Objekt. Interview with dazed digital, may 2012 (unedited)
I recently did an email interview for Dazed Digital (via BLOC), but unfortunately part of it was cut due to word length restrictions. The full transcript can be read after the jump. The cut version can be read on the Dazed site here.
Erkki Kurenniemi was arguably one of the first artists to propose or fantasise about a complete cultural surrender to cyber existence, and his entire career, covering such diverse fields as artificial intelligence, music, engineering, film, dance or rhetorics, testifies to this desire to escape the limits of the human body and transgress into a different dimension, bordering on techno-fetishism. In his 1964 short Electronics in the World of Tomorrow, Kurenniemi presents a slideshow of the most aseptic signs of technological imagination: diagrams, chips, machines, cold surfaces. But footage of human warmth also comes up - mostly in black and white, as if to give humans the status of a memory. Originally silent, the film was in this version endowed with a electronic music piece by Kurenneimi himself: a cold, aggressive soundtrack that could be said to present technology as a potentially menacing affair, although this is a reading that the director would certainly refute.
Jackmaster Farley meets Barnett Newman via FORTRAN IV - IBM 1300 - 1972
Yves Klein, Leap Into The Void, 1960
putting needle on the record _ レコードに針を置く _ 2012
from U B U W E B:
Year: 2005
Time: 52 mins
Music: Luc Ferrari, Jean-Philippe Collard-Neven, Vincent Royer
Shot shortly before Luc Ferrari’s demise, Facing his Tautology has the fundamental merit of avoiding the temptation of a sentimentalist epitaph mode. Indeed, the fact that the film’s subtitle alludes to this sad coincidence may perhaps, given the general tone of the picture, be more of an imposition by the producing label than a decision by the directors. Facing his Tautology was recorded in France, during the initial stages of a new Ferrari production, a new version of his 1969 piece Tautologos III. The score is actually nothing more than a set of rules, whose results are to be decided by the musicians’ inspiration and Ferrari’s sensibility. The film allows us an intimate glimpse of the composer’s methods and centers on his relationship with the performers (which, in this case at least, amounts to the same). The picture we are presented with is one of an active, sagacious, good-humored and open-minded man, miles away from the stereotype of the composer-dictator in complete charge of his output (as seen in, say, documentaries on Stockhausen or Boulez). In fact, Ferrari allows himself, and concomitantly the directors, to demystify the concept of the composer itself: although never declining is position, Ferrari assumes the role of a guide, someone who is steering the wheels and coordinating efforts and sensibilities to achieve a result in which all participants can claim a finger of their own. What is perhaps more rewarding in this fascinating documentary is the human confirmation or translation of the composer we hear in his pieces: such generous, transgressing, humorous, intelligent, sarcastic, joyful music does indeed stem from a man with all those qualities. — Eye of Sound
Identity. Logo design by Juan Carlos Berthelon
I just uploaded “Owl Eye Slow Jam” to www.mixcloud.com - listen now!
awesomepeoplehangingouttogether:
The cast of the original Star Wars trilogy
a beautiful example from la maestra Delia Derbyshire of how perception of timbral gestures enhances the cognitive reach of language
