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(Brooklyn Academy of Music, 2021)

Naoyuki Arashi is a sound artist who goes by ASUNA in Tokyo’s experimental music world. Starting in punk bands as a teenager, Arashi became best known for sound installations (some of which incorporate musical toys) and ambient albums with track names like “How a Spiral Works” (2019) and “tiny worms wriggling under the light shines” (2016).

This fall he brought his piece 100 Keyboards (Moiré Resonance by Interference Frequency) to BAM Fisher for its US debut. In the darkened black box theater, a circle of synthesizer keyboards was arranged on the floor—smallest to largest—radiating out from the glow of a small table lamp at the center. Arashi paced within the mandala of machines, stooping to wedge what appeared to be popsicle sticks between the piano keys of the instruments, depressing one note at a time into a continuous sustain.

100 Keyboards is the careful construction of a single chord with many notes, chosen according to the unique resonance of each performance space. The battery-powered electronics—many of which are toys and beginner pianos—differ from one another in timbre and harmonics; even the same note can be rendered with slight fluctuations, making the sound that rises from their little speakers a chorus of gently colliding imperfections. Arashi aligns the phenomenon with the moiré effect, in which similar but not quite parallel lines or soundwaves form visual or auditory interference. In graphics this can create optical illusions; in fabric weaving, subtly misaligned warp and weft can give silk an appearance like oil rippling on the water. In 100 Keyboards, Arashi lets the moiré of imperfectly aligned notes form “a complex distribution of acoustic pressure” that plays tricks on the ears.

 

 

full article here 

  • Photo by Julieta Cervantes.
  • Akira Sakata & Entasis (ft. Damianidis/Di Domenico)

photos by © Laurent Orseau

18.03.2022

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  • caroline

With the support of the European Union’s Creative Europe programme, for the next 3 years the European Media Art Platform expands its residency program to residencies in 15 countries. We offer residencies for artists, artist duos, collectives or other artistic collaborations working in the fields of digital art, media art, and bio-art. As a new feature to the EMAP residency programme we have introduced the "collaboration" component. Applicants are expected to include a proposal for a collaboration in their application. European artists, or collectives can apply with a project proposal for a residency of two months within June 2022 to January 2023. The artists will be collaborating with a person of their choice or a person local to the host institution

READ ALL ABOUT IT HERE

Catch Farida Amadou If You Can ! 💁🏾‍♀️🌎🍻

Les Ateliers Claus - les bookings claus

+ a new website by the wonderful Julien Baratto - https://faridamadou.com

📸 Juliane Schütz

 

  • Farida Amadou
Drawn from private collections around the world, this is the first comprehensive collection of the Saturn label’s printed record covers, along with hundreds of the best hand-designed, one-of-a-kind sleeves and disc labels decorated by Sun Ra and members of his Arkestra.

Considered the foremost exponent of Afrofuturism, Sun Ra mastered a wide array of styles that spanned jazz, R&B, exotica, Afro-hybrids, electronic, big band, solo piano, orchestral, experimental, and chamber works. In his 45-year recording career, he issued an epic number of albums and he was one of the first Black musicians to own an independent label, which he named Saturn, after the planet on which he claimed to have been born. The covers of Saturn LPs, issued from 1957 to 1988, are iconic—some rolled off commercial printing presses but many were hand-crafted. These records were sold at concerts, club dates, and by mail order. As collectibles, original handmade Saturn covers sell for hundreds, sometimes thousands, of dollars. More than just packaging for a slab of vinyl, they are works of art in their own right.

Sun Ra: Art on Saturn is the first comprehensive collection of all Saturn printed covers, along with hundreds of the best hand-designed, one-of-a-kind sleeves and disc labels, decorated by Ra himself and members of his Arkestra. Essays by Sun Ra catalog preservationist Irwin Chusid, noted Ra scholar John Corbett, and Glenn Jones, who in the 1970s signed Ra to a distribution deal that put countless homemade covers into circulation, add unique insights into the interplanetary life and work of Sun Ra and his Saturn partner Alton Abraham.

Historians have written extensively about Sun Ra and his music. This book is a tribute to the covers and to the uncredited visual artists and their rich imaginations. From the simple to the baroque to the absurd, the covers that sheathed Ra's discs reflect the tenaciousness of a genius who refused to compromise or relinquish control of his destiny.

ORDER HERE

  • sun ra book

Phill Niblock (b. 1933) is an Indiana-born, New York-based composer and multi-media artist. Since 1985 he has been the director of Experimental Intermedia, a foundation for avant-garde music located in his Chinatown loft, which has hosted over 1000 concerts throughout its history. Experimental Intermedia also has an accompany record label, XI Records, which Niblock helps run. Niblock’s career also includes photography, a medium he took up in the 1960s that led to him capturing numerous jazz musicians at their height. He also has made films that range from avant-garde shorts and striking documentations of Sun Ra and Arthur Russell. The Movement of People Working (2003) is also noteworthy, as it’s he worked on between 1973 and 1992 that involves a series of 16mm films and videos shot around the world. Focused on people doing manual labor, it largely relates to Niblock’s interest in movement and dance. His drone music, for which he’s largely known, is dense, all-encompassing, and distinct—one can find his recordings on record labels such as Touch and Matière Mémoire. Joshua Minsoo Kim talked with Niblock on October 25th, 2020 via Zoom to discuss his childhood, his time in the army, his films, and more.


Joshua Minsoo Kim: You were born in 1933, in Indiana—

Phill Niblock: But I escaped!

When you think of Indiana, what comes to mind?

Uh, “escape” is the thing that comes to mind.

Why did you want to escape?

Why? Because there wasn’t so much happening in Indiana. I went to Indiana University as a pre-med student but then I changed that and eventually got a degree in economics. I had to decide very quickly what I was going to have enough credits to major in. Economics allowed me to take a lot of business courses, so I just did that—I had all the science stuff already done. And then I went directly into the army under a voluntary draft ’cause I was going to be drafted anyway—rather than wait around for a year for them to decide, I did. A couple of other friends did that so we went in together.

I was stationed in Southern Alabama in Fort Rucker, Alabama, which was a training school for helicopters and small craft. More observational stuff. Then I was there for a year and a half and traveled a lot in the South during that time. When I got out of the army after two years, I had to decide where to go outside of Indiana.

READ THE WHOLE ARTICLE HERE

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Participants to La Becque’s Principal Residency Program are selected globally by a transdisciplinary jury of experts. The program is open to both accomplished practitioners and up-and-coming candidates with a high potential for artistic growth. Applicants are evaluated on their practice as well as on the quality and pertinence of a residency project specifically written for their time at La Becque.

The residency program will dedicate particular attention to projects exploring the interplay of nature, the environment and technology – notions which are more than ever intertwined and at the core of contemporary preoccupations.

A purposefully broad playfield, this thematic nexus opens up very different yet similarly rewarding avenues of exploration – for example: documenting what and who makes up the “Anthropocene”; using technological tools to document and transcribe natural environments into artistic contexts; exploring new junctures at which technology becomes part of our natural environments, and vice versa.

The call for applications is now open!

Deadline on March 22, 2022, 23:59 (CEST)

–> APPLICATION FORM

–> APPLICATION GUIDELINES

–> FAQ

  • Vevey

pictures by Laurent Orseau

  • Valentin
  • Valentina Magaletti

pictures by Laurent Orseau

  • Piotr Kurek
  • Piotr Kurek