding like "free jazz".look at new zealands free noise history (which i reckon is a kinda NZ folk music),wasnt it the free noise people who first started bringing free jazz music from america into NZ?, opprobrium magazines were full of free jazz record reviews,does Flies Inside The Sun sound anything like albert ayler?,well not really,but personally i would be more inclined to view Flies Inside The Sun as predecessors of free jazz than most of the stuff in modern jazz festivals anyway,one thing i think which isnt folk like about laptop culture,and most modern musical forms today is that they change..im not suggesting that in order for something to be folk music it isnt allowed to change!,although it seems generally there is the idea of continuation and a general feeling of conservatism of there traditions on traditional folk genres. this seems like a pretty black and white view of these definitions.i think you should just ignore me actually. whether its its folk music or its not folk music it either kicks ass and i'll gladdly listen to it with loving content for the strange joy of making sound or it sucks ass and should fuck off and only end up as some filthy $2 found tape,found by some kid to be chopped up and strangled in there tape machine of musical rebirth sam -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060215/c2de4a6a/attachment.html From admin at audiofoundation.org.nz Tue Feb 14 11:20:29 2006 From: admin at audiofoundation.org.nz (Admin) Date: Wed, 15 Feb 2006 08:20:29 +1300 Subject: [af_list] Mike Cooper at Happy Message-ID: Press release for immediate release Mike Cooper in Wellington British born avant-folk legend Mike Cooper performs in Wellington from 7 ? 10 March. He will perform a different show each night, displaying the diversity and musical ingenuity that has won him international acclaim for over 40 years. Tues 7 March 8pm HAWAII SURREALO duo with DAVID LONG an orgy of slides, field recordings, theremins and lap steels Wed 8 March 8pm FILM NIGHT - Big Wednesday - live soundtrack to a surf film by John Milius Thurs 9 March 8pm OH REALLY?! BLUES and FOLK SONGS with support from Leila Adu (solo) Fri 10 March 10pm "Tu Feugo" release party with Anthony Donaldson , Jeff Henderson, Tom Callwood fire breathing, brain splintering improvisation celebrating the release of the full length album ?Tu Feugo? recorded at Happy in 2005 and released by Italian label Qbico. Mike Cooper For the past 40 has been an international musical explorer, performing and recording, solo and in a number of inspired groupings and a variety of genres. Initially a folk-blues guitarist and singer songwriter his work has diversified to include improvised and electronic music, live music for silent films, radio art and sound installations. He is also a music journalist, writing features for magazines, particularly on Pacific music and musicians, a visual artist, film and video maker, collector of Hawaiian shirts and appears on more than 60 records to date. "Cooper stands out as the man who truly made something of his own out of the country-blues..." (The Guardian) Starting in the mid sixties, a solo country blues singer and slide guitar player, he was one of the handful of acoustic players who pioneered the British Blues Boom, playing with and alongside such blues legends as Son House, Mississippi Fred McDowell, Bukka White, Howlin Wolf, John Lee Hooker and Jimmy Reed. His 1969 l.p. Oh Really!? is widely acclaimed as one of the best acoustic blues albums of the period. "...a quantum leap into Folk - Jazz..." (Folk Roots) In the early 1970s he recorded five solo albums which chronicle, through his own songwriting, a fascinating shift from pure blues through to free jazz. Collaborating with jazz, improvising and avant-garde musicians, in particular South Africans Dudu Pakwana, Harry Miller, Louis Maholo and Mongezi Feza, Zimbabwean composer and arranger Mike Gibbs and British saxophonist Mike Osborne he produced perhaps some of the first and finest rogue folk. 30 years later these recordings, along with those by Wizz Jones, Roy Harper, The Incredible String Band and Davy Graham have inspired the recent 'Free Folk' explosion in the USA, with Thurston Moore and Jim O'rourke from Sonic Youth and The No-Neck Blues Band confessing to be fans. "...featured in the pioneering New Musical Express Book Of Rock in the mid-70's...Mike Cooper may never have matched the commercial success of some of his contemporaries, but he can boast an impressive body of work that continues to grow." (David Wells - Paper and Smoke liner notes) In the late 1970's he began to develop a parallel career and establish himself on the avant-garde and free-improvised music scene, working initially with members of the London Musicians Collective, such as Keith Rowe, David Toop, Steve Beresford, Max Eastley, Paul Burwell, Eddie Prevost, dancer Jo-Anna Pyne. and vocalist Viv Corringham. The Recedents, a trio formed with legendary sax player Lol Coxhill and drummer Roger Turner is now in its third decade. He continues to work with these and other international improvisers. "As both a performer and writer he has occupied an unusual niche, being willing to engage with both western experimental and so called Roots music styles (such as Hawaiian lap-steel guitar playing) and critical ideas about these circulating in various journalistic and scholarly contexts." (Perfect Beat) In 1987, together with the extraordinary French slide guitarist Cyril Lefebvre and incorporating the talents of Lol Coxhill, Steve Beresford and Max Eastley, they formed the Uptown Hawaiians to play and record a repertoire of Hawaiian, Exotica and other Lap Steel Guitar musics, re-affirming a life-long passion for Pacific music and cultures, both old, new and imagined. They still play together often with Paris based Tahitian musicians and dancers and the 'Ukulele Tiki Party'. A more recent Pacific collaboration is with Richard Nunns from New Zealand, an improviser who plays traditional Maori instruments. Travelling often through the Pacific, Mike has written extensively on Hawaiian Slack Key guitar styles and performers. He also wrote the Hawaii chapter for the Rough Guide to World Music. Ambient Electronic Exotica is the genre and subtitle of recent solo performances, often accompanied with film or video, and three c.d. releases, 'Kiribati', 'Globe Notes' and 'Rayon Hula'. Ambient recordings made in the Pacific, South East Asia, Australia and New Zealand, treated electronically, combined with acoustic and electronic instruments and re-located to produce 'virtual soundscapes'. "....a masterpiece of contemporary exotica." (Rayon Hula reviewed in the Wire). Ten years of performing live music for silent films at festivals around the world has proven a rich and rewarding way of combining a variety of different musical styles and of seducing people into listening to music they might not normally encounter. The current programme includes Tabu and Sunrise by F.W. Murnau, Nanook Of The North - Robert Flaherty, Man With A Movie Camera - Dziga Vertov. Sergei Eisenstein classics Strike and October, South by Frank Hurley and from 1958 Last Paradise by Fulco Quilici as well as his own scratch video 'Stolen Moments'. In 2000 he started HIPSHOT to produce limited edition cdRs from his studio in Rome where he currently lives. The first release Kiribati was chosen as one of the best 'Outer Limits' cds of the year by the prestigious UK magazine The WIRE. For further info, interviews contact Jeff Henderson happymusic at paradise.net.nz ph: 3841965 From malcolmg at ihug.co.nz Tue Feb 14 15:24:54 2006 From: malcolmg at ihug.co.nz (greg and jenny) Date: Wed, 15 Feb 2006 12:24:54 +1300 Subject: [af_list] ornette coltrane, References: Message-ID: <000701c631bd$de42fd70$18aa6dcb@gregory> wasnt it the free noise people who first started bringing free jazz music from america into NZ? not really ...maybe they bought to a wider more rock based public I can remember finding buying lots of Ayler,steve lacy, Coleman,frank Lowe Archie Shep (not to be confused with archie sheep the great unheard new zealand sax player)etc records in the early eighty in Wellington..mainly second or in sale bins...not to mention all stuff that I tape off enthusiasts scatted around the country Kevin Hawkins the primitive art group gang John Kennedy ross harkness all had very healthy collections etc..you could even hear(good) free jazz shows on student radio in the early eighties http://homepages.ihug.co.nz/~malcolmg/ ----- Original Message ----- From: To: Sent: Wednesday, February 15, 2006 12:00 PM Subject: Af_list Digest, Vol 11, Issue 19 > Send Af_list mailing list submissions to > Af_list at audiofoundation.org.nz > > To subscribe or unsubscribe via the World Wide Web, visit > http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz > > or, via email, send a message with subject or body 'help' to > Af_list-request at audiofoundation.org.nz > > You can reach the person managing the list at > Af_list-owner at audiofoundation.org.nz > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of Af_list digest..." > > > Today's Topics: > > 1. Re: is rhythm best considered fractally? (Andrew Clifford) > 2. Re: NODE.London (Kath O'Donnell) > 3. Re: FW: how can you fit so much entertainment in one week and > still find time for your self pity? (Sam Stephens) > 4. folk,rebirth and morphic love (Sam Hamilton) > 5. Mike Cooper at Happy (Admin) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Tue, 14 Feb 2006 15:32:35 +1300 > From: "Andrew Clifford" > Subject: Re: [af_list] is rhythm best considered fractally? > To: "A list digest for the support of innovative audio culture in NZ" > > Message-ID: <033b01c6310e$ea9ed9e0$8e05b8cb at d400> > Content-Type: text/plain; format=flowed; charset="iso-8859-1"; > reply-type=original > > I guess anything that has elements working on different length cycles > would > fit. > > I think Phil Dadson/From Scratch have explored this a lot. And I think > John > Lyall may have done similar things too. For example, having one performer > working in loops of four, another in five, and another in six. After 20 > beats, Mr Four and Mr Five would be back on the same beat. Mr Five and Mr > Six would meet again after 30. Mr Four and Mr Six after 24. And they would > all start again after 60 beats. > > I don't know a whole lot on the topic but I'm sure a lot of Eastern music > works in this way - Gamelan, I suspect. And Steve Reich has no doubt > borrowed a lot from this territory. Phil, you out there? > > Mike Hodgson recorded a piece for Artspace's Fourth Window project > (available on CD/CDROM, but they're as good as sold out) based on > planetary > cycles. Mike, you out there? > > And hasn't Stockhausen spent most of the last 20 years or so working on a > Music of the Spheres type project? > > I curated a piece by Sean Feeney for Artspace's stairwell, which had him > collaborating blindly with a colleague in Texas; one working at 120bpm, > the > other at 150, or something like that, to create a 30min piece. It was > further complicated by placing each component in a separate CD play so, > each > time they looped, they fell slightly out of synch. It took about two weeks > before they went full cycle and started again at the same point but they > always sounded like they were playing together, generated plenty of > fortuitous synchronicities. > > Andrew > > > ----- Original Message ----- > From: "Douglas Bagnall" >> >> Actually, I have a question prompted by the title: >> >>>> Rhythm is Best Considered Fractally >> >> So I wonder, is there any music that uses this analogy? It would >> involve some kind of projection between points within a set of >> concentric elliptical orbits. Each point of view within the system >> would give you different sounds. I suspect this is quite commonly >> used, but I have not met it. >> >> I should say that, while a fractal view may be just a minor >> restatement of the conventional system, there is really nothing wrong >> with that. >> >> >> douglas > > > > > ------------------------------ > > Message: 2 > Date: Tue, 14 Feb 2006 23:15:37 +1300 > From: Kath O'Donnell > Subject: Re: [af_list] NODE.London > To: A list digest for the support of innovative audio culture in NZ > > Message-ID: > <383607190602140215w23430386y5c341398e4358b68 at mail.gmail.com> > Content-Type: text/plain; charset="iso-8859-1" > > On 2/12/06, Andrew Clifford wrote: >> >> Lots of sound-related stuff in this March festival, which might be worth >> keeping an eye/ear on. According to the front page, they're looking for >> projects too: >> > > node.a for auckland > node.b for brisbane > node.s for sydney > node.m for melbourne > or node.nz / node.au > perhaps? > > looks like a nice grass roots collective. amazing amount of projects lined > up! > > > Kath > > > > -- > http://www.aliak.com > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: > http://audiofoundation.org.nz/pipermail/af_list_audiofoundation.org.nz/attachments/20060214/a0f6d345/attachment-0001.html > > ------------------------------ > > Message: 3 > Date: Wed, 15 Feb 2006 00:55:09 +1300 > From: Sam Stephens > Subject: Re: [af_list] FW: how can you fit so much entertainment in > one week and still find time for your self pity? > To: A list digest for the support of innovative audio culture in NZ > > Message-ID: <43F1C51D.3070308 at postmoderncore.com> > Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > Admin wrote: >> >> ---------- >> *From: *HAPPY >> *Reply-To: *HAPPY >> *Date: *Mon, 13 Feb 2006 16:23:43 +1300 >> *To: *happymusic at paradise.net.nz >> *Subject: *how can you fit so much entertainment in one week and still >> find time for your self pity? >> >> >> *Tuesday 14th*:*/ I, Keyboard /*- 8pm, >> */ Nova Viator /*(Slovenian laptop based pure >> data, linux, granular synthesis artist) + accompanied by >> local guests - 10pm > > Wow, what a great night that was. Make sure you head down to see I, > Keyboard on Wednesday, those who can. That was stunning, a sensory > overload experience at times, very beautiful at times, and always > interesting. > > Also loved Nova Viator's sets with locals. Very interesting to meet a > hardcore PD hacker - I really wish I could have gone to his workshop, as > someone who has only had a brief glance at PD. All four players in both > sets had unique sounds and ideas, and great listening from all > performers made for great music. The balance between analog and digital > sounds was interesting - the first set had two laptops and two analog > synths, and the second set had one analog synth replaced with a violin. > I'm in love with Nova Viator's controller - a midi box that consists of > 64 knobs arranged in four banks ! > > Got to meet AF's own Damien Stewart, which was great. I hope to have > more to do with him - and am looking forward to his performance at the > Newtown Poetry night on the 24th where he will record spoken word from > the night and play using those recordings for his source material. > > On an entirely unrelated note, my CD I recently released in Korea has > got a rather nice review in Wire magazine. See > http://postmoderncore.com/reviews-antlerjuice.html if you're interested > > Sam > > -- > postmoderncore weblabel (w/ mp3s & art) > http://postmoderncore.com/ > dadashopping - art and words > http://dadashopping.net > postmoderncore webcast - slab of sound > http://psurkit.net > > > > ------------------------------ > > Message: 4 > Date: Wed, 15 Feb 2006 01:21:48 +1300 > From: Sam Hamilton > Subject: [af_list] folk,rebirth and morphic love > To: Af_list at audiofoundation.org.nz > Message-ID: > <19ccf87f0602140421s1c0d3faehb628c77a03c1a5d7 at mail.gmail.com> > Content-Type: text/plain; charset="iso-8859-1" > > someone spoke recently here of the idea of folk music and laptops > > tonight i was talking with 2 friends and one mentioned,while talking about > hip hop,said something like "these music forms,like free jazz, that were > once great forms are now just such empty shit" > > this i a agree with and disagree with. > > firstly what i think ifeel about the latter statement i think relates to > the > first one about laptop folk also. > > firstly i dont think you can be quick to judge musical forms like free > jazz > to be dead or current free jazz to be empty because i dont think musical > forms like that are static,free jazz didnt dye,free jazz > changed.admittedlyit changed into many many different things,but few > of the things that i feel > today have come from free jazz i hardly identify as sounding like "free > jazz".look at new zealands free noise history (which i reckon is a kinda > NZ > folk music),wasnt it the free noise people who first started bringing free > jazz music from america into NZ?, opprobrium magazines were full of free > jazz record reviews,does Flies Inside The Sun sound anything like albert > ayler?,well not really,but personally i would be more inclined to view > Flies > Inside The Sun as predecessors of free jazz than most of the stuff in > modern > jazz festivals > > anyway,one thing i think which isnt folk like about laptop culture,and > most > modern musical forms today is that they change..im not suggesting that in > order for something to be folk music it isnt allowed to change!,although > it > seems generally there is the idea of continuation and a general feeling of > conservatism of there traditions on traditional folk genres. > > this seems like a pretty black and white view of these definitions.i think > you should just ignore me actually. > whether its its folk music or its not folk music it either kicks ass and > i'll gladdly listen to it with loving content for the strange joy of > making > sound or it sucks ass and should fuck off and only end up as some filthy > $2 > found tape,found by some kid to be chopped up and strangled in there tape > machine of musical rebirth > > sam > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: > http://audiofoundation.org.nz/pipermail/af_list_audiofoundation.org.nz/attachments/20060215/c2de4a6a/attachment-0001.html > > ------------------------------ > > Message: 5 > Date: Wed, 15 Feb 2006 08:20:29 +1300 > From: Admin > Subject: [af_list] Mike Cooper at Happy > To: af > Message-ID: > Content-Type: text/plain; charset="ISO-8859-1" > > > Press release for immediate release > Mike Cooper in Wellington > > British born avant-folk legend Mike Cooper performs in Wellington from 7 ? > 10 March. > He will perform a different show each night, displaying the diversity and > musical ingenuity that has won him international acclaim for over 40 > years. > > Tues 7 March 8pm > HAWAII SURREALO duo with DAVID LONG > an orgy of slides, field recordings, theremins and lap steels > > Wed 8 March 8pm > FILM NIGHT - Big Wednesday - live soundtrack to a surf film by John Milius > > Thurs 9 March 8pm > OH REALLY?! > BLUES and FOLK SONGS with support from Leila Adu (solo) > > Fri 10 March 10pm > "Tu Feugo" release party > with Anthony Donaldson , Jeff Henderson, Tom Callwood > fire breathing, brain splintering improvisation celebrating the release of > the full length album ?Tu Feugo? recorded at Happy in 2005 and released by > Italian label Qbico. > > Mike Cooper > > For the past 40 has been an international musical explorer, performing and > recording, solo and in a number of inspired groupings and a variety of > genres. Initially a folk-blues guitarist and singer songwriter his work > has > diversified to include improvised and electronic music, live music for > silent films, radio art and sound installations. He is also a music > journalist, writing features for magazines, particularly on Pacific music > and musicians, a visual artist, film and video maker, collector of > Hawaiian > shirts and appears on more than 60 records to date. > > "Cooper stands out as the man who truly made something of his own out of > the > country-blues..." (The Guardian) > > Starting in the mid sixties, a solo country blues singer and slide guitar > player, he was one of the handful of acoustic players who pioneered the > British Blues Boom, playing with and alongside such blues legends as Son > House, Mississippi Fred McDowell, Bukka White, Howlin Wolf, John Lee > Hooker > and Jimmy Reed. His 1969 l.p. Oh Really!? is widely acclaimed as one of > the > best acoustic blues albums of the period. > > "...a quantum leap into Folk - Jazz..." (Folk Roots) > > In the early 1970s he recorded five solo albums which chronicle, through > his > own songwriting, a fascinating shift from pure blues through to free jazz. > Collaborating with jazz, improvising and avant-garde musicians, in > particular South Africans Dudu Pakwana, Harry Miller, Louis Maholo and > Mongezi Feza, Zimbabwean composer and arranger Mike Gibbs and British > saxophonist Mike Osborne he produced perhaps some of the first and finest > rogue folk. 30 years later these recordings, along with those by Wizz > Jones, > Roy Harper, The Incredible String Band and Davy Graham have inspired the > recent 'Free Folk' explosion in the USA, with Thurston Moore and Jim > O'rourke from Sonic Youth and The No-Neck Blues Band confessing to be > fans. > > "...featured in the pioneering New Musical Express Book Of Rock in the > mid-70's...Mike Cooper may never have matched the commercial success of > some > of his contemporaries, but he can boast an impressive body of work that > continues to grow." (David Wells - Paper and Smoke liner notes) > > In the late 1970's he began to develop a parallel career and establish > himself on the avant-garde and free-improvised music scene, working > initially with members of the London Musicians Collective, such as Keith > Rowe, David Toop, Steve Beresford, Max Eastley, Paul Burwell, Eddie > Prevost, > dancer Jo-Anna Pyne. and vocalist Viv Corringham. The Recedents, a trio > formed with legendary sax player Lol Coxhill and drummer Roger Turner is > now > in its third decade. He continues to work with these and other > international > improvisers. > > "As both a performer and writer he has occupied an unusual niche, being > willing to engage with both western experimental and so called Roots music > styles (such as Hawaiian lap-steel guitar playing) and critical ideas > about > these circulating in various journalistic and scholarly contexts." > (Perfect > Beat) > > In 1987, together with the extraordinary French slide guitarist Cyril > Lefebvre and incorporating the talents of Lol Coxhill, Steve Beresford and > Max Eastley, they formed the Uptown Hawaiians to play and record a > repertoire of Hawaiian, Exotica and other Lap Steel Guitar musics, > re-affirming a life-long passion for Pacific music and cultures, both old, > new and imagined. They still play together often with Paris based Tahitian > musicians and dancers and the 'Ukulele Tiki Party'. A more recent Pacific > collaboration is with Richard Nunns from New Zealand, an improviser who > plays traditional Maori instruments. Travelling often through the Pacific, > Mike has written extensively on Hawaiian Slack Key guitar styles and > performers. He also wrote the Hawaii chapter for the Rough Guide to World > Music. > > Ambient Electronic Exotica is the genre and subtitle of recent solo > performances, often accompanied with film or video, and three c.d. > releases, > 'Kiribati', 'Globe Notes' and 'Rayon Hula'. Ambient recordings made in the > Pacific, South East Asia, Australia and New Zealand, treated > electronically, > combined with acoustic and electronic instruments and re-located to > produce > 'virtual soundscapes'. "....a masterpiece of contemporary exotica." (Rayon > Hula reviewed in the Wire). > > Ten years of performing live music for silent films at festivals around > the > world has proven a rich and rewarding way of combining a variety of > different musical styles and of seducing people into listening to music > they > might not normally encounter. The current programme includes Tabu and > Sunrise by F.W. Murnau, Nanook Of The North - Robert Flaherty, Man With A > Movie Camera - Dziga Vertov. Sergei Eisenstein classics Strike and > October, > South by Frank Hurley and from 1958 Last Paradise by Fulco Quilici as well > as his own scratch video 'Stolen Moments'. > > In 2000 he started HIPSHOT to produce limited edition cdRs from his studio > in Rome where he currently lives. The first release Kiribati was chosen as > one of the best 'Outer Limits' cds of the year by the prestigious UK > magazine The WIRE. > > For further info, interviews contact Jeff Henderson > happymusic at paradise.net.nz ph: 3841965 > > > > > > > ------------------------------ > > _______________________________________________ > Af_list mailing list > Af_list at audiofoundation.org.nz > http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz > > End of Af_list Digest, Vol 11, Issue 19 > *************************************** > From jcontag at paradise.net.nz Tue Feb 14 17:38:43 2006 From: jcontag at paradise.net.nz (johannes contag) Date: Wed, 15 Feb 2006 14:38:43 +1300 Subject: [af_list] performativity blah (laptops, visuals, instruments etc) In-Reply-To: Message-ID: > a bit of academic blather here for those inclined: > http://hypertext.rmit.edu.au/dac/papers/Stuart.pdf > > .kk nice paper caleb. good to read a detailed and researched view, i haven't given the whole issue much more than impulsive thought recently. i like your angle of aural performativity (despite the word), and in regard to the point you make in your email about not having projections at impermanence (what's impermanence?), i totally agree about not having projections or film material in a performance if it doesn't actually complement the music (such as randomly projected movies that just distract from the music). also the geek-out of the laptop screen projection can be obstructive to the aesthetic enjoyment of the performance, sure. (although i could imagine it to be suitable with fast-paced frantic manic squelch blip electro.) what i found interesting about the examples in your paper - and this brings it back to the start of this discussion, the lack/need of instruments in "digital" performance - is that in all of them, the PA itself acts as the instrument, with the room as its resonating body and the listener inside it experiencing the generated tones at maximum magnification. an added visual element would be superfluous, as the listener is already engaged in a highly dramatic spatial relationship with the sound. however, this is a specific mode of performance that's as much sound installation as it is music performance, and i don't know if the receptional aspects you mention translate to "laptop"/"digital"/ instrumentalexperimentalelectronic music per se - most of which, i would argue, operates independently of space and PA, i.e. the performer would deliver a performance that's basically the same regardless of being staged in a vocal-PA-style cafe or a factory hall lined with expensive speakers. for these cases, i wouldn't automatically agree that it's the audience's responsibility to reconceptualise their participation in the event, but it's also the performer's responsibility not to be lazy. to reiterate my initial point in this discussion - watching people press buttons on black boxes or staring at a screen is inherently unsatisfying if the music doesn't manage to attract my undivided attention on its own grounds. in a way, my problem with black-box music is similar to my problem with singer-songwriter music - the (offending) performer escapes into some grand musical fiction of their liking, where he/she is conducting an invisible band/orchestra/world that i can fathom only if i invest a whole lot of sympathy, goodwill and imagination. which i'm happy to do for the sake of a satisfying musical experience, but more often than not i end up with a disappointing lack of musical substance that actually comes from the performer, not just my interpretation of the performer. i guess both the guitar/singing combination and the "endless possibilities" of DSP tempt composers/performers into a dangerous complacency, where they can hide behind the long and rich tradition of popular music or technological clout. i.e., here's another clever guitar-picking clichee that'll reference XYZ in your collective music knowledge & make you think i'm good, or here's a wall of granulated gregorian magnificence to disguise my complete lack of stage presence. I'm being mean here, sure. i do like a good number of black-boxers (as well as singer-songwriters), but that's because they always offer me something memorable and engaging. if the music isn't specifically designed to provide a fully self-contained aural/spatial experience, a cause-effect/instrument/visual performance dimension will definitely help to keep me interested. and with the overwhelming amount of mediocre music out there (experimental music clubhouses or not), i do get selective, maybe overly so. ranting in circles now. my apologies. as a final flippant thought - would you prefer to see tony conrad bowing his fiddle or perched over a laptop? (not that i'd not be interested to HEAR what his laptop musings might be...) jo From damian at frey.co.nz Wed Feb 15 02:21:09 2006 From: damian at frey.co.nz (Damian Stewart) Date: Wed, 15 Feb 2006 23:21:09 +1300 Subject: [af_list] FW: how can you fit so much entertainment in one week and still find time for your self pity? In-Reply-To: <43F1C51D.3070308@postmoderncore.com> References: <43F1C51D.3070308@postmoderncore.com> Message-ID: <43F30095.4020702@frey.co.nz> Sam Stephens wrote: > Also loved Nova Viator's sets with locals. Very interesting to meet a > hardcore PD hacker - I really wish I could have gone to his workshop, as > someone who has only had a brief glance at PD. All four players in both > sets had unique sounds and ideas, and great listening from all > performers made for great music. The balance between analog and digital > sounds was interesting - the first set had two laptops and two analog > synths, and the second set had one analog synth replaced with a violin. > I'm in love with Nova Viator's controller - a midi box that consists of > 64 knobs arranged in four banks ! Cheers for the kind words Sam - for my part I finally got to meet 'the postmoderncore guy'. Awesome. From a performance point of view last night was much fun too - certainly the four different types of electronics made me feel like I was listening much harder. (Or perhaps it was just the first time I'd jammed in a group since December?) Playing with another laptop player was great too. ... everyone in Wellington should come along to The Festival of the Sun on Saturday in the Dell at the Botanic Gardens. My friend Linda Joy will be playing her guitar and singing and I'll be taking the vocal and guitar feeds and twisting them into beautiful shapes to accompany. (This will also be my first gig with a 'general public' audience - I imagine 1000+ people will be there, if last year is anything to go by. Nervous I am.) -- f r e y live music with computers http://www.frey.co.nz From slowchimes at gmail.com Wed Feb 15 03:39:19 2006 From: slowchimes at gmail.com (Andrew Scott) Date: Thu, 16 Feb 2006 00:39:19 +1300 Subject: [af_list] This Friday at the Wine Cellar: Audio Abyss in Triplicate, featuring... Message-ID: <1f226fe90602150339w44b0bfb6lf6936c404f7056da@mail.gmail.com> Audio Abyss in Triplicate Featuring: Metal Rouge (Helga Fassonaki/Andrew Scott) == Nigel Wright == Sam Hamilton == (+ special non-appearance by mhfs) Friday 17th February The Wine Cellar (where else?) 8pm $2 ....come all, celebrate with us the transience of sonic imperfection.... From caleb.k at impermanent.info Wed Feb 15 13:45:29 2006 From: caleb.k at impermanent.info (caleb k) Date: Thu, 16 Feb 2006 08:45:29 +1100 Subject: [af_list] performativity blah (laptops, visuals, In-Reply-To: References: Message-ID: <144ab6290e8f1624a7d99bc214e03cae@impermanent.info> when tony conrad played impermanent.audio he started by playing an american dollar bill! http://impermanent.info/2004/20040720/conrad_007.jpg .kk --------------- ranting in circles now. my apologies. as a final flippant thought - would you prefer to see tony conrad bowing his fiddle or perched over a laptop? (not that i'd not be interested to HEAR what his laptop musings might be...) jo From samukun at gmail.com Wed Feb 15 18:38:21 2006 From: samukun at gmail.com (Sam Hamilton) Date: Thu, 16 Feb 2006 15:38:21 +1300 Subject: [af_list] clarification Message-ID: <19ccf87f0602151838n166709c9s27e68f229422fe10@mail.gmail.com> sorry i guess what i was trying to get at wasnt who brought Jazz into NZ but rather that the alot of the real energy that expanded from free jazz had more of an impact outside of the jazz idion that within. man,i remember being 15,totally into the sonic youth and reading an interview with thurston moore were he spoke about this guy called john coltrane being a total wonnabe moore went out and bought impressions,only doing so because of that inerview,before that jazz music was one of the lamest old fogy music's about. since that evening,lying on my bed stoned but far higher than any drug could ever take me listening to john coltrane. john coltrane has been in my eyes one of the most important musical guiders for my own musical ubringing,yet i dont play coltrane tunes or infact try and sound anything like coltrane,those dudes were on to something different,thats why what they were doing hasn't died,i believe it to be well and truely alive,just the influence isnt so directly obvious,sometimes not even to the performer,fuck im glad theres no one trying to sound like john coltrane out there cause what the fucks the point of that. its a bit ambitious of me to suggest were free jazz started being heard in NZ,i guess who i see it is the influence and the spirit of that music spread way to far and out of the control of a certain few aficionado's trying to pin it onto its parametiers and be the border control officers. i find it funny when people complain about the death of a movement or something.ibelieve that to be the critical moment of a movements nature,to side line being pinned down and reafied by completely fucking exploding into a million pieces,i think this happens to anything with spirit,when you strangle it it will scream out into a infinate amount of new possabilities. these new folk forms are more like anti-folk forms maybe. later alligator sam -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060216/6fd6094c/attachment.htm From turnstyle at obscure.co.nz Thu Feb 16 14:35:42 2006 From: turnstyle at obscure.co.nz (Simon Kong) Date: Fri, 17 Feb 2006 11:35:42 +1300 Subject: [af_list] folk,rebirth and morphic love In-Reply-To: <19ccf87f0602140421s1c0d3faehb628c77a03c1a5d7@mail.gmail.com> References: <19ccf87f0602140421s1c0d3faehb628c77a03c1a5d7@mail.gmail.com> Message-ID: <43F4FE3E.9040909@obscure.co.nz> > ... ,said something like "these music forms,like free jazz, > that were once great forms are now just such empty shit" http://www.nanosounds.com/ Look the problem is the speed of change .. Half of us are operating on old school rates of change .. and the subsequent appreciation of history's ' legacy's .. etc You have to consider that the rate of change that we witnessed in the last 10 years is now equal in some capacity to the rate of change in the last year .. And . inside the next ten years the rate of change we experience this year will be occurring every ten minutes .. ?! .. This creates the exponential problem of trying to understand what is happening in front of us .. at any given time .. We no longer have long reference points ' .. I feel like I am stuck in some strange time warp .. The local "dance" radio station is playing house music from the mid nineties .. classic hits is still crooning in the 60's & 70's Meanwhile .. out here on the free edge we can hardly appreciate what happened 15 minutes ago . or accept whats going to happen next .. while completely rejecting anything that happened before the computer was invented .. (which is a disputed time line . itself) / So my option ' is to step squarely in future ' without any reference to the past ' in order to appreciate what is happening ' now .. Everything that happens before 'now' becomes a mirage that confuses navigation from my present position .. ie. If I attempt to use the past to understand the current state ' the time spent referencing ' abstracts faster than existing space .. Don't worry it's only going to get more confusing ' ignore everyone and use your instinct ' it is the only thing survives the truth .. .simon From turnstyle at obscure.co.nz Thu Feb 16 14:43:47 2006 From: turnstyle at obscure.co.nz (Simon Kong) Date: Fri, 17 Feb 2006 11:43:47 +1300 Subject: [af_list] performativity blah (laptops, visuals, instruments etc) In-Reply-To: References: Message-ID: <43F50023.6080209@obscure.co.nz> > - is that in all of them, the PA itself acts as the > instrument, hallelujah !!! From leyton at paradise.net.nz Thu Feb 16 15:50:06 2006 From: leyton at paradise.net.nz (leyton) Date: Fri, 17 Feb 2006 12:50:06 +1300 Subject: [af_list] performativity blah (laptops, visuals, instruments etc) In-Reply-To: References: Message-ID: > > Message: 3 > Date: Fri, 17 Feb 2006 11:43:47 +1300 > From: Simon Kong > Subject: Re: [af_list] performativity blah (laptops, visuals, > instruments etc) > To: A list digest for the support of innovative audio culture in NZ > > Message-ID: <43F50023.6080209 at obscure.co.nz> > Content-Type: text/plain; charset=ISO-8859-1; format=flowed > >> - is that in all of them, the PA itself acts as the >> instrument, > hallelujah !!! .... and so it begins............ From telemetry at rtcnz.com Fri Feb 17 13:37:48 2006 From: telemetry at rtcnz.com (rtcnz) Date: Sat, 18 Feb 2006 10:37:48 +1300 Subject: [af_list] performativity blah (laptops, visuals, In-Reply-To: References: Message-ID: > > Message: 3 > Date: Fri, 17 Feb 2006 11:43:47 +1300 > From: Simon Kong > Subject: Re: [af_list] performativity blah (laptops, visuals, > instruments etc) > To: A list digest for the support of innovative audio culture in NZ > > Message-ID: <43F50023.6080209 at obscure.co.nz> > Content-Type: text/plain; charset=ISO-8859-1; format=flowed > >> - is that in all of them, the PA itself acts as the >> instrument, > > > hallelujah !!! ......and so it begins...... From artwerks at slingshot.co.nz Fri Feb 17 14:11:46 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Sat, 18 Feb 2006 11:11:46 +1300 Subject: [af_list] Fw: mike cooper calling Message-ID: <02f301c6340f$248b4aa0$4234b8cb@d400> New releases from Mike Cooper, who is in NZ in March... ----- Original Message ----- From: "mike cooper" Sent: Saturday, February 18, 2006 10:41 AM Subject: mike cooper calling Hipshot Records News Hipshot an "artists run from profit" label. If you no longer wish to receive this news let me know and I will remove you from my list. Some new Hipshot releases and other related stuff. SPIRIT SONGS - Hipshot 016 Spirit Songs is the first complete cd of my own songs since Life and Death In Paradise in 1974 on Fresh Air - soon to be released on cd itself. . The title is stolen from Marina Roseman's book Healing Sounds From The Malaysian Rainforest. GIACINTO - Hipshot 017 - is my tribute to the Italian composer Giacinto Scelsi born 100 years ago. Happy birthday Giacinto. Review written by Jonathan Dean Monday, 30 January 2006 Mike Cooper is a difficult artist to situate, straddling as he does several radically different musical spheres. There is the singersongwriter of the 1960s, working in a traditional folk-blues vein alongside legends like Son House, Bukka White and John Lee Hooker. There is the free-improvising maverick of the 70s, producing genre-defying free-folk-jazz with improv luminaries such as Keith Rowe, David Toop and Max Eastley. Then there is the most recent phase of Cooper's career, producing idiosyncratic modern exotica combining his passions for Hawaiian lap-steel guitar with field recordings, dusty record loops and forays into drone and noise. In the past, I've made the case for Mike Cooper as a unique and largely underappreciated voice in modern music (read my previous reviews on Brainwashed website), and these two new CD-Rs on the artist's own Hipshot label present yet more evidence of Cooper's willingness to push out the boundaries of his art. Spirit Songs attempts a complex synthesis of the three approaches mentioned above - song, improv and loops; while Giacinto is an understated tribute to Italian composer Giacinto Scelsi, a fascinating tangent into abstract guitar drone. Once again, both albums are limited, handmade CD-Rs available exclusively from the artist himself, who suggests putting cash inside a birthday card and sending it to his address in Rome. Spirit Songs is my favorite of the pair: a glorious marriage of all three of Cooper's previous musical strategies; creating a stunning hybrid. The album contains 10 songs performed on fingerpicked acoustic and electric lap steel guitar, often looped and treated in real time, with Cooper singing lyrics in a quietly meandering, semi-improvisatory manner that recalls a more polished Jandek. The style of songwriting is immediately recognizable as blues, but an intuitive, idiosyncratic form of folk-blues, with Cooper narrating laments over matters personal and global, gentle universalisms that double as political messages. All of this occurs over a loose rhythmic framework provided by various noisy loops, with cracks, scratches and pops, echoes and distortions skipping out from every refrain. It's a gentle cacophony with subtle undercurrents of beauty and sadness, effortlessly nostalgic but still very rooted in the now. I think that Mike Cooper can genuinely call this style his own; I've never heard anything remotely like it, and it works beautifully, highlighting both song and singer, as well as the happy accidents resulting from the intersection of structure and chaos. Most tracks seem to be recorded live to tape, with the title track coming from a live performance in front of an audience. In a sense, Cooper prepared us for this direction with the unexpected intrustion of song into his otherwise shambolic live CD-R Reluctant Swimmer/Virtual Surfer released last year, but Spirit Songs fully fleshes out the ideas only briefly glimpsed in that performance. Giacinto represents yet another new approach from Cooper, this time using the specific sound archicture of his National tri-plate resophonic guitar, exploring the sound produced on open strings with a handheld battery-operated electric fan. This produces a continuous note, not unlike an e-bowed electric guitar, but on the National tri-plate acoustic it produces strange overtones and complex harmonics that shift, bend and mutate as the fan is applied at different angles to differente combinations of strings. This results in a suite of strikingly unique drone pieces which have a specific alien resonance that immediately sets them apart from most other drone musics produced with analog or digital methods. Of course, Cooper cannot help but fill out these drone compositions with his live-sampling and looping techniques, producing several long-form pieces that gradually build up layers of hypnotic drone at different tones and pitches, building up an immersive sonic atmosphere that at times reminded me of Sublime Frequencies' Broken Hearted Dragonflies CD of "insect electronica" recorded in Southest Asia. The difference here is that Cooper makes his insects buzz, hum and sing along with his incredible improvisatory instinct; only occasionally does the joke wear thin on Giacinto, which is a lot more than I can say for many other current groups producing low-tech drone. Sometimes it can seem—especially to people like me who write about music and receive thousands of flimsy CD-R demos and promos every month—that recording and releasing music has become almost too easy and democratic these days, leading to an underground market flooded with homegrown crap that would have been better left languishing on the bedroom floor. An artist like Mike Cooper, however, with his willingly unprofressional and strictly uncommercial home operation, is producing amazing music to rival the best of the current critical "canon" of experimental music, can restore my faith in the new democracy of the digital age. Some samples on the Brainwashed web site - (Google Brainwashed Mike Cooper) Spirit Songs . Call in the Noise . Law and Order . Spirit Song - Live Giacinto samples: . Untitled Track 3 . Untitled Track 5 . Untitled Track 7 Still available - 'Reluctant Swimmer / Virtual Surfer' Hip 014. " ..incredibly rich and evocative, and as a live performance, utterly flawless. Cooper takes live guitar processing and sampling as his raw material, using it to build something complex and substantive, full of ideas and surprises, not just abandoning it half formed. Everyone who thought that Fennesz' last record was the best of 2004 would do well to listen to Mike Cooper's Reluctant Swimmer / Virtual Surfer, to hear similar musical strategies brought to their full potential by a veteran musician in his artistic prime." Jonathan Dean. "Tu Fuego" - if you collet vinyl check out www.qbicorecords.com - A blue vinyl 12 inch l.p. recorded live in Wellington New Zealand in february 2005 with myself (lap steel/electronics) Jeff Henderson (sax) Anthony Donaldson (drums) TomCallwood (bass) - limited edition of 300 - first 26 numbered A to Z with different individual signed photo covers taken by me (each photo an edition of three only) - free/extatic jazz set with Ornette / Pharoah / Ayler tunes as starting points. "Rayon Hula" (Prix Ars Electronica prize 2005) - my tribute to Arthur Lyman exotica. There are still some of the double 10 inch vinyl copies of Rayon Hula with cover design by Pete Fowler available from www.playbeast.com/product/~rayonhula/ Once again cds are only available from me direct - HIPSHOT PRICES- 15Euro. ?10UK. $15US. $25 AUS. etc. p.p.incl. Cheques drawn on a British bank made out to Mike Cooper. Cash in a letter in an envelope. US customers are advised to register letters or seal them well in double envelopes. NO international money orders please. HIPBOX SPECIAL-Buy 15 cd's you pay for 13 all packaged in a special HIPBOX. "Tropical Trio" Box Set - Kiribati, Globe Notes, Rayon Hula - Three for the price of two. MIKE COOPER. VIA VAGLIA 34 / INT. 18 / ROME 00139 / ITALY. TEL/FAX (00) + (39) + 068126395. WEB SITE - WWW.COOPARIA.ORG.UK E MAIL - COOPARIA at COMPUSERVE.COM From aliak77 at gmail.com Sun Feb 19 15:54:51 2006 From: aliak77 at gmail.com (Kath O'Donnell) Date: Mon, 20 Feb 2006 12:54:51 +1300 Subject: [af_list] Robin Fox, Sean Kerr and mhfs at Artspace, Feb 18th 7 pm In-Reply-To: References: Message-ID: <383607190602191554n516f4f70i8b0d58e96228dc9b@mail.gmail.com> Thanks very much to Zoe for organising this night and for all the performers for performing and to the people I spoke to for sharing their thoughts of the performances. I've started uploading the video taken on the night - it's taking a while to upload (some of the files are quite large), but here's the first one if you would like to see. it's in mpeg2 format (as will be the others unless I get extra time to convert to quicktime). you can view in the viewer on this page, or use videolan or similar if you want to download. http://www.ourmedia.org/node/167261 - mhfs' first physical performance with the metal tubing. http://www.flickr.com/photos/aliak_com/tags/artspace/ has individual photos or http://www.flickr.com/photos/aliak_com/tags/artspace/show/ for a slideshow of photos I had a great night. nice to meet you all. it was a great example of the different styles of performance discussed on the lists over last few weeks. physical / projected laptop / laptop I'll send another post with the links to the rest of the videos once uploading is complete. and I'll leave a couple of dvds of raw footage with Zoe also - the video is larger and a bit clearer on the dvd, though it's still pretty dark. cheers Kath On 2/8/06, Admin wrote: > > ONE NIGHT ONLY! > > Robin Fox (MELB) > Sean Kerr (AK) > mhfs (AK) > > Artspace - 7 pm, Feb 18th > > $10 waged, $8.00 unwaged > > Robin Fox > is a Melbourne based computer sound and visual artist currently exploring > the sonic possibilities of a hybrid that melds ecological contingency > theory > with live interactive computer music and cutting edge digital diffusion > techniques. > Robin is one of Australia?s most interesting experimental music exports. > His > work covers the live performance of electroacoustic music, the symbiosis > of > sound and light phenomena and the live processing of instrumental and > other > live electronic sources. His career to date covers solo electroacoustic > performance, collaborations with some of the worlds finest improvisers > (John > Rose, Tony Buck, Clayton Thomas, Anthony Pateras, Erki Veltheim, Clare > Cooper among many others) and an ongoing audio visual project that melds > electrical signals to create synaesthetic sound/light works. > > Sean Kerr > is an artist and freelance curator. Currently Sean is Senior Lecturer/HOS > in > Intermedia and Timebased Arts at Elam School of Fine Arts, University of > Auckland. > Sean has strong interests in sound and its relationship to image, pop > culture and visual art. He explores these themes in multiple formats > including installation, live performance, painting and the web. > Kerr's practice is frequently multi-disciplinary. > During 2003 Kerr was invited by Artspace Auckland to curate an annual > season > of sound projects for their permanent stairwell music installation, > resulting in the publication of an experimental music CD. His > collaborative > working method is well respected and his curatorial projects have all > involved the production of new work. > > mhfs > is Mark Sadgrove, an Auckland based sound artist who has released > solo work on Celebrate Psi Phenomenon (Lower Hutt), Scarcelight (America) > and his own label a binary datum. > He is also a member of Auckland ensemble Plains and performs in numerous > duos. mhfs has recently performed in Berlin and Tokyo in a micro > world-tour. > A neo-Luddite, he plans to eventually replace all the equipment he doesn't > understand with his own creations and enter a hermetically sealed sound > world of insular sonic gestures. > Until that day, you get to enjoy his home made pipe guitar and decimator > circuits channelled through an angry array of csound processors, creating > a > barrage of decaying waveforms. Eat up! > > THANKS TO AUDIO FOUNDATION, COLUMBARD, ELAM, AUT AND ARTSPACE > > > _______________________________________________ > Audio Foundation (AF) mailing list > Af_list at audiofoundation.org.nz > > http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz > -- http://www.aliak.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060220/e17a95a1/attachment.html From minimmusic at yahoo.co.uk Sun Feb 19 20:01:23 2006 From: minimmusic at yahoo.co.uk (rose and melody) Date: Mon, 20 Feb 2006 04:01:23 +0000 (GMT) Subject: [af_list] Nova Viator Live at minim Message-ID: <20060220040123.49236.qmail@web27010.mail.ukl.yahoo.com> hey everyone, just a reminder that we have a special guest from Slovenia playing at 'minim' this Thursday. His name is Luka Princic, and he goes by the performance name of 'nova viator'.He will be playing live for 2 hours, and will be accompanied by Miles Kuen, and Mike Gemmell-both of whom are well respected minimal techno dj's. Here's some info about Luka: http://viator.si/nz2006/ basic work database - http://viator.si/tavi/ http://www.inpotenza.org/princic.html this abstract/conclusion is pretty much his own artistic statement: http://www.rebelart.net/i0008.html it's from his degree paper. this he wrote for a live one day installation/performance in central gallery in ljubljana just now in january (12th), where he performed with 5 old computers that were making noises partly from his interaction but sometimes very autonomous: http://viator.si/nz2006/noise.html + pictures: http://viator.si/photop/06-01-12_malagalerija-noiz/ ___________________________________________________________ To help you stay safe and secure online, we've developed the all new Yahoo! Security Centre. http://uk.security.yahoo.com From zoe at audiofoundation.org.nz Sun Feb 19 21:12:12 2006 From: zoe at audiofoundation.org.nz (Zoe Drayton) Date: Mon, 20 Feb 2006 18:12:12 +1300 Subject: [af_list] FW: Happy Gig's up to 11 march In-Reply-To: <03c801c635cc$422be010$c414f6d2@happy> Message-ID: ---------- From: HAPPY Reply-To: HAPPY Date: Mon, 20 Feb 2006 16:18:02 +1300 To: happymusic at paradise.net.nz Subject: Happy Gig's up to 11 march Tuesday 21st: Little Red Hen Presents: SOME SNAZZY HUMANS - 8:30pm - 10pm (Koha) Slammin' slow jams, frictive funk and impressionistic improv. SOME SNAZZY HUMANS are Leila Adu-Piano/Voice, Andrew Weeks(US)-Bass Guitar/Acoustic Guitar and Taylor Taylor(The Electric Dolphins, Food, Dancing In Your Head.) Come and hear SOME SNAZZY HUMANS' singles, "Scotch butter snap" "Shrapnel" and "African Rain" which have featured on their own internal hit parades around the universe for quite some time. Wednesday 22nd: The Rick Jensen Trio - 9.30 pm - Beautiful jazz for the openminded ($5) Thursday 23rd: Ryan Prebble with Friends - CD Release Party with Tessa Rain and Harriet and the Matches- 9.30 pm Friday 24th: sonSwitch and The Mosiac Collective (Ivez Lamkum and Phrase) - 10pm ($5) Saturday 25th: The Shruggs, Libra Accord and The Sprouts - 10 pm ($10) Sunday 26th: Daphne Owers (farewell gig) and Black Bart - 9pm Wednesday 1st: An Evening Packed Full of Acoustic Singer Songwriter Types - 9pm Thursday 2nd: Gamorah and Guests - 9.30 Friday 3rd: sideroom.com's All Together Now multimedia show featuring: -Music: Anbaric Mas, Soulnine with D-Rail and Maya, DJ Roshi -(Live) Art:City King, Trust ME, Component, Enforce. One, Flox, Mephisto Jones, Sole 72 8pm $10 doorsales - $15 with magazine Saturday 4th: Farmerpimp(AK), Module and DJ Lotion - 10pm ($15) Tuesday 7th - Friday 10th: UK Avant Folk Legend Mike Cooper featuring: - Tuesday 7th: Hawaii Surrealo Duo with David Long (an orgy of Slides, Field Recordings, Therimins and lap steels) - 8pm ($10) - Wednesday 8th: Film Night - Big Wednesday - Live Soundtrack to the surf film by John Milus - 8pm ($10) - Thursday 9th: Oh Really!? Blues and Folk Songs with Support from Leila Adu (solo) - 8pm ($10) - Friday 10th: Tu Feugo LP Obico Records Release Party - Anthony Donaldson, Jeff Henderson, Tom Callwood Fire Breathing, Brain Splintering Improvisation - 10pm ($10) Saturday 11th: Sabot (Czech Republic/USA) with Ditzy Squall and Thee Strapons - 9.30pm ($8/$6) For More info see www.skirted.net or www.cesta.cz _______________________________________ Happy corner Vivian and Tory Streets PO Box 9069 Wellington New Zealand +64 4 384 1965 www.happy.net.nz Come with me, I will show you how to fly like a bird To join the Happy email list, contact: happymusic at paradise.net.nz For great music, listen to: The Zero Hour - 89FM Sundays 11pm - 1am Internal Virus Database is out-of-date. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.5.7 - Release Date: 1/03/2005 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060220/bb274a5a/attachment.htm From slowchimes at gmail.com Mon Feb 20 01:20:57 2006 From: slowchimes at gmail.com (Andrew Scott) Date: Mon, 20 Feb 2006 22:20:57 +1300 Subject: [af_list] Wine Cellar birthday sound... Message-ID: <1f226fe90602200120s3052a8faydeb9ec3b5ea4d177@mail.gmail.com> to celebrate the rapid aging of the Wine Cellars much beloved patron, we present a special Wine Cellar birthday gig: Golden Krone (+ special guest) Sam Hamilton/Chris O'Connor/Paul Winstanley Trio + God only knows what else.... Tuesday 21st Feb The Wine Cellar 9pm see you there.... From simon at obscure.co.nz Mon Feb 20 13:25:47 2006 From: simon at obscure.co.nz (Simon Swain) Date: Tue, 21 Feb 2006 08:25:47 +1100 Subject: [af_list] Nova Viator Live at minim In-Reply-To: <20060220040123.49236.qmail@web27010.mail.ukl.yahoo.com> References: <20060220040123.49236.qmail@web27010.mail.ukl.yahoo.com> Message-ID: <43FA33DB.5080209@obscure.co.nz> Do you know if he's passing through australia at all? Cheers Simon rose and melody wrote: > hey everyone, just a reminder that we have a special > guest from Slovenia playing at 'minim' this Thursday. > His name is Luka Princic, and he goes by the > performance name of 'nova viator'.He will be playing > live for 2 hours, and will be accompanied by Miles > Kuen, and Mike Gemmell-both of whom are well respected > minimal techno dj's. > Here's some info about Luka: > > http://viator.si/nz2006/ From artwerks at slingshot.co.nz Mon Feb 20 13:35:03 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Tue, 21 Feb 2006 10:35:03 +1300 Subject: [af_list] Safe as Milk Message-ID: <00ee01c63665$8303f7f0$0422b8cb@d400> A festival in Norway: http://www.safe-as-milk.org The proverbial little bird has just told me that a NZer has just been invited to join the festival line-up. Andrew -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060221/d4497f01/attachment.html From turnstyle at obscure.co.nz Mon Feb 20 14:29:24 2006 From: turnstyle at obscure.co.nz (Simon Kong) Date: Tue, 21 Feb 2006 11:29:24 +1300 Subject: [af_list] lonely party In-Reply-To: <00ee01c63665$8303f7f0$0422b8cb@d400> References: <00ee01c63665$8303f7f0$0422b8cb@d400> Message-ID: <43FA42C4.10909@obscure.co.nz> well . crumbs .. another week ' another month .. I feel like I am missing out on alot being here in paradise ' if there is anything like an alternative music scene here it called the country music club ! .. meanwhile on the net I have found this fantastic device http://www.drumbuddy.com/ the best bit is that you have to travel to the inventors house and stay with him, before you can get one .. ?! .. and for moments when I feel like being elsewhere .. here is a site with some fantastic field recordings .. http://www.quietamerican.org I have put one into the latest speakeasy ' which should hit the wires later today ! .. yee haa ! .simon From samukun at gmail.com Mon Feb 20 16:47:03 2006 From: samukun at gmail.com (Sam Hamilton) Date: Tue, 21 Feb 2006 13:47:03 +1300 Subject: [af_list] snazzy humans and other names Message-ID: <19ccf87f0602201647s425b91f0mf3e8395a6d8f0943@mail.gmail.com> man i just have to say how absolutely wonderful i think the name 'Some Snazzy Humans' is. i dont care what they sound like,there on my top band name lists for ever!!! me,PW and chris O'C have been trying to come up with a name for a trio we have.its been hard though and we still yhavent got one. i was keen on 'Happy Birthday Jack Nicholson' but paul wasnt so keen. anyway i think its about time we put a call out for help with a name. does anyone out there have any suggestions for band names that might be half as cool as Some Snazzy Humans ????? here are some starters....... -expanded Gedi Gedi -sprained ancle band -flavoured death -"but i was there last night?" -yesterday stan broke through -shit ohms -dictionary of 3 bit verbs -surface of the table -richard,you shoe is blue -ivisnism -2/200 -white fluro white -rivision and the latter -happy bithday Prince -im fascinated by you -great job c u sam -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060221/09f3542a/attachment.htm From turnstyle at obscure.co.nz Mon Feb 20 19:22:28 2006 From: turnstyle at obscure.co.nz (Simon Kong) Date: Tue, 21 Feb 2006 16:22:28 +1300 Subject: [af_list] lonely party Message-ID: <43FA8774.4080402@obscure.co.nz> It's out .. Does anyone else subscribe to podcast through itunes ? It's simple as dimples .. Anyway .. there are a bunch of links below to some great net labels for you to check out .. there is a enough good Creative Commons content to kill any bandwidth limit .. There is short cut from the Drum Buddy about half way through speakeasy if you are listening .. But generally . have a goose around and check out the Net labels . pick up some sounds and be inspired by what people are doing with their music on line. And . . as like last time . anyone is welcome to produce their own netcast for Psurkits .. ' random recordings ' self made creations .. or regular informed content .. the world is yours .. Just avoid copyright material and keep free ' free .simon Speakeasy OX2 http://psurkit.net/show/speakeasy_0X2.php :: Visit www.kyoto-sound.com www.instabil.org www.uran97.com www.acediamusic.org www.thinner.cc www.minlove.net www.quietamerican.org www.drumbuddy.com www.phoniq.net www.heavy-industries.net www.earlabs.org :: Tracklist Night Dub - Mr.Cloudy / Mr. Cloudy - [KY_D010] friction dub [daniel stefanik edit] - hieronymus / kyoto digital [instabil_08] Musikstueck - K.Fog / Winterproof Tones - [uran97_030] digitalkamerad - Florian Filsinger / King of Verlieren [am038] Uhoidokalo - Randomajestiq / UnclassifiEP - [APL011] Err9r-Prone - Dafluke / Sushitech Err9r - [mnlv 04] One-minute vacation for October 17, 2005 - Tim Cabassi / [Field Recording] Extended Scratch - Quintron / Drum Buddy 487 - Coax / Solaris - [am037] One-minute vacation for August 1, 2005 - Fluffy Pennyfeather [Field Recording] Canci?n De Cuna (Receptor Mix) - Alta Infidelidad / Cactus Y Volcanes - [THN083] Forseen Movement - Anton / 1 - [PHQ010] Muted - Ryan Jones / phase02 - [hi010] Lava - urban force / input/output - [instabil_02] Sig Tango - Livelectro vs Elena Nikitaeva / More Dots of a Certain Sound - [es10] From damian at frey.co.nz Sun Feb 19 17:52:30 2006 From: damian at frey.co.nz (Damian Stewart) Date: Mon, 20 Feb 2006 14:52:30 +1300 Subject: [af_list] laptop stands? Message-ID: <43F920DE.8060205@frey.co.nz> anyone had any luck finding nice-looking stands for laptop gear? The guy in the music shop I went to suggested 'a keyboard stand with a bit of wood on it' but i'd like something a bit better if they exist. what do other people do? i've played on the floor and on a table, i prefer the floor but 'stage presence' dictates I ought to be standing up. :/ -- f r e y live music with computers http://www.frey.co.nz From achirnside at gmail.com Tue Feb 21 00:25:54 2006 From: achirnside at gmail.com (Angeline Chirnside) Date: Tue, 21 Feb 2006 21:25:54 +1300 Subject: [af_list] laptop stands? In-Reply-To: <43F920DE.8060205@frey.co.nz> References: <43F920DE.8060205@frey.co.nz> Message-ID: <109772670602210025y7c0e6c1l19bdd8f5c649284c@mail.gmail.com> I used to have a bandmate that used an ironing board to rest her keyboards on when we played, so that could be a good idea. In my experience, the older they are the sturdier they are - newer ones are a bit easier to knock over. You can adjust the height really easily, AND if you're so inclined you could custom-sew a cover for it in a shade that complements the colour of your laptop. On 2/20/06, Damian Stewart wrote: > anyone had any luck finding nice-looking stands for laptop gear? The guy > in the music shop I went to suggested 'a keyboard stand with a bit of > wood on it' but i'd like something a bit better if they exist. > > what do other people do? i've played on the floor and on a table, i > prefer the floor but 'stage presence' dictates I ought to be standing up. > :/ > > -- > f r e y > live music with computers > http://www.frey.co.nz > > > _______________________________________________ > Audio Foundation (AF) mailing list > Af_list at audiofoundation.org.nz > > http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz > -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060221/462fc8df/attachment.html From a.brown at qut.edu.au Tue Feb 21 04:16:15 2006 From: a.brown at qut.edu.au (Andrew Brown) Date: Tue, 21 Feb 2006 22:16:15 +1000 Subject: [af_list] Impromptu Message-ID: Folk on this list may be interested in a new *free* computational art program called Impromptu. This is written by a friend of mine (disclosure) arising out of work done over many years at Queensland University of Technology (Brisbane, Australia). Impromptu is a environment for programming (in Scheme) audio and visual processes. It runs on Macintosh OS X 10.4 and uses the AudioUnit plugins and CoreGraphics frameworks for 2d drawing and images. Designed especially for live coding performances, but also good for composition of interactive systems. Check it out http://impromptu.moso.com.au Cheers, Andrew Brown http://adaptivemusic.net/ -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060221/6ea0ca00/attachment.htm From artwerks at slingshot.co.nz Tue Feb 21 12:18:20 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Wed, 22 Feb 2006 09:18:20 +1300 Subject: [af_list] laptop stands? References: <43F920DE.8060205@frey.co.nz> Message-ID: <01ca01c63723$f595dc20$2d06b8cb@d400> How about one of these setups...? http://www.elbeso.cl/Galeria2004_04_01_Kraftwerk.htm Or perhaps an earlier model: http://www.synthtopia.com/news/2004_07/Kraftwerk-TourdeFrance.html http://www.getlofi.com/2005/10/computerwelt-circa-1981.html But I suspect you'd probably be happier just fixing a strap to it so you can run around playing it like a guitar ;) BTW, this looks like a cool blog for hours of analogue fun... http://www.getlofi.com/ Andrew ----- Original Message ----- From: "Damian Stewart" To: Sent: Monday, February 20, 2006 2:52 PM Subject: [af_list] laptop stands? > anyone had any luck finding nice-looking stands for laptop gear? The guy > in the music shop I went to suggested 'a keyboard stand with a bit of > wood on it' but i'd like something a bit better if they exist. > > what do other people do? i've played on the floor and on a table, i > prefer the floor but 'stage presence' dictates I ought to be standing up. > :/ > > -- > f r e y > live music with computers > http://www.frey.co.nz > > > _______________________________________________ > Audio Foundation (AF) mailing list > Af_list at audiofoundation.org.nz > http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz > > > -- > No virus found in this incoming message. > Checked by AVG Free Edition. > Version: 7.1.375 / Virus Database: 267.15.12/265 - Release Date: > 20/02/2006 > > From artwerks at slingshot.co.nz Tue Feb 21 12:22:29 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Wed, 22 Feb 2006 09:22:29 +1300 Subject: [af_list] Fw: Essendon Airport @ The Studio Message-ID: <01d001c63724$89a12eb0$2d06b8cb@d400> Speaking of vintage Deutsch sounds; anyone in Sydney that is that way inclined might enjoy this... Andrew ----- Original Message ----- To: acma-l at list.waikato.ac.nz Begin forwarded message: From: David Chesworth Subject: Essendon Airport @ The Studio Essendon Airport are performing live at the Sydney Opera House Studio. - Robert Goodge guitar, David Chesworth piano and synth, Graham Lee pedal steel guitar, will crank up their drum machine and perform mesmerising works from their classic release, Sonic Investigations Of The Trivial as well as David Chesworth?s 1979 electronic album 50 Synthesiser Greats. Complete with fabulous found footage visuals by Mike Fairley www.waxsm.com.au/essendonairport Also critically-lauded Melbourne post-rock instrumentalists, This Is Your Captain Speaking, will perform tracks from their acclaimed debut album Storyboard, before joining forces with ?bern?dl (members of B(if)tek and Dark Network) to provide you with an extremely rare opportunity to hear live versions of seminal 70s electronic tracks by Tangerine Dream, Neu!, Brian Eno, and more. The Studio, Sydney Opera House Saturday March 4 @ 9pm $25 & $20 http://www.sydneyoperahouse.com/sections/whats_on/the_studio (please pass on to interested folk. please send return email to be removed from this very occasional list) cheers David Chesworth Wax Sound Media ABN 43 083 195 000 92 Story Street Parkville VIC 3052 Australia email: chesworth at waxsm.com.au www.waxsm.com.au/chesworth ph +613 9348 0084 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060222/0cebc29c/attachment.html From gate_nz at yahoo.com Tue Feb 21 12:48:48 2006 From: gate_nz at yahoo.com (Michael Morley) Date: Tue, 21 Feb 2006 12:48:48 -0800 (PST) Subject: [af_list] Af_list Digest, Vol 11, Issue 26 In-Reply-To: Message-ID: <20060221204848.24659.qmail@web34309.mail.mud.yahoo.com> re:laptops excuse my expletive but fuck 'stage presence', why the hell is everyone worried about 'looking good' on stage for? Lie down! :) __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com From sam at postmoderncore.com Tue Feb 21 12:54:05 2006 From: sam at postmoderncore.com (Sam Stephens) Date: Wed, 22 Feb 2006 09:54:05 +1300 Subject: [af_list] Af_list Digest, Vol 11, Issue 26 In-Reply-To: <20060221204848.24659.qmail@web34309.mail.mud.yahoo.com> References: <20060221204848.24659.qmail@web34309.mail.mud.yahoo.com> Message-ID: <43FB7DED.80905@postmoderncore.com> Personally I like do visual shit to stop my poor partner who I drag along to these things from being bored to death. Also, to use another expletive, if you're interesting to watch, you're that much more likely to get your audience to shut the fuck up. (I want to start a venue where bouncers will throw you out if you talk during a performance, but that's a whole new thread). Michael Morley wrote: > re:laptops > excuse my expletive but fuck 'stage presence', why the hell is > everyone worried about 'looking good' on stage for? Lie down! :) From caleb.k at impermanent.info Tue Feb 21 15:16:42 2006 From: caleb.k at impermanent.info (caleb k) Date: Wed, 22 Feb 2006 10:16:42 +1100 Subject: [af_list] a word in your ear In-Reply-To: References: Message-ID: <8175ca78267b617eb1190266c803d1df@impermanent.info> as some of you know at impermanent there is no talking... at first i did a few things to make sure this happened one of which was to quietly whisper in the ear of the offender 'you have two choices, shut up or get the fuck out'. all shut up except on one occasion at a gig mr.morley was playing in sydney where even though it wasn't my event i was asked to call for quiet... it being a sat night a few people got the shits with this and left. i haven't had to do this for many years, quite simply no one talks again i actually think that concentration and quality musicians are the way to make an audience shut up... i'm thinking of getting a t-shirt made up "no visuals" .kk > > ------------------------------ > > Message: 2 > Date: Wed, 22 Feb 2006 09:54:05 +1300 > From: Sam Stephens > Subject: Re: [af_list] Af_list Digest, Vol 11, Issue 26 > To: A list digest for the support of innovative audio culture in NZ > > Message-ID: <43FB7DED.80905 at postmoderncore.com> > Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > Personally I like do visual shit to stop my poor partner who I drag > along to these things from being bored to death. > > Also, to use another expletive, if you're interesting to watch, you're > that much more likely to get your audience to shut the fuck up. (I want > to start a venue where bouncers will throw you out if you talk during a > performance, but that's a whole new thread). > > Michael Morley wrote: >> re:laptops >> excuse my expletive but fuck 'stage presence', why the hell is >> everyone worried about 'looking good' on stage for? Lie down! :) > > > > > ------------------------------ > > _______________________________________________ > Af_list mailing list > Af_list at audiofoundation.org.nz > http://audiofoundation.org.nz/mailman/listinfo/ > af_list_audiofoundation.org.nz > > End of Af_list Digest, Vol 11, Issue 27 > *************************************** From hertzz at gmail.com Tue Feb 21 15:54:41 2006 From: hertzz at gmail.com (Nigel Wright) Date: Wed, 22 Feb 2006 12:54:41 +1300 Subject: [af_list] a word in your ear In-Reply-To: <8175ca78267b617eb1190266c803d1df@impermanent.info> References: <8175ca78267b617eb1190266c803d1df@impermanent.info> Message-ID: <17d276b00602211554k4e12072cr5703a69ff5d3d538@mail.gmail.com> I really dislike it when people at an event are 'forced' into being quiet and 'made' to pay attention. I agree with Caleb, good musicians/music will usually make most people be quiet. But if yr doing some kind of microsound super minimal performance at a bar on a Saturday night, then maybe you (not you in particular Caleb, a general you) should be thinking of a different type of venue? People enjoy music/sound in all types of ways, enforcing your preference onto other people just seems a bit...selfish I guess. While I'm at it : >if you're interesting to watch, you're > that much more likely to get your audience to shut the fuck up. I don't think being interesting to watch comes into it at all. Come to think of it, I don't think getting the audience to shut the fuck up comes into it at all. If you want to be entertained or watch someone with amazing stage presence, go see James Brown or something. I'm not about to start rocking out behind my laptop or introducing a KISS styled pyrotechnics display to my shows just so the audience isn't bored. But hey, that's just me. > > > as some of you know at impermanent there is no talking... at first i > did a few things to make sure this happened one of which was to quietly > whisper in the ear of the offender 'you have two choices, shut up or > get the fuck out'. all shut up except on one occasion at a gig > mr.morley was playing in sydney where even though it wasn't my event i > was asked to call for quiet... it being a sat night a few people got > the shits with this and left. i haven't had to do this for many years, > quite simply no one talks > > again i actually think that concentration and quality musicians are the > way to make an audience shut up... i'm thinking of getting a t-shirt > made up "no visuals" > > .kk > > > -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060222/034042d4/attachment.htm From admin at audiofoundation.org.nz Tue Feb 21 17:27:46 2006 From: admin at audiofoundation.org.nz (Admin) Date: Wed, 22 Feb 2006 14:27:46 +1300 Subject: [af_list] Audiomulch 1.0 Message-ID: ---------------------------------------------------------------------- Message: 1 Date: Tue, 21 Feb 2006 17:01:26 +1100 From: "Ross Bencina" Subject: [Acma-l] AudioMulch 1.0 is here To: Message-ID: <3fb101c636ac$40ccdb80$e7258890 at Psilocybin> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Hello Acma-ites After over 9 years, today I finally pushed AudioMulch out of the beta phase. Thanks to everyone from the ACMC community for their input and support over the years, it has been invaluable. Best wishes Ross. http://www.audiomulch.com From gate_nz at yahoo.com Tue Feb 21 19:01:35 2006 From: gate_nz at yahoo.com (Michael Morley) Date: Tue, 21 Feb 2006 19:01:35 -0800 (PST) Subject: [af_list] Af_list Digest, Vol 11, Issue 27 In-Reply-To: Message-ID: <20060222030135.2994.qmail@web34306.mail.mud.yahoo.com> yeah talkers in quiet shows ruin it for everyone else, I say treat them like smokers and turf 'em out into the cold dark streets. or at least return to blistering levels(11) to drown them out, an option i have used in the past to great effect. michael morley gate_nz at yahoo.com ph/fx+64.3.4727309 10 harrington street port chalmers 9005 dunedin n e w z e a l a n d __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com From p-arcana at paradise.net.nz Tue Feb 21 19:44:14 2006 From: p-arcana at paradise.net.nz (PseudoArcana) Date: Wed, 22 Feb 2006 16:44:14 +1300 Subject: [af_list] New CD(s) In-Reply-To: Message-ID: <20060222034409.E2BD7CC3B8C@smtp-3.paradise.net.nz> Hi all, Been reading all these posts of late but not responding so much... All I have to add to the laptop debate is that some of the most powerful AURAL experiences I've had at gigs have been laptop based. Damn powerful instruments, and so crisp and clear... I don't know if aural is always really enough though. Performance-wise the only person who's floored me has been Mattin, and he didn't even touch his laptop more than a couple of times... Been busy with these: .Birchville Cat Motel.- 'Our Love Will Destroy the World'. Settling in around the 2 epic tracks from the 'screamformelongbeach' 3" cdr, 'Our Love Will Destroy the World' is a new 5 track album that finds Campbell Kneale engaged in a deeper archaeological sifting of the rock and metal tropes that he has recently been exploring with Black Boned Angel. Whilst remaining resolutely a Birchville album the instrumentation employed has been culled from the heavier end of the metal spectrum to produce what is, in a weird and wonderful way, perhaps Birchvilles most 'accessible' album to date. Fluidly shifting but piercing guitar feedback and endlessly heavy riffs are married to grindcore drumming, organ fugues and electronics to create a huge wash of sound that somehow manages to exemplify the ecstatic beauty of so much of the Birchville oeuvre at the same time as being 'supremely heavy'. This is Birchville's bliss reverie 'ROCK' album... CD. NZ$20 .The Nether Dawn. -'Outer Dark'. Moody midnight psychy drone blues. The follow up album to 'Whisky Mute Down' this album has been released by Celebrate Psi Phenomenon who have this to say: "Filthy, ragged, drone-damage from Antony Milton, the mastermind behind the insanely credible Pseudoarcana label, and recently crowned third member of Black Boned Angel. Crackle and smoldering fuzz turn over and over on itself at ever more terrifying pace until everything within its gravitational grasp begins to smell of burning plastic. Frightening, shamanic, and dare-I-suggest BLUESY (think Fushitsusha not Gary Moore!) yet set within a down-on-the-farm, Antipodean, post-Xpressway context. The future of drone. The future of rock. The future of goddamn everything!" CD. NZ$25. (am I the only person who gets embarrassed by Campbell's descriptions of their records?) There are some more non-NZ cdrs new on the website as well... Hey, and I will be up to play in Auckland at The Wine Cellar on Sat 4th March. AM Plains City Peoples Farmers Music Un Ciego Hope to see some of you there! Antony Milton/ PseudoArcana PO Box 24409 Manners Street Wellington New Zealand www.pseudoarcana.com From samukun at gmail.com Tue Feb 21 20:05:42 2006 From: samukun at gmail.com (Sam Hamilton) Date: Wed, 22 Feb 2006 17:05:42 +1300 Subject: [af_list] laugh and dye Message-ID: <19ccf87f0602212005i3a69c2b9t67fc1accc56ba49d@mail.gmail.com> postmodcore: i dont mean this as a personal tinge but when you mentioned bouncers throwing out talkers i envisioned for a moment, sitting in an audience,some coughs,and the next moment teeth arescattered in a bloody smear across the room to the door. nice idea!!! laughing could get the death penalty. on that note it was a joy to see 500 or so people turn out to a "listening" event and see jeff henderson work them in to a shameless blushing bunch of cackling woopy cushions with his stage antics,something you dont to often see or hear either in "serious" improv music,nor in this case with straight mixer feedback.it was like taking nitrosoxide and having some give you a rasberry at a chess club. also.... i cant remember were i heard this but i heard recently that some has invented,or started some sort of device which omits a high frequency sound that can "deter teenagers from loitering",aparently popular umounst old shop owners in small towns. why the fuck dont you just take along a boombox or what not and blare it as loud as you can out side there shop,youngings are the ones who love volume,fucking use it.'old people' hate that stuff,you know, play some hiphop or something,they'll love it....deter teenagers,fuck what next,a devise which seals there lips so they cant talk anyway if your young and can hear things better count it as a blessing,those old codgers are just jealous cause they need hearing aids. ahhh,what sam -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060222/8b9fb5b0/attachment.html From pippalot at ihug.co.nz Tue Feb 21 21:35:48 2006 From: pippalot at ihug.co.nz (Zoe) Date: Wed, 22 Feb 2006 18:35:48 +1300 Subject: [af_list] New CD(s) In-Reply-To: <20060222034409.E2BD7CC3B8C@smtp-3.paradise.net.nz> Message-ID: the good thing about ..erm desktop playing is that one can at least hide behind it if there any nerves around performing...no one sees your hands shaking. (not that mine EVER do - of course!) had an interesting conversation about nerves recently with a friend. i wonder what strategies other people use for this unfortunate affliction? on 2/22/06 4:44 PM, PseudoArcana at p-arcana at paradise.net.nz wrote: > Hi all, > Been reading all these posts of late but not responding so much... All I > have to add to the laptop debate is that some of the most powerful AURAL > experiences I've had at gigs have been laptop based. Damn powerful > instruments, and so crisp and clear... > I don't know if aural is always really enough though. Performance-wise the > only person who's floored me has been Mattin, and he didn't even touch his > laptop more than a couple of times... > > Been busy with these: > > .Birchville Cat Motel.- 'Our Love Will Destroy the World'. > Settling in around the 2 epic tracks from the 'screamformelongbeach' 3" cdr, > 'Our Love Will Destroy the World' is a new 5 track album that finds Campbell > Kneale engaged in a deeper archaeological sifting of the rock and metal > tropes that he has recently been exploring with Black Boned Angel. Whilst > remaining resolutely a Birchville album the instrumentation employed has > been culled from the heavier end of the metal spectrum to produce what is, > in a weird and wonderful way, perhaps Birchvilles most 'accessible' album to > date. > Fluidly shifting but piercing guitar feedback and endlessly heavy riffs are > married to grindcore drumming, organ fugues and electronics to create a huge > wash of sound that somehow manages to exemplify the ecstatic beauty of so > much of the Birchville oeuvre at the same time as being 'supremely heavy'. > This is Birchville's bliss reverie 'ROCK' album... > CD. NZ$20 > > .The Nether Dawn. -'Outer Dark'. > Moody midnight psychy drone blues. The follow up album to 'Whisky Mute Down' > this album has been released by Celebrate Psi Phenomenon who have this to > say: > "Filthy, ragged, drone-damage from Antony Milton, the mastermind behind the > insanely credible Pseudoarcana label, and recently crowned third member of > Black Boned Angel. Crackle and smoldering fuzz turn over and over on itself > at ever more terrifying pace until everything within its gravitational grasp > begins to smell of burning plastic. Frightening, shamanic, and > dare-I-suggest BLUESY (think Fushitsusha not Gary Moore!) yet set within a > down-on-the-farm, Antipodean, post-Xpressway context. The future of drone. > The future of rock. The future of goddamn everything!" CD. NZ$25. > (am I the only person who gets embarrassed by Campbell's descriptions of > their records?) > There are some more non-NZ cdrs new on the website as well... > > Hey, and I will be up to play in Auckland at The Wine Cellar on Sat 4th > March. > AM > Plains > City Peoples Farmers Music > Un Ciego > Hope to see some of you there! > > Antony Milton/ PseudoArcana > PO Box 24409 > Manners Street > Wellington > New Zealand > www.pseudoarcana.com > > > > > _______________________________________________ > Audio Foundation (AF) mailing list > Af_list at audiofoundation.org.nz > http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz > > From simon at obscure.co.nz Tue Feb 21 22:06:00 2006 From: simon at obscure.co.nz (Simon Swain) Date: Wed, 22 Feb 2006 17:06:00 +1100 Subject: [af_list] New CD(s) In-Reply-To: References: Message-ID: <43FBFF48.8020400@obscure.co.nz> Play lots, you get used to it Own the stage It's fight or flight reaction. Once it stops becoming an unusual/threatening situation you'll have no problem. S > i wonder what strategies other people use for this unfortunate affliction? From gate_nz at yahoo.com Tue Feb 21 22:41:37 2006 From: gate_nz at yahoo.com (Michael Morley) Date: Tue, 21 Feb 2006 22:41:37 -0800 (PST) Subject: [af_list] Af_list Digest, Vol 11, Issue 28 In-Reply-To: Message-ID: <20060222064137.85442.qmail@web34306.mail.mud.yahoo.com> hiding behind the laptop screen and talking to myself always seems to be my current excuse for a stage presence, slightly dysfunctional, and unnerving for those who don't know this is an "act". I quite like the idea of burly guys with corporate sweats on casing the audience to pull out talking offenders, although I could never sanction it, having witnessed the stupidity of bouncers extreme, big burly guys kicking and shoving drunk and happy teenagers stage diving and goofing in wgtn, although don't get me wrong, i ain't into random stage diving, that would be too dangerous!! having seen caleb's response to talkers in action , it seems one of the most effective ways, apart from having a large flashing sign that blinks "silence " every ten seconds, perhaps in old style pink lightbulbs, and a rule against routine maintenance, that would be pretty sweet!. michael morley gate_nz at yahoo.com ph/fx+64.3.4727309 10 harrington street port chalmers 9005 dunedin n e w z e a l a n d __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com From gate_nz at yahoo.com Tue Feb 21 22:41:48 2006 From: gate_nz at yahoo.com (Michael Morley) Date: Tue, 21 Feb 2006 22:41:48 -0800 (PST) Subject: [af_list] Af_list Digest, Vol 11, Issue 28 In-Reply-To: Message-ID: <20060222064148.9271.qmail@web34301.mail.mud.yahoo.com> hiding behind the laptop screen and talking to myself always seems to be my current excuse for a stage presence, slightly dysfunctional, and unnerving for those who don't know this is an "act". I quite like the idea of burly guys with corporate sweats on casing the audience to pull out talking offenders, although I could never sanction it, having witnessed the stupidity of bouncers extreme, big burly guys kicking and shoving drunk and happy teenagers stage diving and goofing in wgtn, although don't get me wrong, i ain't into random stage diving, that would be too dangerous!! having seen caleb's response to talkers in action , it seems one of the most effective ways, apart from having a large flashing sign that blinks "silence " every ten seconds, perhaps in old style pink lightbulbs, and a rule against routine maintenance, that would be pretty sweet!. mm __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com From sam at postmoderncore.com Tue Feb 21 22:57:10 2006 From: sam at postmoderncore.com (Sam Stephens) Date: Wed, 22 Feb 2006 19:57:10 +1300 Subject: [af_list] Af_list Digest, Vol 11, Issue 27 In-Reply-To: <20060222030135.2994.qmail@web34306.mail.mud.yahoo.com> References: <20060222030135.2994.qmail@web34306.mail.mud.yahoo.com> Message-ID: <43FC0B46.5020406@postmoderncore.com> I don't mind talkers in my own sets, because I tend to give them the 11 treatment, and make some noise that only hardcore listeners will want to hear. But people who talk loudly through other peoples sets I really wanna hear can piss me off. Yes, this is elitist shit, I can't deny it. But there's a million venues for people who don't give a fuck about listening. Although I must admit my feelings on this are coloured by my being a minidisc recording fanatic. People talking next to my mic are psychologically amplified ! Michael Morley wrote: > yeah talkers in quiet shows ruin it for everyone else, I say treat > them like smokers and turf 'em out into the cold dark streets. or at > least return to blistering levels(11) to drown them out, an option i > have used in the past to great effect. > > > michael morley gate_nz at yahoo.com > ph/fx+64.3.4727309 > 10 harrington street port chalmers 9005 dunedin > n e w z e a l a n d > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > > _______________________________________________ > Audio Foundation (AF) mailing list > Af_list at audiofoundation.org.nz > http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz > From sam at postmoderncore.com Tue Feb 21 22:57:30 2006 From: sam at postmoderncore.com (Sam Stephens) Date: Wed, 22 Feb 2006 19:57:30 +1300 Subject: [af_list] New CD(s) In-Reply-To: <43FBFF48.8020400@obscure.co.nz> References: <43FBFF48.8020400@obscure.co.nz> Message-ID: <43FC0B5A.9080606@postmoderncore.com> When I was young, I drank heaps, or got really stoned. Now, I've done it enough times that I don't care. I've made a fool of myself enough times that I know it doesn't matter, and now I'm quite happy to get up and play the worst set of my life if that's how a night works out. And I know how sweet success can be. Simon Swain wrote: > Play lots, you get used to it > > Own the stage > > It's fight or flight reaction. Once it stops becoming an > unusual/threatening situation you'll have no problem. > > S > >> i wonder what strategies other people use for this unfortunate affliction? From david_borrie at hotmail.com Wed Feb 22 04:19:15 2006 From: david_borrie at hotmail.com (David Borrie) Date: Wed, 22 Feb 2006 12:19:15 +0000 Subject: [af_list] a word in your ear In-Reply-To: Message-ID: We've all been to 'experimental' performances which have worked, have been great, have left us with lasting physical/mental impressions in spite of lacking visuals or spectacle, so we all know there's a winning formula. There's also a losing formula. It has nothing to do with visuals, danceability, motionless laptopism or any other spectacle-related phenomena. People talk at these gigs because they're bored. Audience boredom results from only three things: 1.) The performance is wrong for the context. Say the rugby club on Saturday night after the game. The relative loudness of the PA can also be a factor in undermining the context. 2.) The audience is wrong for the performance. E.g. goth kids at a microsound gig in a gallery space. (In this case, someone like Caleb is helpful to eject them.) 3.) It's up to the performer to create something which grabs the audience and holds their attention in a limited space of time. This is precisely what separates a performance from a wank-fest. So if the above two symptoms check out OK and the audience is still bored, then chances are the music itself just isn't up to scratch. I've honestly never been to (or had) a 'bad' gig where one or more of the above factors wasn't entirely to blame. _________________________________________________________________ Check out the latest video @ http://xtra.co.nz/streaming From stabbiesetc at yahoo.com.au Wed Feb 22 14:03:30 2006 From: stabbiesetc at yahoo.com.au (stefan geoffrey neville) Date: Thu, 23 Feb 2006 11:03:30 +1300 (NZDT) Subject: [af_list] blah In-Reply-To: Message-ID: <20060222220330.5248.qmail@web32809.mail.mud.yahoo.com> i remember seeing richard francis play at the dogsbollix one time, doing his low frequency hiss stuff with that movie Wall Street playing behind him. it seemed like hardly anyone realised he was playing and the babble was intense. thats my fave r.francis gig. hey zoe thats one reason why i play so much junk live is so i can hide behind it. the full reed organ drums set up is the best for this.... Send instant messages to your online friends http://au.messenger.yahoo.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060223/d675ab9f/attachment.htm From crude696 at yahoo.co.nz Wed Feb 22 14:34:36 2006 From: crude696 at yahoo.co.nz (Matthew Middleton) Date: Thu, 23 Feb 2006 09:34:36 +1100 (EST) Subject: [af_list] re no talking Message-ID: <20060222223436.40587.qmail@web33312.mail.mud.yahoo.com> I guess I must come from the punk side but I believe a live gig should facilitate discussion amongst the audience. In fact, the discourse can be more important than the performance. My music is a catalyst for discussion , for audience members to discuss plans, to plot, to conspire, to experiment, to assess the performance, to compare, to to laugh out loud.. And when you take your cd home, do you have to shut up when you play that too? So is that the social function of these 'noise' gigs? To shut up or get out? To sit on the mat arms crossed and obey the noise teacher? Children are to be seen and not heard? Yeah, its me, that embarrasing freak at the noise gigs who dares to laugh out loud and have a good time.. Anyone agree? no? --------------------------------- Do you Yahoo!? Find a local business fast with Yahoo! Local Search -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060223/14254fbd/attachment.html From sam at postmoderncore.com Wed Feb 22 14:45:14 2006 From: sam at postmoderncore.com (Sam Stephens) Date: Thu, 23 Feb 2006 11:45:14 +1300 Subject: [af_list] re no talking In-Reply-To: <20060222223436.40587.qmail@web33312.mail.mud.yahoo.com> References: <20060222223436.40587.qmail@web33312.mail.mud.yahoo.com> Message-ID: <43FCE97A.9020204@postmoderncore.com> Matthew Middleton wrote: > Yeah, its me, that embarrasing freak at the noise gigs who dares to > laugh out loud and have a good time.. > Anyone agree? > no? Nah, laughing at a gig and telling your mate what you like or don't like about it etc is fucken rad. But people who go to a gig with subtle music and talk as though they're at a cafe and don't take any notice of the gig at all, making it difficult for those interested to listen, they piss me off. This whole bitch session arose from a gig recently where some of the punters weren't interested in the music at all, and talked through the subtle intro, making it hard to catch all the detail, then when the music got too loud for them to ignore, they left. Why did they stay at all? There's lots of great bars to go to if you're not interested in weird music. Another missive from Grumpy Bastard Sam. From dr_rory_storm at yahoo.co.nz Wed Feb 22 14:47:22 2006 From: dr_rory_storm at yahoo.co.nz (Rory Storm) Date: Thu, 23 Feb 2006 11:47:22 +1300 (NZDT) Subject: [af_list] Af_list Digest, Vol 11, Issue 27 In-Reply-To: Message-ID: <20060222224722.57804.qmail@web51513.mail.yahoo.com> (I want > to start a venue where bouncers will throw you out > if you talk during a > performance, but that's a whole new thread). > Hell yes - having to buy multiple rolls of duct tape to tape the talkative punters' mouths shut gets expensive after a while.... Send instant messages to your online friends http://au.messenger.yahoo.com From simon at obscure.co.nz Wed Feb 22 14:58:31 2006 From: simon at obscure.co.nz (Simon Swain) Date: Thu, 23 Feb 2006 09:58:31 +1100 Subject: [af_list] re no talking In-Reply-To: <43FCE97A.9020204@postmoderncore.com> References: <20060222223436.40587.qmail@web33312.mail.mud.yahoo.com> <43FCE97A.9020204@postmoderncore.com> Message-ID: <43FCEC97.6050404@obscure.co.nz> You need you put some kind of sign up at the door maybe. I played a gig with a bunch of school of music students from vic once, and they talked through my set in similar cirumstances, not in a bar though, in a venue that had been set up for surround sound, what a bunch of arrogant wankers, i though they of all people would be capable of listening. S > Nah, laughing at a gig and telling your mate what you like or don't like > about it etc is fucken rad. But people who go to a gig with subtle music > and talk as though they're at a cafe and don't take any notice of the > gig at all, making it difficult for those interested to listen, they > piss me off. > > This whole bitch session arose from a gig recently where some of the > punters weren't interested in the music at all, and talked through the > subtle intro, making it hard to catch all the detail, then when the > music got too loud for them to ignore, they left. Why did they stay at > all? There's lots of great bars to go to if you're not interested in > weird music. > > Another missive from Grumpy Bastard Sam. > > > _______________________________________________ > Audio Foundation (AF) mailing list > Af_list at audiofoundation.org.nz > http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz > -- Simon Swain Obscure - Dance Culture in New Zealand www.obscure.co.nz p +61 2 9460 3311 m +61 418 30 20 20 From turnstyle at obscure.co.nz Wed Feb 22 15:23:32 2006 From: turnstyle at obscure.co.nz (Simon Kong) Date: Thu, 23 Feb 2006 12:23:32 +1300 Subject: [af_list] re no talking In-Reply-To: <43FCEC97.6050404@obscure.co.nz> References: <20060222223436.40587.qmail@web33312.mail.mud.yahoo.com> <43FCE97A.9020204@postmoderncore.com> <43FCEC97.6050404@obscure.co.nz> Message-ID: <43FCF274.6040301@obscure.co.nz> The fastest way to shut people up is to amplify them .. I recommended putting live Mic's in the audience ! .simon Simon Swain wrote: > You need you put some kind of sign up at the door maybe. > > I played a gig with a bunch of school of music students from vic once, > and they talked through my set in similar cirumstances, not in a bar > though, in a venue that had been set up for surround sound, what a bunch > of arrogant wankers, i though they of all people would be capable of > listening. From leyton at paradise.net.nz Wed Feb 22 15:03:05 2006 From: leyton at paradise.net.nz (leyton) Date: Thu, 23 Feb 2006 12:03:05 +1300 Subject: [af_list] a word in your ear In-Reply-To: References: Message-ID: <620FA1D2-A3F7-11DA-BE8F-003065CDB470@paradise.net.nz> my experience suggests that you need to start with a huge amount of contextual clues.. ie DONT expect for it to be easy to get people to be quiet at a pub on a saturday night Dont expect a quiet audience if your at a dance party chill out room. DO expect people to be quiet in a seated venue (theatre,gallery) with a stage,and an introduction before hand Do expect people to be quiet if you preface any goings on with "please be quiet or...." Do expect people to be quiet if you have a sign at the door turning the lights out just before you start also helps a l? theatre so pick your venues with the same expectations an audience would have (and hire caleb) ive also found that you can encourage the people hearing to engage with listening if you gradually get a bit quieter.. ive also discovered through my own ADHD that i cant expect people to sit quiet for too long..has anyone else every noticed the pattern of human movement and rustling that occurs around the 20 min mark of any performance....or is it just me///// as for nerves... the more ive played out the easier it gets... though it never has gone completly away nor would i want it to\\ L Subject: [af_list] a word in your ear To: Af_list at audiofoundation.org.nz Message-ID: <8175ca78267b617eb1190266c803d1df at impermanent.info> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed as some of you know at impermanent there is no talking... at first i did a few things to make sure this happened one of which was to quietly whisper in the ear of the offender 'you have two choices, shut up or get the fuck out'. all shut up except on one occasion at a gig mr.morley was playing in sydney where even though it wasn't my event i was asked to call for quiet... it being a sat night a few people got the shits with this and left. i haven't had to do this for many years, quite simply no one talks again i actually think that concentration and quality musicians are the way to make an audience shut up... i'm thinking of getting a t-shirt made up "no visuals" .kk From lduncalfe at eml.cc Wed Feb 22 16:12:47 2006 From: lduncalfe at eml.cc (Luke Duncalfe) Date: Thu, 23 Feb 2006 13:12:47 +1300 Subject: [af_list] old radio apparatii site In-Reply-To: <19ccf87f0602212005i3a69c2b9t67fc1accc56ba49d@mail.gmail.com> References: <19ccf87f0602212005i3a69c2b9t67fc1accc56ba49d@mail.gmail.com> Message-ID: <1140653567.25387.255044038@webmail.messagingengine.com> i can't tell if this is interesting .. but: EARLY AND UNUSUAL RADIO APPARATUS AND HISTORY W1TP MUSEUM OF TELEGRAPH AND SCIENTIFIC INSTRUMENTS: http://w1tp.com/mperadio.htm From jcontag at paradise.net.nz Wed Feb 22 16:15:06 2006 From: jcontag at paradise.net.nz (johannes contag) Date: Thu, 23 Feb 2006 13:15:06 +1300 Subject: [af_list] a word in your ear In-Reply-To: Message-ID: re. the cited morley show: "free noise performance enforced by noise control"?? it's a topsy-turvy world we live in... seriously though, if you play subtle/fragile music, you shouldn't have to compete with the audience. nor should should you feel the need to obliterate all other sound sources (such as audience crosstalk) with sheer volume just to make your (supposedly) subtle point. think about it, it's bullshit. i hate gigs where the music is heinously loud for no apparent musical reason. j From hertzz at gmail.com Wed Feb 22 16:27:38 2006 From: hertzz at gmail.com (Nigel Wright) Date: Thu, 23 Feb 2006 13:27:38 +1300 Subject: [af_list] more words.. Message-ID: <17d276b00602221627oc5fdd2n85beb07436e30df6@mail.gmail.com> I wouldn't call it bullshit, I think using volume to remove traces of unwanted audience noise is a perfectly valid thing to do. I often do this if the audience talk is distracting me. On 2/23/06, johannes contag wrote: > > re. the cited morley show: "free noise performance enforced by noise > control"?? it's a topsy-turvy world we live in... > > seriously though, if you play subtle/fragile music, you shouldn't have to > compete with the audience. nor should should you feel the need to > obliterate > all other sound sources (such as audience crosstalk) with sheer volume > just > to make your (supposedly) subtle point. think about it, it's bullshit. > i hate gigs where the music is heinously loud for no apparent musical > reason. > > j > > > _______________________________________________ > Audio Foundation (AF) mailing list > Af_list at audiofoundation.org.nz > > http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz > -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060223/b38b3d24/attachment.htm From samukun at gmail.com Wed Feb 22 17:03:51 2006 From: samukun at gmail.com (Sam Hamilton) Date: Thu, 23 Feb 2006 14:03:51 +1300 Subject: [af_list] when voices become fields,and fields become still Message-ID: <19ccf87f0602221703l1884650fjb23e886b1d07b51d@mail.gmail.com> i think its rather special when an artist can naturally quiet an audience,theres something rather humbling about it. in the wine cellar you can kind of expect that is out of place to do demandingly quiet set and not have people talk,its a bar,people who arent into what some people do there go there to drink and shout...what can you do. although there are a few gigs i can remember were the whole place has been silent.dean roberts seems to have that effect,for some reason people just seem to shut up,that without being asked and in a place were socialising is more accepted than listening. although on this note on of my favourite shows to date in there was one mhfs,on a random saturday night.the bar was packed with people out for a usual saturday night hooha. mark played a kinda quiet pure computer music set on laptop,sitting at a table.the entire crowd was oblivious accept for about 4 people sitting at the table with him.when we finished and the 4 of us started to clap half the bar turned around in complete bewilderment not knowing someone had just performed a set.it was beautiful to hear that kind of music completely outside of its usual,sometimes seemingly formal context. actually i was talking to richard francis last night and mentioned to him the first time i saw him play solo which was in support of pumice at the dog's bollix a few years ago.it was a show which blew me away and again it seemed it was me and my friend i was with who were the only ones listening and not talking.it was something else. i admit it has something to do with the extremes,when everyone is being attentive and listening and there is one person blaring out i sometimes feel like strangling them,but in a case were no one is listening,once you accept it it can be something else,like listening to some field recording artist perform in amongst a naturally noisy environment,in the bush or in an ally way or something. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060223/43e6e7b7/attachment.html From samukun at gmail.com Wed Feb 22 17:18:33 2006 From: samukun at gmail.com (Sam Hamilton) Date: Thu, 23 Feb 2006 14:18:33 +1300 Subject: [af_list] Af_list Digest, Vol 11, Issue 29 In-Reply-To: References: Message-ID: <19ccf87f0602221718k18777d52x258c654a781fdebd@mail.gmail.com> i think the idea of convincing or coaxing people to be quiet and listen could be spread quite outside only concerts,performances and the whatnot. i think the whole fucking world,and not just the 'listening folk' ,would be far better off if every one knew how to just shut the fuck up and listen for a while,whether it be at a concert or a dinner table,or while strolling in some woods,or while there girlfriend/boyfriend/husband/wife screams there lungs out at them,or listen to them selves while they scream at others,or listen to the sound of there shoe laces being tied. what a load of rubbish ay!, what a load of necessity sam -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060223/aca91ca5/attachment.htm From simon at modus.com.au Wed Feb 22 18:44:02 2006 From: simon at modus.com.au (Simon Swain) Date: Thu, 23 Feb 2006 13:44:02 +1100 Subject: [af_list] Hard Drive Dying Dance Track Winner - Gizmodo Message-ID: <43FD2172.20300@modus.com.au> http://gizmodo.com/gadgets/announcements/hard-drive-dying-dance-track-winner-151666.php From caleb.k at impermanent.info Wed Feb 22 23:31:34 2006 From: caleb.k at impermanent.info (caleb k) Date: Thu, 23 Feb 2006 18:31:34 +1100 Subject: [af_list] (no subject) Message-ID: <70f7aa9af83a982c5f782338dc75d492@impermanent.info> i totally agree nigel. on a sat night out at a pub with friends i dont want to sit quietly intently listening to sine tones. also the forcing part only happens to start with. when everyone is quiet even people knew to the event will follow suit. if people are talking it is likewise. and the venue is totally central to this. i just wrote a chapter for a book on the performance of experimental music in sydney in which i make this very argument .kk ------------ Date: Wed, 22 Feb 2006 12:54:41 +1300 From: "Nigel Wright" Subject: Re: [af_list] a word in your ear To: "A list digest for the support of innovative audio culture in NZ" Message-ID: <17d276b00602211554k4e12072cr5703a69ff5d3d538 at mail.gmail.com> Content-Type: text/plain; charset="iso-8859-1" I really dislike it when people at an event are 'forced' into being quiet and 'made' to pay attention. I agree with Caleb, good musicians/music will usually make most people be quiet. From damian at frey.co.nz Wed Feb 22 13:08:55 2006 From: damian at frey.co.nz (Damian Stewart) Date: Thu, 23 Feb 2006 10:08:55 +1300 Subject: [af_list] New CD(s) In-Reply-To: References: Message-ID: <43FCD2E7.5040307@frey.co.nz> Zoe wrote: > the good thing about ..erm desktop playing is that one can at least hide > behind it if there any nerves around performing...no one sees your hands > shaking. > > (not that mine EVER do - of course!) > > had an interesting conversation about nerves recently with a friend. > > i wonder what strategies other people use for this unfortunate affliction? do my best to ignore the audience. i haven't actually got good and properly nervous for performing for a good long time. i actually find setting up the equipment is the nervous making bit - so many plugs to plug into things, so many things to go wrong, that once that's all sorted it's kinda like catharsis, with the tricky part over i can get down to the easy bit - making music. 'Do you think there must be the movements of the performers in taking up their positions, the brandishing of the plumes and fifes, the sounding of the bells and drums before we can speak of music? To speak and carry into execution what you have spoken is ceremony; to act without effort or violence is music.' - Confucious -- f r e y live music with computers http://www.frey.co.nz From stephen at dorkinglabs.com Thu Feb 23 01:01:29 2006 From: stephen at dorkinglabs.com (stephen) Date: Thu, 23 Feb 2006 22:01:29 +1300 Subject: [af_list] no talking In-Reply-To: Message-ID: I reckon, that as a person who's been guilty of being the talker in the past, the central issue is not actually one of whether or not people should be made to shut the fuck up or not; it's that people - especially younger people - have grown up expecting to be able to do whatever the fuck they want, whenever they want, where ever they want, without a single solitary thought for anyone else. It's the post-modern way. It's not a one-to-one relationship, you and the artist (or, you and the audience-member). It's more like a many- to-many relationship between you and every other person in the venue. People who blithely do things which impact negatively on other people lack basic respect and consideration. It's easy. If you want to talk, and by doing so you're going to ruin the night for the person next to you who wants to listen, you should show some manners, show some courtesy to your fellow man, and shut the fuck up. Someone went to a lot of trouble to organise this gig. Someone probably took the afternoon off work, and lugged a pile of gear halfway across town, and spent a couple of hours setting it up. Someone has to spend their own time sound-engineering the show, and operating the PA, and minding the door. These people aren't doing it for fun. They're doing it so that a room full of people can hear the music as performed and presented by the artist. Don't be a cunt. Shut the fuck up. [stephen clover::::www.dorkinglabs.com/seht.php] From aliak77 at gmail.com Thu Feb 23 02:20:17 2006 From: aliak77 at gmail.com (Kath O'Donnell) Date: Thu, 23 Feb 2006 23:20:17 +1300 Subject: [af_list] links to videos taken at the mhfs, Sean Kerr, Robin Fox performance @ Artspace, Auckland last saturday evening 18/02/2006 Message-ID: <383607190602230220me877061t9925e359fe7d1003@mail.gmail.com> Hi AF_listers, here's the links to the videos taken at the mhfs, Sean Kerr, Robin Fox performance @ Artspace, Auckland last Saturday evening 18/02/2006. I haven't had time to edit yet, so these are the raw footage shots (please excuse the camera work and darkness of the footage). Videos (re-encoded as mpeg1 format - for smaller web friendlier filesizes - broadband recommended) all are available @ http://www.ourmedia.org/user/6677 if the links below don't come through in the email I'll also put up links on my site ( www.aliak.com) and ada website (cheers Luke!). if your video player cannot view mpeg1 videos, try the embedded quicktime player at the link pages below or try installing videolan (multi-platform) Robin Fox performance, Artspace, Auckland 18/02/2006 - 3 of 3 mpg1 63686896 Robin Fox performance, Artspace, Auckland 18/02/2006 - 2 of 3 mpg1 33214608 Robin Fox performance, Artspace, Auckland 18/02/2006 - 1 of 3 mpg1 10130316 Sean Kerr performance - Artspace, Auckland 18/02/2006 file 5 of 5 mpg1 3922912 Sean Kerr performance - Artspace, Auckland 18/02/2006 file 4 of 5 mpg1 3169936 Sean Kerr performance - Artspace, Auckland 18/02/2006 file 3 of 5 mpg1 5159280 Sean Kerr performance - Artspace, Auckland 18/02/2006 file 2 of 5 mpg1 14578452 sean kerr performance - Artspace, Auckland 18/02/2006 file 1 of 5 mpg1 8457036 mhfs performance - Artspace, Auckland 18/02/2006 file 2 of 2 mpg1 28629356 mhfs performance - Artspace, Auckland 18/02/2006 file 1of 2 mpg1 10855404 Jim Gardner chat at Artspace, Auckland, 18/02/2006 mpg1 13683712 Sean Kerr chat at Artspace, Auckland 18/02/2006 mpg1 15140860 chat with mhfs & members of audience, Artspace, Auckland 18/02/2006 mpg1 33639900 photos available at http://www.flickr.com/photos/aliak_com/tags/audiofoundationnz/ thanks again to performers and people I spoke to there, it was a fun night! cheers Kath -- http://www.aliak.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060223/f7452956/attachment.html From aliak77 at gmail.com Thu Feb 23 02:39:58 2006 From: aliak77 at gmail.com (Kath O'Donnell) Date: Thu, 23 Feb 2006 23:39:58 +1300 Subject: [af_list] New CD(s) In-Reply-To: References: <20060222034409.E2BD7CC3B8C@smtp-3.paradise.net.nz> Message-ID: <383607190602230239l7851bd28o600256611f56c9fe@mail.gmail.com> so the guys don't seem to get nervous performing.. do the girls? I'd be interested to hear some thoughts. both new and seasoned performers. I think this is one of the reasons more girls don't perform. I've been happy to see NZ seems to have many female performers though, which is great. I've noticed in many music/arts collectives, the girls are often behind the scenes organising, but not as predominant as the performer. here I've noticed they do both which is cool to see. these comments are probably quite a generalisation and apologies if this offends anyone. just my observations over the years. On 2/22/06, Zoe wrote: > > the good thing about ..erm desktop playing is that one can at least hide > behind it if there any nerves around performing...no one sees your hands > shaking. I've never performed my own original music or art so probably shouldn't comment, but I've DJ'd in the past at gigs/clubs - mostly downtempo/chill sounds. I didn't get nervous at the club gigs as I was too busy getting things ready to get nervous & plus most of the people there were friends or people I knew anyway so it was quite comfy. but one time I played at a warehouse party and people started to dance - that made me nervous as I thought I had to play something they could dance to and the music I was playing was more for listening. (at least I thought it was anyway & I preferred people to listen & chill to it). more pressure I guess (+ all the beatmatching trainspotters who tend to pounce if you miss a mix as I often do ;) when I started internet radio I was ok with playing the music but couldn't speak for the whole first show! later it became easier as I'd chat in the chat channel via text then just talk to the listeners, but at first it was really nervewrecking to hear/think of my own voice being transmitted! it's ok now though (I just stuff up a lot still, but that's all part of the charm of diy hey) nice topic Kath -- http://www.aliak.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060223/3a2dc235/attachment.htm From aliak77 at gmail.com Thu Feb 23 02:47:15 2006 From: aliak77 at gmail.com (Kath O'Donnell) Date: Thu, 23 Feb 2006 23:47:15 +1300 Subject: [af_list] (no subject) In-Reply-To: <70f7aa9af83a982c5f782338dc75d492@impermanent.info> References: <70f7aa9af83a982c5f782338dc75d492@impermanent.info> Message-ID: <383607190602230247p1ef5b0k856f40b76eaa54ca@mail.gmail.com> yeah. I think people tend to be quiet more when the performers are introduced and there's a definite 'start' to the event/performance. so it's like going to the theatre - the audience is there to watch & listen to the performance and the curator or host sets the guidelines in a way. whereas, a person in the corner providing background music for a bar or venue, might be performing in the same manner but people will just chat and socialise around & over them as the venue/organiser hasn't highlighted them as a 'performance'. (just catching up on emails so haven't read all the replies yet so apologies if I'm repeating what others have said) Kath On 2/23/06, caleb k wrote: > > > i totally agree nigel. on a sat night out at a pub with friends i dont > want to sit quietly intently listening to sine tones. > > also the forcing part only happens to start with. when everyone is > quiet even people knew to the event will follow suit. if people are > talking it is likewise. > > and the venue is totally central to this. i just wrote a chapter for a > book on the performance of experimental music in sydney in which i make > this very argument > > .kk > > -- http://www.aliak.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060223/95c0ea7a/attachment.html From odforce at yahoo.com.au Thu Feb 23 04:38:11 2006 From: odforce at yahoo.com.au (p. .w) Date: Thu, 23 Feb 2006 04:38:11 -0800 (PST) Subject: [af_list] please shut the fuck up while i'm playing - 101 In-Reply-To: Message-ID: <20060223123821.67780.qmail@web36502.mail.mud.yahoo.com> i'm in the group of performers who hate hearing people talk while someone else is playing but mostly don't mind when I'M the person playing. in fact, due to encountering this situation repeatably, i've developed a perverse interest in and consequently several statagies for 'manipulating' an audience thru sound. one word of warning - some of the more sensitive among you will note that these approaches don't neccessarily lead to aesthetically pleasing, well-structured music. and some would argue that adopting some of the following methods reduces the beautiful art of sound-sculpting to a cheap game played by bored irascibles. probably... but maybe an artist's role in this case is simply to make others aware, since those in attendance obviously aren't there to listen to the performance and are not prepared to allow the performer to unfold their work and control the temporal space. so, let's get down to the business of shutting those pesky blabbermouths up... #1 tip - don't play at consistent volume levels. once they identify the sound, talkers will attempt to converse at volumes just below the threshold of everyone else's hearing. sneaky buggers! play loudly to get them chatting at an obnoxious volume then suddenly drop out - throwing their prattle naked in the spotlight. a few moves like this and they'll be too petrified to say boo. sometimes, once conversation has established itself in the room the performer has no recourse other than remind everyone that indeed there IS a performance taking place. loud, sharp, harsh, rude sounds are very handy for moments like this. it's like saying 'hey look! i can be as obnoxious as you people... but louder as well ;)' a zen master would have chopped a dog in half but you'll just have to make do with timely squeals of ear-pinging feedback. of course, follow thease sounds with healthy dollops of embarrasing silence to give everyone a moment to reflect upon their pounding hearts. getting the audience to fear yr every move can be an essential element in a riveting performance. i can't wait till they teach us this shit in music schools. one thing we should consider is that people who like to LISTEN to creative music also probably like to THINK and TALK about music, so even the performance itself might occasionally spark a conversation. and i'm sure we all appreciate that sometimes you've just gotta get that thought out... winstanley -- __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com From McCallumJ at crop.cri.nz Thu Feb 23 12:33:09 2006 From: McCallumJ at crop.cri.nz (John McCallum) Date: Fri, 24 Feb 2006 09:33:09 +1300 Subject: [af_list] [ (no subject)/////////Listening Or Not Message-ID: This illuminating thread has inspired me to come out of lurking mode and made me confront some issues about why I can't be bothered as often as I should getting out to adventurous musc gigs. It has also helped me understand why audiences are often so small and unpredictable for some wonderful music experiences. Some recent experiences have rather re-shaped my thinking and some of the AF posters and lurkers helped this so thanks and respect for this you know who you are..... ->.Simon and others with the THirdSpace concept subverting and disturbing a little the dance party sonic environment by making the PA (actually mutiple PAS) the artist. This has intrigued me in that people cant work out where the sound is coming from and who is responsible.....but they can even be responsible themselves by yelling, singing, playing random records ....and talking... ->The Biosphere gig in Christchurch where Nick Guy played (lush) support amid dense conversation from the crowd. This intrigued me and my analysis was that the rather deep warm and fuzzy vibrations he was sending out induced a feeling of well-being in the crowd....whats wrong with that ? This has been a traditional role of music as a social stimulus and lubricant for some millenia now... ->The Southern Oscillations event at Castle Hill last year where the luverly bush acoustics meant it was a pleasure to listen at some considerable distance to hear people you couldnt see playing instruments you couldnt see....and talk.... ->The Version Fest in Auckland where the shows were a major buzz....thanks to the sociable venues and enthusiastic crowds who thankfully couldnt shut up! If artists are letting their music out in public do they have the right to dictate how the public will respond? If people are gathering together its not just about the artist and their precious music but the people in the audience too...... This whole thread reveals what a challenge it is to find or create environments that give the time and space for listening/not listening/talking/thinking/dozing/dancing/eating..... I've become very very cautious about any art gallery gigs lately for this reason as they are so often an excuse for aural torture of the worst kind in the name of 'art' ....no talking, no beer and really no fun.... And to those of you out there who resort to painfully loud sound levels.....this just confirms your contempt for the pleasure and aural health of your audience. John >>> caleb.k at impermanent.info 8:31 p.m. 23-Feb-06-06 >>> i totally agree nigel. on a sat night out at a pub with friends i dont want to sit quietly intently listening to sine tones. also the forcing part only happens to start with. when everyone is quiet even people knew to the event will follow suit. if people are talking it is likewise. and the venue is totally central to this. i just wrote a chapter for a book on the performance of experimental music in sydney in which i make this very argument .kk ------------ Date: Wed, 22 Feb 2006 12:54:41 +1300 From: "Nigel Wright" Subject: Re: [af_list] a word in your ear To: "A list digest for the support of innovative audio culture in NZ" Message-ID: <17d276b00602211554k4e12072cr5703a69ff5d3d538 at mail.gmail.com> Content-Type: text/plain; charset="iso-8859-1" I really dislike it when people at an event are 'forced' into being quiet and 'made' to pay attention. I agree with Caleb, good musicians/music will usually make most people be quiet. Visit our website at http://www.crop.cri.nz ______________________________________________________ CAUTION: The information contained in this email is privileged and confidential. If you read this message and you are not the intended recipient, you are hereby notified that any use, dissemination, distribution or reproduction of all or part of the contents is prohibited. If you receive this message in error, please notify the sender immediately. Any opinions or views expressed in this message are those of the individual sender and may not represent those of their employer. From hertzz at gmail.com Thu Feb 23 13:06:17 2006 From: hertzz at gmail.com (Nigel Wright) Date: Fri, 24 Feb 2006 10:06:17 +1300 Subject: [af_list] [ (no subject)/////////Listening Or Not In-Reply-To: References: Message-ID: <17d276b00602231306t504e02b0qc3a2d1992d994d9b@mail.gmail.com> The aural health of the audience is not the performers responsibility. If you care about your ears you will wear earplugs to nearly all shows anyway. And what about people who enjoy huge chunks of immersive sound? Music your whole body can feel? I don't think you can really make such a generalisation about people who play music/sound very loud. Except if yr talking about Whitehouse. Badass. > And to those of you out there who resort to painfully loud sound > levels.....this just confirms your contempt for the pleasure and aural > health of your audience. > > John > > > > -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060224/94c3b668/attachment.htm From artwerks at slingshot.co.nz Thu Feb 23 14:34:19 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Fri, 24 Feb 2006 11:34:19 +1300 Subject: [af_list] Fw: Music Features on National Radio Feb 24th- March 3rd Message-ID: <07cc01c638c9$49391ee0$9022b8cb@d400> A few more familiar names coming up on National Radio's Music Mix... ----- Original Message ----- Kia ora people Heaps of good music stuff happening on a radio (or computer even www.radionz.co.nz ) near you- Get your dancing shoes out tonight for what was one of my highlights of last years Womad Festival- the Auckland super-sized samba band- the Batucada Sound Machine. On Music 101 on Saturday Trevor Reekie investigates the Pandora music genome project- a website where you create your own personalised music radio stations. Its highly addictive- be warned... We've also got Ryan McPhun and his troupe of Ruby Suns playing in the studio ahead of their trip to SXSW in Texas. have a great weekend Kirsten [snip] SATURDAY 25 February 2006 2.06pm - 5pm Music 101 Music, news and views from Aotearoa and abroad with Sarah McMullan. This week: The Music Mix takes in Raglan's Sound Splash reggae festival and the 21st anniversary of New Plymouth punk rock outfit Sticky Filth; Trevor Reekie explores the workings of the Pandora Music Genome, a project that assembles musical attributes or "genes" to create personalised online musical jukeboxes; Nick Bollinger reviews new albums from Dead Boy and the Elephant Men and Bonnie 'Prince' Billy and Tortoise; And we present a Music 101 session from Lil Chief Records' Ryan McPhun and the Ruby Suns. music101 at radionz.co.nz [snip] MONDAY 27 February 2006 11.06pm The Music Mix Richard Wain presents a new music magazine, with words and music from Sticky Filth - the dictionary definition of 'muck', in fact these Taranaki rock legends are a bit harder to define than that. And the trio's just turned 21! We also visit the Soundsplash festival, with reggae stars Big Youth and Third World, plus harmonium expert Christopher Orczy and the maverick Sydney based recording label Dual Plover. Next week: Luke Buda, Lou Barlow of the re-formed Dinosaur jnr , D-Dub, and the sculpture noise of Len Lye. Themix at radionz.co.nz Housekeeping: For full programme listings and to find out how to tune to National Radio where you are, look at www.radionz.co.nz From artwerks at slingshot.co.nz Thu Feb 23 14:49:14 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Fri, 24 Feb 2006 11:49:14 +1300 Subject: [af_list] Listening Message-ID: <07eb01c638cb$5f044630$9022b8cb@d400> A few interesting things in the NZ Listener lately: Tessa Laird visits Phil Dadson's latest installation, and what a doozy it is: http://www.nzlistener.co.nz/default,5512.sm Jon Bywater reviews Matt Middleton's Crude output: http://www.nzlistener.co.nz/default,5515.sm Francesca Horley reviews Drew McMillan and Julia Milson's ()scape: http://www.nzlistener.co.nz/default,5547.sm Funny how quickly a composer's collaboration with any of the visual arts (film, theatre, dance...) is quickly reduced to just an accompaniment and a token mention. Bless, Andrew -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060224/1ea68726/attachment.html From transient at darcy.co.nz Thu Feb 23 16:17:18 2006 From: transient at darcy.co.nz (transient@darcy.co.nz) Date: Thu, 23 Feb 2006 16:17:18 -0800 (PST) Subject: [af_list] Af_list Digest, Vol 11, Issue 33 In-Reply-To: References: Message-ID: <29200.202.22.18.241.1140740238.squirrel@webmail.darcy.co.nz> I get nervous playing live and, like a cornered animal, it unfortunately manifests itself in a slightly confrontational response to the audience's presence: a "what are you looking at?" kind of thing. Everything ends up more edgy, aggressive and rushed, and and more ham-fisted than usual. I guess it's a matter of embracing that energy and making it work for you rather than against .... I haven't figured it out yet. The funniest kind of gig-talker is the one who feels the need to loudly register their dislike of the performance as if they are speaking on behalf of everyone else ...... not realising they are the only one in the room who isn't into it. Basically I agree with the "all about context" argument re talking at gigs. And always remember that alcohol + people = loud. Ben From artwerks at slingshot.co.nz Thu Feb 23 17:17:02 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Fri, 24 Feb 2006 14:17:02 +1300 Subject: [af_list] sound bites Message-ID: <088901c638e2$82617ff0$9022b8cb@d400> A few things I've encountered on the web today: School of Sound www.schoolofsound.co.uk Annual conference with an emphasis on sound in film. Previous speakers include David Lynch, David Toop, Michael Nymann and Nigel Helyer. Has an impressive reading list on the Homework page. WebMelody http://wonderland.dia.unisa.it/projects/sonification/sonifsite.html Sonification project that lets you listen to what your webserver is doing. Maybe we could set one of these up on the AF server and then stream it onto the net so people can 'listen' to the activity taking place? I'm nominating Adam Hyde to be consultant on that... System X http://sysx.org/soundsite/links.html Great bunch of links to explore here. Andrew -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060224/05b6cd9a/attachment.htm From admin at audiofoundation.org.nz Thu Feb 23 20:43:14 2006 From: admin at audiofoundation.org.nz (Admin) Date: Fri, 24 Feb 2006 17:43:14 +1300 Subject: [af_list] FW: The Great Opening Up of Music ... In-Reply-To: Message-ID: ---------- From: Arts Electric Date: Thu, 23 Feb 2006 21:05:53 -0500 To: artselectric at emfmail.org Subject: The Great Opening Up of Music ... An excerpt from a brief article by Joel Chadabe: "Music today, music that we hear every day, contains such a variety of sounds and so much excellent technology that one could easily imagine that music has always been like this. But in fact, 'the great opening up of music to all sounds', as I call it, was the most significant musical innovation of the 20th century. The Groupe de Recherches Musicales (GRM) played and continues to play an important role. "Formed by Pierre Schaeffer in 1958 in Paris, with Luc Ferrari, Iannis Xenakis, Fran?ois Bayle, and several other composers, GRM has through the years recast the revolutionary ideas associated with musique concr?te into current technologies ..." For the article, go to: http://www.arts-electric.org/articles/060205.grm.html ::::::::::::::::::::::::::::::::::::: ADDITIONAL INFORMATION: Musique Concr?te http://emfinstitute.emf.org/exhibits/musiqueconcrete.html Fran?ois Bayle and the Acousmonium http://emfinstitute.emf.org/exhibits/acousmonium.html GRM http://emfinstitute.emf.org/exhibits/grm.html ::::::::::::::::::::::::::::::::::::: -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060224/7894e7c3/attachment.html From damian at frey.co.nz Fri Feb 24 12:17:09 2006 From: damian at frey.co.nz (Damian Stewart) Date: Sat, 25 Feb 2006 09:17:09 +1300 Subject: [af_list] [ (no subject)/////////Listening Or Not In-Reply-To: References: Message-ID: <43FF69C5.9090600@frey.co.nz> John McCallum wrote: > Some recent experiences have rather re-shaped my thinking and some of the AF posters and lurkers helped this so thanks and respect for this you know who you are..... > ->... ditto on the both of those that i've experienced (Thirdspace, Southern Oscillations). I've just finished reading a book called Noise: the Political Economy of Music (http://www.frey.co.nz/2006/02/21/noise-and-politics/) which is kind of a social history of music with a Marxist-driven analysis of the its economical considerations. Among other things it has given me the point of view that requesting an audience remain silent for a piece is a particularly bourgoeis thing to do. Music performances where the audience was silent and the performer sat on stage were an invention of the 17th century. Prior to this music was a natural part of life where the audience is as likely as not to join in (tribal societies), or a part of religion and partly responsible for the maintanence of state power, or street entertainment (feudal societies). In all of these earlier cases the idea of going out to see a musician play and nothing else was alien, and the idea of staying quiet while they did so (with the exception of music for religious purposes) absurd. One of the nice things about the rise of rock has been the re-involvement of the audience, and the collapse of the idea that an audience must be silent to appreciate the music. In requesting silence we're referring back to practises developed in the earlier phases of elitist/bourgeois classical music; we're saying, 'I'm the performer, I have power over what you hear, respect my power' (or if we're in the audience, wishing that other people shut up, we've given over our power to the musician who somehow knows better than us how to shape sonic space, and we wish that other people would do the same.) Having said all that I do very much like it when an audience is silent, both when I'm in it, and when I'm performing to it. I think the trick is to start playing to a noisy room and somehow catch their attention enough that they actually shut up and listen. Then we avoid any pretentions, and (I'm on shaky ground here I know) let the listener/audience interaction that develops move to one where the audience is silent (here it goes) naturally (ha!). -- f r e y live music with computers http://www.frey.co.nz From telemetry at rtcnz.com Fri Feb 24 16:23:27 2006 From: telemetry at rtcnz.com (rtcnz) Date: Sat, 25 Feb 2006 13:23:27 +1300 Subject: [af_list] [ (no subject)/////////Listening Or Not Message-ID: > Begin forwarded message: > > > Message: 4 > Date: Sat, 25 Feb 2006 09:17:09 +1300 > From: Damian Stewart > Subject: Re: [af_list] [ (no subject)/////////Listening Or Not > To: A list digest for the support of innovative audio culture in NZ > > Message-ID: <43FF69C5.9090600 at frey.co.nz> > Content-Type: text/plain; format=flowed; charset=ISO-8859-1 > > ..... > One of the nice things about the rise of rock has been the > re-involvement of the audience, and the collapse of the idea that an > audience must be silent to appreciate the music. In requesting silence > we're referring back to practises developed in the earlier phases of > elitist/bourgeois classical music; we're saying, 'I'm the performer, I > have power over what you hear, respect my power' (or if we're in the > audience, wishing that other people shut up, we've given over our power > to the musician who somehow knows better than us how to shape sonic > space, and we wish that other people would do the same.) ........ damian, i think thats Rubbish!!!! you might be saying that but im not... im not forcing people to pay $ to come through the door. or stay there if they dont like it... but if they choose to come and hear/see what ive been up to then it is conditional..( conditons which vary depending on context)... its not a drama to work out political power structures it's a gig! the only practice im referring back to is common sense... if the conditions suggest something then it is common sense and respectful to go with them, particularly if youve chosen to be there. eg visiting a mosque by choice means that you agree to respect all the baggage that goes with doing that activity... and if you dont....????? well thats where caleb steps in.. im also surprised that you think a rock gig has a more 'involved' audience than a silent gig/performance. ....rubbish. L ps rubbish From samukun at gmail.com Fri Feb 24 17:35:24 2006 From: samukun at gmail.com (Sam Hamilton) Date: Sat, 25 Feb 2006 14:35:24 +1300 Subject: [af_list] A.M in AK 4th march Message-ID: <19ccf87f0602241735w173c2ad8h802008d0c8645db5@mail.gmail.com> hi AF punters just getting the word out there earlyish so you can all plan ahead. A.M (Antony Milton from wellington,grand head poncho of the glorious Pseudo/Arcana label) will be in auckland and playing one show at the grand wine cellar next saturday,4th of march. its promising to be a rather exciting evening with as,not only a chance to see A.M play but also the likes of ... + Plains (aucklands largest electronic music band featuring fucking everyone (not really everyone just the core everyones)) + City Peoples Farners Music (unity through polarity) + Un Ciego (Insight into the 'un' of everything) soooo, not a night to miss unless you are missing your self come along and listen,or watch,or argue with your neighbour about listening vs. watching love tumbling strain -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060225/3f9d97d6/attachment.htm From stephen at dorkinglabs.com Fri Feb 24 17:52:15 2006 From: stephen at dorkinglabs.com (stephen) Date: Sat, 25 Feb 2006 14:52:15 +1300 Subject: [af_list] Af_list Digest, Vol 11, Issue 34 In-Reply-To: Message-ID: Damien, Damien, Damien, what are we going to do with you. > Among other things it has given me the point of view that > requesting an audience remain silent for a piece is a > particularly bourgoeis thing to do. Music performances where > the audience was silent and the performer sat on stage were > an invention of the 17th century. Prior to this music was a > natural part of life where the audience is as likely as not > to join in (tribal societies), or a part of religion and > partly responsible for the maintanence of state power, or > street entertainment (feudal societies). In all of these > earlier cases the idea of going out to see a musician play > and nothing else was alien, and the idea of staying quiet > while they did so (with the exception of music for religious > purposes) absurd. > One of the nice things about the rise of rock has been the > re-involvement of the audience, and the collapse of the idea > that an audience must be silent to appreciate the music. In > requesting silence we're referring back to practises > developed in the earlier phases of elitist/bourgeois > classical music; What a pile of over-considered, pretentious nonsense. Do you not think we might have progressed somewhat from the audience dynamics of C17 chamber performance. > we're saying, 'I'm the performer, I have > power over what you hear, respect my power' (or if we're in > the audience, wishing that other people shut up, we've given > over our power to the musician who somehow knows better than > us how to shape sonic space, and we wish that other people > would do the same.) So, what, people who talk all the way through gigs, and spoil the performance for every other person in the room, are super- hero class-warriors now, rather than being ill-mannered inconsiderate fuckwits. I would venture to suggest that by turning up to the venue and paying the admittance fee, you are bloody-well giving up over the power to the performer to shape your sonic space, to the extent that you're implicitly requesting said performer to do exactly that. If you would rather not do so, then DON'T COME AT ALL. Talk about inventing a class-war for its own sake. But each to their own under-graduate-style cod-philosophy, I guess. -sstephen/. From aut at slackonomics.com Sat Feb 25 06:20:43 2006 From: aut at slackonomics.com (Aut) Date: Sat, 25 Feb 2006 14:20:43 +0000 Subject: [af_list] Af_list Digest, Vol 11, Issue 34 In-Reply-To: References: Message-ID: <440067BB.2040009@slackonomics.com> noise musicians think silence is golden? -- dsic - free electric music http://aut.slackonomics.com/dsic/dsicmnn.htm From sam at postmoderncore.com Sat Feb 25 15:36:18 2006 From: sam at postmoderncore.com (Sam Stephens) Date: Sun, 26 Feb 2006 12:36:18 +1300 Subject: [af_list] blank media in bulk Message-ID: <4400E9F2.7000600@postmoderncore.com> With a few of you on this list running labels, I thought someone out there must know a good supplier for bulk quantities of blank media. I'm looking for printable CD-Rs of archival quality, and printable DVD-Rs of archival quality. Please email off list if you know of any (to avoid cluttering the list). All the best and thanks, Sam From stephen at dorkinglabs.com Sat Feb 25 15:40:57 2006 From: stephen at dorkinglabs.com (stephen) Date: Sun, 26 Feb 2006 12:40:57 +1300 Subject: [af_list] noise musicians think silence is golden? (Aut) In-Reply-To: Message-ID: Noise musicians? Where? Noise music isn't a problem. Try making your self heard at a noise gig. You can't. So you don't try. Well done. [stephen clover::::www.dorkinglabs.com/seht.php] > > -- > dsic - free electric music > http://aut.slackonomics.com/dsic/dsicmnn.htm > > > > > ------------------------------ > > _______________________________________________ > Af_list mailing list > Af_list at audiofoundation.org.nz > http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofo > undation.org.nz > > End of Af_list Digest, Vol 11, Issue 35 > *************************************** > > From artwerks at slingshot.co.nz Sat Feb 25 16:35:58 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Sun, 26 Feb 2006 13:35:58 +1300 Subject: [af_list] Rhythm is best considered fractally..... Message-ID: <009d01c63a6c$9d18b940$7a33b8cb@d400> Anyone been to see this yet? http://www.enjoy.org.nz/index.php Any reports on progress? Andrew -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060226/75c7a27a/attachment.html From david_borrie at hotmail.com Sun Feb 26 11:06:15 2006 From: david_borrie at hotmail.com (David Borrie) Date: Sun, 26 Feb 2006 19:06:15 +0000 Subject: [af_list] Listening Or Not (rtcnz) In-Reply-To: Message-ID: Many of us on here are performers and audience members at different times- I think that's why there's such a range of opinions on this topic. I would get pissed off if I was in the audience trying to listen and someone else was talking. And if I was bored enough by the performance to want to converse with someone, I like to think I'd have the social skills to go somewhere else to do it, politics and empowerment issues aside... But if I was performing, I don't know if I would feel the same way. Just showing up gives the audience has the privelage of setting the standards for the performance, but I don't believe it works the other way. I read that once Biosphere stopped in mid-performance because people were talking. Respect to Biosphere's music, but I think that reaction was a bit prattish. _________________________________________________________________ Is your PC infected? Get a FREE online computer virus scan from McAfee® Security. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 From airdrummer at hotmail.com Sun Feb 26 15:00:55 2006 From: airdrummer at hotmail.com (mike m) Date: Mon, 27 Feb 2006 12:00:55 +1300 Subject: [af_list] Af_list Digest, Vol 11, Issue 35 Message-ID: Hey People Yeah, so some nice "heated debate" going on right now.I'll throw something in some of my own "thought kindling"to get a nice blaze going.("thought kindling"? what the hell?..) ...Personally I have never understood people who seem to take some sort of perverse pleasure in coming along to a show/performance/whatever, paying to get in, and then talking throughout said performance.As Ben pointed out(Hi Ben!),alcohol will play a part in the scheme of things, when most people drink, they get loud, certainly that is what happens to me, but when I go to see an artist perform, I will always be respectful of the fact that they are giving up their time, energy, etc to play, and here in Christchurch especially, the amount of people who can actually be bothered to turn up is small, burgeoning on the pitiful really.The fact that the kind of music we are discussing here is such a minority to begin with, what purpose does it serve to disturb and annoy fellow audience members and atists/performers with talking, laughter etc? As Stephen so eloquently put it, "Shut the Fuck Up".Just because you go to an Art Gallery and Talk louder that someone who is trying to play, you are not being cool, you are beng an inconsiderate idiot.Go hang out and pose somewhere else.Loser. Also, I think that turning up real loud to spite these morons is not really the way to go, if you want to play quiet, you should do so, and not feel you have to compromise your presentation just to be heard over stupid rude people.What's the solution then? I have no idea, but being loud for loud's sake isn't the answer i'm sure, but i understand why it happens, I just wish it wouldn't have to. Bah Humbug. -Mike >From: Af_list-request at audiofoundation.org.nz >Reply-To: Af_list at audiofoundation.org.nz >To: Af_list at audiofoundation.org.nz >Subject: Af_list Digest, Vol 11, Issue 35 >Date: Sun, 26 Feb 2006 12:00:04 +1300 > >Send Af_list mailing list submissions to > Af_list at audiofoundation.org.nz > >To subscribe or unsubscribe via the World Wide Web, visit > http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz > >or, via email, send a message with subject or body 'help' to > Af_list-request at audiofoundation.org.nz > >You can reach the person managing the list at > Af_list-owner at audiofoundation.org.nz > >When replying, please edit your Subject line so it is more specific >than "Re: Contents of Af_list digest..." > > >Today's Topics: > > 1. [ (no subject)/////////Listening Or Not (rtcnz) > 2. A.M in AK 4th march (Sam Hamilton) > 3. Re: Af_list Digest, Vol 11, Issue 34 (stephen) > 4. Re: Af_list Digest, Vol 11, Issue 34 (Aut) > > >---------------------------------------------------------------------- > >Message: 1 >Date: Sat, 25 Feb 2006 13:23:27 +1300 >From: rtcnz >Subject: [af_list] [ (no subject)/////////Listening Or Not >To: Af_list at audiofoundation.org.nz >Message-ID: >Content-Type: text/plain; format=flowed; charset=US-ASCII > > > > > Begin forwarded message: > > > > > > Message: 4 > > Date: Sat, 25 Feb 2006 09:17:09 +1300 > > From: Damian Stewart > > Subject: Re: [af_list] [ (no subject)/////////Listening Or Not > > To: A list digest for the support of innovative audio culture in NZ > > > > Message-ID: <43FF69C5.9090600 at frey.co.nz> > > Content-Type: text/plain; format=flowed; charset=ISO-8859-1 > > > > ..... > > One of the nice things about the rise of rock has been the > > re-involvement of the audience, and the collapse of the idea that an > > audience must be silent to appreciate the music. In requesting silence > > we're referring back to practises developed in the earlier phases of > > elitist/bourgeois classical music; we're saying, 'I'm the performer, I > > have power over what you hear, respect my power' (or if we're in the > > audience, wishing that other people shut up, we've given over our power > > to the musician who somehow knows better than us how to shape sonic > > space, and we wish that other people would do the same.) >........ > >damian, > i think thats Rubbish!!!! you might be saying that but im not... im >not forcing people to pay $ to come through the door. or stay there if >they dont like it... but if they choose to come and hear/see what ive >been up to then it is conditional..( conditons which vary depending on >context)... its not a drama to work out political power structures it's >a gig! >the only practice im referring back to is common sense... if the >conditions suggest something then it is common sense and respectful to >go with them, particularly if youve chosen to be there. > eg visiting a mosque by choice means that you agree to respect all >the baggage that goes with doing that activity... and if you >dont....????? well thats where caleb steps in.. > >im also surprised that you think a rock gig has a more 'involved' >audience than a silent gig/performance. ....rubbish. > >L > >ps rubbish > > > > > > >------------------------------ > >Message: 2 >Date: Sat, 25 Feb 2006 14:35:24 +1300 >From: "Sam Hamilton" >Subject: [af_list] A.M in AK 4th march >To: Af_list at audiofoundation.org.nz >Message-ID: > <19ccf87f0602241735w173c2ad8h802008d0c8645db5 at mail.gmail.com> >Content-Type: text/plain; charset="iso-8859-1" > >hi AF punters > >just getting the word out there earlyish so you can all plan ahead. > >A.M >(Antony Milton from wellington,grand head poncho of the glorious >Pseudo/Arcana label) > >will be in auckland and playing one show at the grand wine cellar next >saturday,4th of march. > >its promising to be a rather exciting evening with as,not only a chance to >see A.M play but also the likes of ... > >+ Plains (aucklands largest electronic music band featuring fucking >everyone >(not really everyone just the core everyones)) > >+ City Peoples Farners Music (unity through polarity) > >+ Un Ciego (Insight into the 'un' of everything) > >soooo, not a night to miss unless you are missing your self >come along and listen,or watch,or argue with your neighbour about listening >vs. watching > > >love >tumbling strain >-------------- next part -------------- >An HTML attachment was scrubbed... >URL: >http://audiofoundation.org.nz/pipermail/af_list_audiofoundation.org.nz/attachments/20060225/3f9d97d6/attachment-0001.html > >------------------------------ > >Message: 3 >Date: Sat, 25 Feb 2006 14:52:15 +1300 >From: "stephen" >Subject: Re: [af_list] Af_list Digest, Vol 11, Issue 34 >To: >Message-ID: > > >Content-Type: text/plain; charset="us-ascii" > >Damien, Damien, Damien, what are we going to do with you. > > > Among other things it has given me the point of view that > > requesting an audience remain silent for a piece is a > > particularly bourgoeis thing to do. Music performances where > > the audience was silent and the performer sat on stage were > > an invention of the 17th century. Prior to this music was a > > natural part of life where the audience is as likely as not > > to join in (tribal societies), or a part of religion and > > partly responsible for the maintanence of state power, or > > street entertainment (feudal societies). In all of these > > earlier cases the idea of going out to see a musician play > > and nothing else was alien, and the idea of staying quiet > > while they did so (with the exception of music for religious > > purposes) absurd. > > > One of the nice things about the rise of rock has been the > > re-involvement of the audience, and the collapse of the idea > > that an audience must be silent to appreciate the music. In > > requesting silence we're referring back to practises > > developed in the earlier phases of elitist/bourgeois > > classical music; > >What a pile of over-considered, pretentious nonsense. Do >you not think we might have progressed somewhat from the >audience dynamics of C17 chamber performance. > > > we're saying, 'I'm the performer, I have > > power over what you hear, respect my power' (or if we're in > > the audience, wishing that other people shut up, we've given > > over our power to the musician who somehow knows better than > > us how to shape sonic space, and we wish that other people > > would do the same.) > >So, what, people who talk all the way through gigs, and spoil >the performance for every other person in the room, are super- >hero class-warriors now, rather than being ill-mannered >inconsiderate fuckwits. > >I would venture to suggest that by turning up to the venue >and paying the admittance fee, you are bloody-well giving up >over the power to the performer to shape your sonic space, to >the extent that you're implicitly requesting said performer to >do exactly that. > >If you would rather not do so, then DON'T COME AT ALL. > >Talk about inventing a class-war for its own sake. But each >to their own under-graduate-style cod-philosophy, I guess. > >-sstephen/. > > > > > >------------------------------ > >Message: 4 >Date: Sat, 25 Feb 2006 14:20:43 +0000 >From: Aut >Subject: Re: [af_list] Af_list Digest, Vol 11, Issue 34 >To: Af_list at audiofoundation.org.nz >Message-ID: <440067BB.2040009 at slackonomics.com> >Content-Type: text/plain; charset=ISO-8859-1; format=flowed > >noise musicians think silence is golden? > >-- >dsic - free electric music >http://aut.slackonomics.com/dsic/dsicmnn.htm > > > > >------------------------------ > >_______________________________________________ >Af_list mailing list >Af_list at audiofoundation.org.nz >http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz > >End of Af_list Digest, Vol 11, Issue 35 >*************************************** _________________________________________________________________ Looking for love? Check out XtraMSN Personals http://xtramsn.match.com/match/mt.cfm?pg=channel&tcid=200731 From telemetry at rtcnz.com Sun Feb 26 15:34:58 2006 From: telemetry at rtcnz.com (rtcnz) Date: Mon, 27 Feb 2006 12:34:58 +1300 Subject: [af_list] Listening Or Not (rtcnz) Message-ID: <7FC5EF15-A720-11DA-9BBF-003065CDB470@rtcnz.com> > > On 27/02/2006, at 12:00 PM, Af_list-request at audiofoundation.org.nz > wrote: > > Message: 4 > Date: Sun, 26 Feb 2006 19:06:15 +0000 > From: "David Borrie" > Subject: Re: [af_list] Listening Or Not (rtcnz) > To: Af_list at audiofoundation.org.nz > Message-ID: > Content-Type: text/plain; format=flowed > > Many of us on here are performers and audience members at different > times- I > think that's why there's such a range of opinions on this topic. > > I would get pissed off if I was in the audience trying to listen and > someone > else was talking. And if I was bored enough by the performance to want > to > converse with someone, I like to think I'd have the social skills to go > somewhere else to do it, politics and empowerment issues aside... > > But if I was performing, I don't know if I would feel the same way. > Just > showing up gives the audience has the privelage of setting the > standards for > the performance, but I don't believe it works the other way. I read > that > once Biosphere stopped in mid-performance because people were talking. > Respect to Biosphere's music, but I think that reaction was a bit > prattish. "..... the audience has the privelage of setting the standards for the performance,...." i hope im reading this the way you intended and wow!!! i like so completely disagree so if i show up at one of your performances and believe that the standard for your performance should be : "complete-dysfunctional-shit-and-ive-brought-my-tuba-with-me -to- play- along" then thats ok? (which it could be if that was your standard) or if you were playing to an empty room youd have "less" standards? > "...but I don't believe it works the other way." why? i reckon the performer sets the standard and hopes everyone wants to come along... i go and see coltrane because i know he's of a different standard than most jazz players ( granted he's dead) .. so i have an expectation of all the stuff that goes around a performance by coltrane ... i dont go with the standard of louis armstrong and then complain or make a ruckus if it isnt granted this supposes a certain level of knowledge on my part... and if i dont know then perhaps i need to be educated..( again this is where caleb steps in... lol.. he's going to be busy) whilst i wasnt at the biosphere gig i believe the person talking ( and i can only assume based on my own baggage they must have been talking a lot and consistently) was being prattish again perhaps a introduction is needed or a turn off your cell phones slide-type thing.. when james hutchinson and i did umbo at intergigitate we asked for an announcement for people to turn their cell phones on...no one seemed to think it was an outrageous suggestion to even ask.. again expectation. a few years ago when dj spooky came to ak i went to his lecture thing at beaut music and one of the things i really enjoyed was he said" this is what im about to do: im going to mix this with this with this with this and this is why and how" and then he did it with consumate skill.. it was great.. and im not saying to explain what you're doing in a performance just set some standards yourself ..politics and empowerment issues aside...god the audience setting the standard for a performance?? spooky indeed L From admin at audiofoundation.org.nz Sun Feb 26 20:30:51 2006 From: admin at audiofoundation.org.nz (Admin) Date: Mon, 27 Feb 2006 17:30:51 +1300 Subject: [af_list] FW: Get your dancing socks on In-Reply-To: <003f01c63b3f$8716bab0$2114f6d2@happy> Message-ID: This short action packed week at Happy. Wednesday 1st: An Evening Packed Full of Acoustic Singer Songwriter Types - 9pm - Koha Featuring Linda Joy, AJ Hickling, Mea, Harriet and the Matches and Maya deLacey Thursday 2nd: Gamorah and Cathedra - 9.30 Friday 3rd: sideroom.com's All Together Now multimedia show featuring: -Music: Anbaric Mas, Soulnine with D-Rail and Maya, DJ Roshi -(Live) Art:City King, Trust ME, Component, Enforce. One, Flox, Mephisto Jones, Sole 72 8pm $10 doorsales - $15 with magazine Saturday 4th: Farmerpimp(AK) EP Launch with Module and DJ Lotion - 10pm ($15) Comming up, UK avant folk ledgend Mike Cooper, Sabot and Ditzy Squall, Misha Marks, Spartacus R, Jens Lekman and Ned Collette. _______________________________________ Happy corner Vivian and Tory Streets PO Box 9069 Wellington New Zealand +64 4 384 1965 www.happy.net.nz Come with me, I will show you how to fly like a bird To join the Happy email list, contact: happymusic at paradise.net.nz For great music, listen to: The Zero Hour - 89FM Sundays 11pm - 1am -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060227/3c2f67d5/attachment.htm From admin at audiofoundation.org.nz Sun Feb 26 20:31:43 2006 From: admin at audiofoundation.org.nz (Admin) Date: Mon, 27 Feb 2006 17:31:43 +1300 Subject: [af_list] sorry - should have sent this one...extended version In-Reply-To: <010d01c63b48$a66ccc70$2114f6d2@happy> Message-ID: ---------- From: HAPPY Reply-To: HAPPY Date: Mon, 27 Feb 2006 15:50:56 +1300 To: happymusic at paradise.net.nz Subject: happy gigs up to March 18th More information for the gig guides Wednesday 1st: An Evening Packed Full of Acoustic Singer Songwriter Types - 9pm - Koha Featuring Linda Joy, AJ Hickling, Mea, Harriet and the Matches and Maya deLacey Thursday 2nd: Gamorah and Cathedra - 9.30 Friday 3rd: sideroom.com's All Together Now multimedia show featuring: -Music: Anbaric Mas, Soulnine with D-Rail and Maya, DJ Roshi -(Live) Art:City King, Trust ME, Component, Enforce. One, Flox, Mephisto Jones, Sole 72 8pm $10 doorsales - $15 with magazine Saturday 4th: Farmerpimp(AK) EP Launch with Module and DJ Lotion - 10pm ($15) Tuesday 7th - Friday 10th: UK Avant Folk Legend Mike Cooper featuring: - Tuesday 7th: Hawaii Surrealo Duo with David Long (an orgy of Slides, Field Recordings, Therimins and lap steels) - 8pm ($10) - Wednesday 8th: Film Night - Big Wednesday - Live Soundtrack to the surf film by John Milus - 8pm ($10) - Thursday 9th: Oh Really!? Blues and Folk Songs with Support from Leila Adu (solo) - 8pm ($10) - Friday 10th: Tu Feugo LP Obico Records Release Party - Anthony Donaldson, Jeff Henderson, Tom Callwood Fire Breathing, Brain Splintering Improvisation - 10pm ($10) Saturday 11th: Sabot (Czech Republic/USA) with Ditzy Squall and Thee Strapons - 9.30pm ($8/$6) For More info see www.skirted.net or www.cesta.cz Sunday 12th: The Manimanima Express Wednesday 15th: The Misha Marks somethingtet Thursday 16th: some funk soul brothers (and at least one sister) Friday 17th: Spartacus R and The Night Show Saturday 18th: Jens Lekman (Sweeden) and Laurence Arabia (AK's the Reduction Agents/Ruby Suns) -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060227/5071c384/attachment.html From tim at soundbite.co.nz Mon Feb 27 01:07:03 2006 From: tim at soundbite.co.nz (tim@soundbite.co.nz) Date: Mon, 27 Feb 2006 22:07:03 +1300 Subject: [af_list] WTD: Max/MSP/Jitter programmer In-Reply-To: References: Message-ID: Hi I am wanting to hire someone based in Wellington who is very experienced with development in the Max/MSP/Jitter environment on Mac OSX platform for an ongoing interactive project. please email me tim at soundbite.co.nz thanks tim -- "I call architecture frozen music" J.W.Goethe From david_borrie at hotmail.com Mon Feb 27 03:42:23 2006 From: david_borrie at hotmail.com (David Borrie) Date: Mon, 27 Feb 2006 11:42:23 +0000 Subject: [af_list] Listening Or Not (rtcnz) In-Reply-To: Message-ID: > >"..... the audience has the privelage of setting the standards for >the performance,...." > > i hope im reading this the way you intended and wow!!! i like so >completely disagree > The audience quite obviously sets the standards, because they have nothing to lose. As we've seen, if they're unhappy they tend to talk, heckle, leave, complain at the bar, and other (sometimes antisocial) things, some of which have happened to me. As performers, we do have something to lose, so we just have to deal with it whether there's a dick in the crowd or not, for the sake of the ones who are trying to listen. We can't afford to chat to the sound-guy, argue with the audience, leave, complain at the bar etc., in response to the crowd's behaviour- it reflects poorly on our abilities. Sometimes someone in the audience will make an unreasonable request, such as 'turn it down' or 'play some Bob Marley'. But we're free to ignore or decline without resorting to antisocial behaviour or interrupting the performance. >so if i show up at one of your performances and believe that the >standard for your performance should be : >"complete-dysfunctional-shit-and-ive-brought-my-tuba-with-me -to- play- >along" then thats ok? > >(which it could be if that was your standard) I remember one random drunk guy at Happy complaining loudly that the Crayford trio weren't playing 'Thursday night' enough. They were in the middle of a fairly sombre improvisation and the guy just started yelling, "C'mon, it's Thursday night, not bloody Monday!" He went on and on, and if the trio had stopped playing or acted out of awkwardness or pique, it would have been bad for everyone and probably have ruined the performance. Luckily they didn't stop- they performed, reponding (humorously) to the guy's comments and launching into a new refrain. All was well- they won everyone over and pulled off one of their (in my opinion) best moments. If someone in the audience wanted to play their tuba at a gig, assuming they could be heard over the PA and assuming other members of the audience (most likely) or staff didn't get them to shut up, then I would expect the performer to respond creatively and view it as a (admittedly strange and awkward) challenge. Of course they might make a stink about it later, but the show itself must go on- that's the nature of performance. >perhaps a introduction is needed or a turn off your cell phones >slide-type thing.. Although requesting people switch off their cell-phones is reasonable, it's easy to ask too much. If you draw a figurative line in front of the audience and state, "This is now my own private autonomous zone, any intruding audience presence will forfeit the performance", someone in the audience is bound to get fed up and try it on. I've been to the odd performance where the MC has effectively said 'please remain quiet as the performer needs to concentrate'. It's common in solo recitals and chamber music- sometimes people comply, and sometimes they don't. Whether or not it works at more 'experimental' gigs is debatable, especially if there's alcohol present, and as a lot of gallery events get beer or wine sponsorship this is often the case. Imagine putting up a slide saying 'Drinking but no talking'? _________________________________________________________________ Shop ‘til you drop at XtraMSN Shopping http://shopping.xtramsn.co.nz/home/ From artwerks at slingshot.co.nz Mon Feb 27 12:05:44 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Tue, 28 Feb 2006 09:05:44 +1300 Subject: [af_list] Listening Or Not References: Message-ID: <033d01c63bd9$31ad2290$7a33b8cb@d400> I know it's been said before but context (staging) has a lot to do with this. Why is this not an issue with cinema/theatre/dance etc.? Because they sit the audience in rows facing the stage, start at the time they told you they'd start, close the bar/refreshments during the performance, and turn the lights down/off when the performance is starting and back on again when it is over (intermission), making it clear what is going on, focussing attention (senses) on the performer and giving you a clear window to talk between/before/after sets. I also wonder if this is more of an issue in New Zealand where audiences tend to be smaller and therefore more intimate/casual. Sometimes this is a great thing but it can also lead to the below problems. I also presume most of the below examples took place in a bar environment, as opposed to a performance venue. Booking your gig/event/happening/whatever in the appropriate venue at the right time on the right night/day and charging an appropriate price all affect the type of audience you'll get. You choose your battles when you decide which context is best for your work and its social ethics. As an aside, John Cage's 4'33" is not about nothing-ness, as is often mistakenly presumed, but acknowledges the context that the performance takes place. One of the predominant effects of this work being performed was that the audience ended up listening to the audience. Another interesting example is the last rotor plus CD Map, Key, Window, which I believe - like Brian Eno's 'ambient' music - is meant to be played very quietly so it intermingles with and can be confused with the surrounding sound. There are lots of spaces and barely audible passages where you can't tell whether you are hearing something off the CD or your fridge has developed a new hum. So would a similar rotor plus performance require a noisy audience/environment to interact with? Andrew ----- Original Message ----- From: "David Borrie" To: Sent: Tuesday, February 28, 2006 12:42 AM Subject: Re: [af_list] Listening Or Not (rtcnz) > > >>"..... the audience has the privelage of setting the standards for >>the performance,...." >> >> i hope im reading this the way you intended and wow!!! i like so >>completely disagree >> > > The audience quite obviously sets the standards, because they have nothing > to lose. As we've seen, if they're unhappy they tend to talk, heckle, > leave, > complain at the bar, and other (sometimes antisocial) things, some of > which > have happened to me. > > As performers, we do have something to lose, so we just have to deal with > it > whether there's a dick in the crowd or not, for the sake of the ones who > are > trying to listen. We can't afford to chat to the sound-guy, argue with the > audience, leave, complain at the bar etc., in response to the crowd's > behaviour- it reflects poorly on our abilities. > > Sometimes someone in the audience will make an unreasonable request, such > as > 'turn it down' or 'play some Bob Marley'. But we're free to ignore or > decline without resorting to antisocial behaviour or interrupting the > performance. > >>so if i show up at one of your performances and believe that the >>standard for your performance should be : >>"complete-dysfunctional-shit-and-ive-brought-my-tuba-with-me -to- play- >>along" then thats ok? >> >>(which it could be if that was your standard) > > I remember one random drunk guy at Happy complaining loudly that the > Crayford trio weren't playing 'Thursday night' enough. They were in the > middle of a fairly sombre improvisation and the guy just started yelling, > "C'mon, it's Thursday night, not bloody Monday!" He went on and on, and if > the trio had stopped playing or acted out of awkwardness or pique, it > would > have been bad for everyone and probably have ruined the performance. > Luckily > they didn't stop- they performed, reponding (humorously) to the guy's > comments and launching into a new refrain. All was well- they won everyone > over and pulled off one of their (in my opinion) best moments. > > If someone in the audience wanted to play their tuba at a gig, assuming > they > could be heard over the PA and assuming other members of the audience > (most > likely) or staff didn't get them to shut up, then I would expect the > performer to respond creatively and view it as a (admittedly strange and > awkward) challenge. Of course they might make a stink about it later, but > the show itself must go on- that's the nature of performance. > >>perhaps a introduction is needed or a turn off your cell phones >>slide-type thing.. > > Although requesting people switch off their cell-phones is reasonable, > it's > easy to ask too much. > If you draw a figurative line in front of the audience and state, "This is > now my own private autonomous zone, any intruding audience presence will > forfeit the performance", someone in the audience is bound to get fed up > and try it on. > > I've been to the odd performance where the MC has effectively said 'please > remain quiet as the performer needs to concentrate'. It's common in solo > recitals and chamber music- sometimes people comply, and sometimes they > don't. > > Whether or not it works at more 'experimental' gigs is debatable, > especially > if there's alcohol present, and as a lot of gallery events get beer or > wine > sponsorship this is often the case. Imagine putting up a slide saying > 'Drinking but no talking'? > > _________________________________________________________________ > Shop 'til you drop at XtraMSN Shopping http://shopping.xtramsn.co.nz/home/ > > > -------------------------------------------------------------------------------- > _______________________________________________ > Audio Foundation (AF) mailing list > Af_list at audiofoundation.org.nz > http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz > -------------------------------------------------------------------------------- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.375 / Virus Database: 268.1.0/269 - Release Date: 24/02/2006 From turnstyle at obscure.co.nz Mon Feb 27 11:56:40 2006 From: turnstyle at obscure.co.nz (Simon Kong) Date: Tue, 28 Feb 2006 08:56:40 +1300 Subject: [af_list] Listening Or Not (rtcnz) In-Reply-To: <7FC5EF15-A720-11DA-9BBF-003065CDB470@rtcnz.com> References: <7FC5EF15-A720-11DA-9BBF-003065CDB470@rtcnz.com> Message-ID: <44035978.5030309@obscure.co.nz> Perhaps performers should perform behind double glazing ' in isolated sound booths .. Or the audience should be body searched for noisy jewelery and forced to wear a gag .. Still I guess you are allowed to eat your cake if you bake it .. .simon From telemetry at rtcnz.com Mon Feb 27 15:34:03 2006 From: telemetry at rtcnz.com (rtcnz) Date: Tue, 28 Feb 2006 12:34:03 +1300 Subject: [af_list] Listening Or Not (rtcnz) In-Reply-To: References: Message-ID: <8935C98A-A7E9-11DA-90D2-003065CDB470@rtcnz.com> On 28/02/2006, at 12:00 PM, Af_list-request at audiofoundation.org.nz wrote: Message: 2 Date: Mon, 27 Feb 2006 11:42:23 +0000 From: "David Borrie" Subject: Re: [af_list] Listening Or Not (rtcnz) To: Af_list at audiofoundation.org.nz Message-ID: Content-Type: text/plain; format=flowed > >> >> "..... the audience has the privelage of setting the standards for >> the performance,...." >> >> i hope im reading this the way you intended and wow!!! i like so >> completely disagree >> > > The audience quite obviously sets the standards, because they have > nothing > to lose. As we've seen, if they're unhappy they tend to talk, heckle, > leave, > complain at the bar, and other (sometimes antisocial) things, some of > which > have happened to me. oh ok i see what you mean ... but dont entirely agree as this still means that one can "ruin" it for the many > > As performers, we do have something to lose, so we just have to deal > with it > whether there's a dick in the crowd or not, for the sake of the ones > who are > trying to listen. We can't afford to chat to the sound-guy, argue with > the > audience, leave, complain at the bar etc., in response to the crowd's > behaviour- it reflects poorly on our abilities. im not convinced these things reflect poorly on our abilities and wonder about the audience themselves letting the dick get away with it > > Sometimes someone in the audience will make an unreasonable request, > such as > 'turn it down' or 'play some Bob Marley'. But we're free to ignore or > decline without resorting to antisocial behaviour or interrupting the > performance. > >> so if i show up at one of your performances and believe that the >> standard for your performance should be : >> "complete-dysfunctional-shit-and-ive-brought-my-tuba-with-me -to- >> play- >> along" then thats ok? >> >> (which it could be if that was your standard) > > I remember one random drunk guy at Happy complaining loudly that the > Crayford trio weren't playing 'Thursday night' enough. They were in the > middle of a fairly sombre improvisation and the guy just started > yelling, > "C'mon, it's Thursday night, not bloody Monday!" He went on and on, > and if > the trio had stopped playing or acted out of awkwardness or pique, it > would > have been bad for everyone and probably have ruined the performance. why would this have been bad for everyone? any particular audience member has made a choice to be there..etc etc > Luckily > they didn't stop- they performed, reponding (humorously) to the guy's > comments and launching into a new refrain. All was well- they won > everyone > over and pulled off one of their (in my opinion) best moments. > > If someone in the audience wanted to play their tuba at a gig, > assuming they > could be heard over the PA and assuming other members of the audience > (most > likely) or staff didn't get them to shut up, ahh interesting point.... > then I would expect the > performer to respond creatively and view it as a (admittedly strange > and > awkward) challenge. Of course they might make a stink about it later, > but > the show itself must go on- that's the nature of performance. (resists from launching into debate on the nature of performance) > >> perhaps a introduction is needed or a turn off your cell phones >> slide-type thing.. > > Although requesting people switch off their cell-phones is reasonable, > it's > easy to ask too much. > If you draw a figurative line in front of the audience and state, > "This is > now my own private autonomous zone, any intruding audience presence > will > forfeit the performance", someone in the audience is bound to get fed > up > and try it on. bound to????? so why is "cellphones off" reasonable but " no talking" > > I've been to the odd performance where the MC has effectively said > 'please > remain quiet as the performer needs to concentrate'. It's common in > solo > recitals and chamber music- sometimes people comply, and sometimes they > don't. true but theres no harm in asking ,, ive yet to react when someone has said something to that effect by saying "how dare you create your own private autonomous zone!!!!! im leaving" > > Whether or not it works at more 'experimental' gigs is debatable, > especially > if there's alcohol present, and as a lot of gallery events get beer or > wine > sponsorship this is often the case. Imagine putting up a slide saying > 'Drinking but no talking'? i imagine that kind of stuff all the time as my first post to this thread says ( and mr clifford says).....context! L -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: text/enriched Size: 5205 bytes Desc: not available Url : http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060228/0757e792/attachment.bin From malcolmg at ihug.co.nz Mon Feb 27 15:55:27 2006 From: malcolmg at ihug.co.nz (greg and jenny) Date: Tue, 28 Feb 2006 12:55:27 +1300 Subject: [af_list] different stokes Message-ID: <003001c63bf9$49b93d90$b7b06dcb@gregory> regarding noise during performance..I recently saw a video performance of Ivor Cutler.He commences the show with a request that the audience please keep their applause to half the normal volume. By the end of the show he is still blocking his ears when people clap.A staunch supporter of the noise abatement society regarding cages 4.33..I have a great tape of him talking about this piece ..its my party tape that I play to visitors (what boring parties I must have ) he talks about how people should be aware that it was written using chance operations (as where his other pieces at that time)..about how he didn't have to worry about pitch , timbre or volume all he had to worry about was duration and he built up the silence (over several days)by small bits of silence put together. he also adds the he just might of made a mistake in addition and that it could be any other length and what it is about to listen to what there is to hear and he adds.."you can do this in ordinary situations or extra ordinary situations and that I do it often and it works very well." malcolm the unexpected -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060228/21b122d4/attachment.html From aliak77 at gmail.com Mon Feb 27 16:06:50 2006 From: aliak77 at gmail.com (Kath O'Donnell) Date: Tue, 28 Feb 2006 13:06:50 +1300 Subject: [af_list] different stokes In-Reply-To: <003001c63bf9$49b93d90$b7b06dcb@gregory> References: <003001c63bf9$49b93d90$b7b06dcb@gregory> Message-ID: <383607190602271606q3d526193nd0e44435b4dc3227@mail.gmail.com> On 2/28/06, greg and jenny wrote: > > > regarding cages 4.33..I have a great tape of him talking about this piece > ..its my party tape that I play to visitors (what boring parties I must have > ) > > I don't suppose you could upload this - sounds interesting. Kath -- http://www.aliak.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060228/fa4fd229/attachment.htm From telemetry at rtcnz.com Mon Feb 27 16:18:53 2006 From: telemetry at rtcnz.com (rtcnz) Date: Tue, 28 Feb 2006 13:18:53 +1300 Subject: [af_list] Listening Or Not In-Reply-To: References: Message-ID: > > Message: 3 > Date: Tue, 28 Feb 2006 09:05:44 +1300 > From: "Andrew Clifford" > Subject: Re: [af_list] Listening Or Not > To: "A list digest for the support of innovative audio culture in NZ" > > Message-ID: <033d01c63bd9$31ad2290$7a33b8cb at d400> > Content-Type: text/plain; format=flowed; charset="iso-8859-1"; > reply-type=original > > I know it's been said before but context (staging) has a lot to do with > this. > > Why is this not an issue with cinema/theatre/dance etc.? Because they > sit > the audience in rows facing the stage, start at the time they told you > they'd start, close the bar/refreshments during the performance, and > turn > the lights down/off when the performance is starting and back on again > when > it is over (intermission), making it clear what is going on, focussing > attention (senses) on the performer and giving you a clear window to > talk > between/before/after sets. exactly > > I also wonder if this is more of an issue in New Zealand where > audiences > tend to be smaller and therefore more intimate/casual. Sometimes this > is a > great thing but it can also lead to the below problems. I also presume > most > of the below examples took place in a bar environment, as opposed to a > performance venue. > > Booking your gig/event/happening/whatever in the appropriate venue at > the > right time on the right night/day and charging an appropriate price all > affect the type of audience you'll get. yep > > You choose your battles when you decide which context is best for your > work > and its social ethics. yep.. cue: protracted debate about power politics,etc and its relationship to art presentation. > > As an aside, John Cage's 4'33" is not about nothing-ness, as is often > mistakenly presumed, but acknowledges the context that the performance > takes > place. One of the predominant effects of this work being performed was > that > the audience ended up listening to the audience. i reckon the audience ends up listening to a far greater landscape of which they are just one part, and by no means the dominant one > > Another interesting example is the last rotor plus CD Map, Key, Window, > which I believe - like Brian Eno's 'ambient' music - is meant to be > played > very quietly so it intermingles with and can be confused with the > surrounding sound. There are lots of spaces and barely audible passages > where you can't tell whether you are hearing something off the CD or > your > fridge has developed a new hum. So would a similar rotor plus > performance > require a noisy audience/environment to interact with? touche.. and only if the intention/requirement/focus of the "performance" was the same as cage's or eno's. youll have to come along and find out.... (and this is not an open invitation to everyone on the list to bring there tubas to the show.) L > > Andrew -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: text/enriched Size: 3301 bytes Desc: not available Url : http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060228/bc205bef/attachment.bin From telemetry at rtcnz.com Mon Feb 27 16:22:22 2006 From: telemetry at rtcnz.com (rtcnz) Date: Tue, 28 Feb 2006 13:22:22 +1300 Subject: [af_list] Listening Or Not In-Reply-To: References: Message-ID: <497605B9-A7F0-11DA-90D2-003065CDB470@rtcnz.com> > > > Perhaps performers should perform behind double glazing ' in > isolated sound booths .. ....mmmmmm....double glazing > Or the audience should be body searched for noisy jewelery > and forced to wear a gag .. ....mmmmmm.... jewelery > > Still I guess you are allowed to eat your cake if you bake it .. > .... mmmmmmmm...cake.... > .simon > > ....mmmmm...simon.... From telemetry at rtcnz.com Mon Feb 27 16:27:45 2006 From: telemetry at rtcnz.com (rtcnz) Date: Tue, 28 Feb 2006 13:27:45 +1300 Subject: [af_list] different stokes In-Reply-To: References: Message-ID: <09DEC1A0-A7F1-11DA-90D2-003065CDB470@rtcnz.com> > > > On 2/28/06, greg and jenny wrote: >> >> >> regarding cages 4.33..I have a great tape of him talking about this >> piece >> ..its my party tape that I play to visitors (what boring parties I >> must have >> ) >> >> > I don't suppose you could upload this - sounds interesting. > > Kath id be more interested in the ivor cutler!!!! legend! L From hertzz at gmail.com Mon Feb 27 16:32:20 2006 From: hertzz at gmail.com (Nigel Wright) Date: Tue, 28 Feb 2006 13:32:20 +1300 Subject: [af_list] OT: Room? Message-ID: <17d276b00602271632r22f22eaeh83badc922dd92eac@mail.gmail.com> Sorry for the off topic posting/spam! Does anyone (auckland based) have a nice room in their nice house for me? I am looking to move in March, and anything cheap and central would be awesome. Somewhere where a little bit of noise isn't a problem would be super! Anyways, hit me up off list: hertzz at gmail dot com Thanks!! Nigel -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060228/e5332ef1/attachment.htm From artwerks at slingshot.co.nz Mon Feb 27 19:30:17 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Tue, 28 Feb 2006 16:30:17 +1300 Subject: [af_list] Fw: In Audio: John Lyall Message-ID: <063601c63c17$4b680360$7a33b8cb@d400> This is a great opportunity to catch the Wolfgang Laib exhibition on its last day. Andrew -------------------------------------------------------------------------------- INAUDIO: John Lyall Sunday 5 March 1pm Auckland Art Gallery - New Gallery WOLFGANG LAIB (Entry fee) On the last day of the Wolfgang Laib exhibition, artist John Lyall will respond to Laib's interest in seasons and cycles, sifting sound in a similar manner to Laib sifting pollen, and evolving the work into a full ecology of distilled audio in 12 movements. The depiction of nature is a central theme in much of Lyall's work, which spans the disciplines of sculpture, photography, performance and sound. Last year he appeared in the Nine Dragon Heads environmental art symposium in Korea, and featured in the Artspace exhibition Uncanny: The unnaturally strange. His work featured in the inaugural Auckland Triennial, Bright Paradise, in 2001, he performed in Artspace's inaugural Sound/Watch festival in 1989 and again in 1992. He represented New Zealand at Soundculture, Tokyo in 1993 and, for the 1999 Auckland instalment of Soundculture, Lyall presented his cyber-opera, Requiem for Electronic Moa. He is co-author of the books Putting Our Town on the Map (1995) and The Accelerated Sublime (2002) and has published numerous articles and chapters in international journals and books. www.nzherald.co.nz/search/story.cfm?storyid=E8FB5D96-39E4-11DA-8E1B-A5B353C55561 Wolfgang Laib 10 December 2005 - 5 March 2006 Wolfgang Laib likes to retreat from worldly affairs, limiting his dealings solely to nature. Nature is the point of departure for his work. He seeks the motifs for his art from the natural world, creating beautiful installations using pollen, milk, beeswax, marble, rice, and sealing wax. He lives and works embedded in the seasons: gathering materials outdoors when the dandelions, hazelnut, and pines are blooming and in winter working in his studio where he polishes marble for his milk stones. www.aucklandartgallery.govt.nz/exhibitions/0512laib.asp Discount parking $4 all day - weekends and public holidays Victoria Street Car Park cnr Victoria & Kitchener Sts. Park then pick up your discount voucher from either Gallery Information Desk Established in 2003, IN AUDIO has become an ongoing forum for intriguing, unusual and experimental performances from musicians and sound artists. It provides an eclectic array of sonic artistry to mystify, stimulate, or soothe the ears of gallery patrons. Expect to encounter exciting new artists or established performers exploring new approaches and interacting with exhibitions. IN AUDIO is an occasional series curated by freelance writer and artist Andrew Clifford. -------------------------------------------------------------------------------- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.375 / Virus Database: 268.1.1/270 - Release Date: 27/02/2006 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060228/428d19fb/attachment.html -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: image/jpeg Size: 6334 bytes Desc: not available Url : http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060228/428d19fb/attachment.jpe -------------- next part -------------- No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.1.375 / Virus Database: 268.1.1/270 - Release Date: 27/02/2006 From skiosk at iconz.co.nz Tue Feb 28 15:04:25 2006 From: skiosk at iconz.co.nz (Jim Gardner) Date: Wed, 1 Mar 2006 12:04:25 +1300 Subject: [af_list] Minimalist piano duo this Sunday Message-ID: Well worth attending, I think: Music by Cage, Reich, Satie and John Adams works for two pianos and prepared piano played by Tzenka Dianova and Sarah Watkins Sunday, March 5 - 5:00 pm Music Theatre, University of Auckland 6 Symonds Street Tickets $15, seniors $10, students $5 -------------- next part -------------- A non-text attachment was scrubbed... Name: %Tzenka_Minimalists_poster.jpg Type: application/applefile Size: 139 bytes Desc: not available Url : http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060301/31230cf9/Tzenka_Minimalists_poster.bin -------------- next part -------------- A non-text attachment was scrubbed... Name: Tzenka_Minimalists_poster.jpg Type: image/jpeg Size: 20884 bytes Desc: not available Url : http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060301/31230cf9/Tzenka_Minimalists_poster.jpg From artwerks at slingshot.co.nz Tue Feb 28 15:20:23 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Wed, 1 Mar 2006 12:20:23 +1300 Subject: [af_list] TONY OURSLER: SOUND DIGRESSIONS IN SEVEN COLORS Message-ID: <008b01c63cbd$8cb3ffd0$fa0ab8cb@d400> Video artist Tony Oursler collaborates with seven sound artists; Kim Gordon, Tony Conrad, Stephen Vitiello, Lee Ranaldo, Zeena Parkins, Ikue Mori and J.G. Thirwell. http://www.nyehaus.com/exhibitions/0206_oursler/ Andrew -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060301/6e6cdac4/attachment.html From sam at postmoderncore.com Tue Feb 28 15:35:34 2006 From: sam at postmoderncore.com (Sam Stephens) Date: Tue, 28 Feb 2006 23:35:34 +0000 Subject: [af_list] Minimalist piano duo this Sunday In-Reply-To: References: Message-ID: <4404DE46.5050100@postmoderncore.com> If they play Steve Reich's Piano Phase, you Aucklanders are bloody lucky. I have a live recording that includes it and it's just incredible... description from http://www.artistdirect.com/nad/store/artist/album/0,,849608,00.html "Piano Phase, for two pianos, uses a similar methodology but comes to quite different ends due to the acoustic nature of the instrument. Once again, brief sequences are played, first in unison then gradually sliding out of phase. Instead of the overlapping sonic aura produced by the organs, however, the unsustained piano notes generate an amazingly complex fabric of flickering patterns." Indeed. Jim Gardner wrote: > Well worth attending, I think: > > Music by Cage, Reich, Satie and John Adams > works for two pianos and prepared piano > played by Tzenka Dianova and Sarah Watkins > > Sunday, March 5 - 5:00 pm > Music Theatre, > University of Auckland > 6 Symonds Street > Tickets $15, seniors $10, students $5 From livespit at yahoo.com Tue Feb 28 18:18:34 2006 From: livespit at yahoo.com (Ryan Cockburn) Date: Tue, 28 Feb 2006 18:18:34 -0800 (PST) Subject: [af_list] SPIT in Melbourne Message-ID: <20060301021834.69617.qmail@web50010.mail.yahoo.com> Hello all, I am a sound/artist musican who has just moved from Dunedin NZ to Melbourne. I am a memeber of EYE, JoJo Ef Steve and play turntables, gat, tapes, etc.. and vaguely helped out the great Nz label United Fairy Moons. I am interested if anybody out there knows of good improv night, events going on in Melbourne so I may catch up with like minded people. Any suggestions email to livespit at yahoo.com. Ta, Spit ( aka Ryan Cockburn ) --------------------------------- Yahoo! Mail Bring photos to life! New PhotoMail makes sharing a breeze. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060228/499aaf1b/attachment.htm From sam at galatos.co.nz Tue Feb 28 14:19:19 2006 From: sam at galatos.co.nz (Galatos) Date: Wed, 1 Mar 2006 11:19:19 +1300 Subject: [af_list] Alva Noto Message-ID: <012b01c63cb5$0567e580$0201a8c0@LAPPIE> Hi There, Thought I would send through some info on MIC's up and coming show with Alva Noto (Carsten Nicolai) from Germany. I have attached a press release. We have also set up a quick and basic text based website with hi and low res photos as well as biographies (www.mic.org.nz/media). Feel free to get in touch if you have any questions or require some names on the door. Many thanks, Sam Galatos Bar & Venue Moving Image Centre Charitable Trust 17 Galatos St, Newton, Auckland PO Box 168030 Newton, Auckland New Zealand 1032 Phone: +64 9 303 1928 Fax: +64 9 379 9925 Mobile: +64 21 514605 www.galatos.co.nz www.mic.org.nz MIC has received major funding support from ASB Trusts and Creative NZ -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060301/6c14d455/attachment.html -------------- next part -------------- A non-text attachment was scrubbed... Name: Press Release Feb 15.doc Type: application/msword Size: 119296 bytes Desc: not available Url : http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20060301/6c14d455/PressReleaseFeb15.doc From skiosk at iconz.co.nz Tue Feb 28 18:52:14 2006 From: skiosk at iconz.co.nz (Jim Gardner) Date: Wed, 1 Mar 2006 15:52:14 +1300 Subject: [af_list] lucky Aucklanders Message-ID: Hello Sam >If they play Steve Reich's Piano Phase, you Aucklanders are bloody lucky. Yes, Sam, we are bloody lucky; the programme is: Erik Satie's "Le Pi?ge de M?duse" for prepared piano [yes, he beat Cage to it] John Cage's "Bacchanale" for prepared piano Erik Satie's "Socrate" (piano duo arrangement by John Cage) Steve Reich's "Piano Phase" (piano duo) John Adams' "Hallelujah Junction" (piano duo) Cheers Jim From admin at audiofoundation.org.nz Tue Feb 28 19:34:04 2006 From: admin at audiofoundation.org.nz (admin@audiofoundation.org.nz) Date: Wed, 1 Mar 2006 16:34:04 +1300 (NZDT) Subject: [af_list] Alva Noto In-Reply-To: <012b01c63cb5$0567e580$0201a8c0@LAPPIE> References: <012b01c63cb5$0567e580$0201a8c0@LAPPIE> Message-ID: <50351.219.89.160.49.1141184044.squirrel@www.audiofoundation.org.nz> Um - sorry everyone, much as i am sure MIC would love to put you all on the door -just put this through without checking it first. moderate, moderate which actually, in case anyone wants to know - i dont. If someone isnt subscribed on the list, they do go to the moderation place, but otherwise stuff gets posted straight through wonder if carston nicolai gets nervous? > Hi There, > > Thought I would send through some info on MIC's up and coming show with > Alva Noto (Carsten Nicolai) from Germany. I have attached a press release. > We have also set up a quick and basic text based website with hi and low > res photos as well as biographies (www.mic.org.nz/media). Feel free to get > in touch if you have any questions or require some names on the door. > > Many thanks, > > Sam > Galatos Bar & Venue > Moving Image Centre Charitable Trust > 17 Galatos St, Newton, Auckland > PO Box 168030 Newton, Auckland > New Zealand 1032 > Phone: +64 9 303 1928 > Fax: +64 9 379 9925 > Mobile: +64 21 514605 > www.galatos.co.nz > www.mic.org.nz > > MIC has received major funding support from ASB Trusts and Creative > NZ_______________________________________________ > Audio Foundation (AF) mailing list > Af_list at audiofoundation.org.nz > http://audiofoundation.org.nz/mailman/listinfo/af_list_audiofoundation.org.nz >