Lis Rhodes

Light Music is an innovative work presented originally as a performance that experiments with celluloid and sound to push the formal, spatial and performative boundaries of cinema. An iconic work of expanded cinema, it creates a more central and participatory role for the viewer within a dynamic, immersive environment.

Formed from two projections facing one another on opposite screens, Light Music is Rhodes’s response to what she perceived as the lack of attention paid to women composers in European music. She composed a ‘score’ comprised of drawings that form abstract patterns of black and white lines onscreen. The drawings are printed onto the optical edge of the filmstrip. As the bands of light and dark pass through the projector they are ‘read’ as audio, creating an intense soundtrack, forming a direct, indexical relationship between the sonic and the visual. What one hears is the aural equivalent to the flickering patterns on the screens.

Light Music is projected into a hazy room – the beams that traverse one another in the space between the two projections become ethereal sculptural forms comprised of light, shadow and theatrical smoke. This format is designed to encourage viewers to move between the screens, directly engaging with the projection beams, forming a set of social relations in which cinema is transformed into a collective event without a single point of focus. Light Music occupies an important threshold in film history, drawing on early experiments in ‘visual music’ from the 1920s by pioneers including Oskar Fischinger, Hans Richter and Walther Ruttmann, and subsequently opening cinematic practice up to a host of concerns from gender politics to phenomenological experience.

Lis Rhodes (born 1942, London) is a major figure in the history of artists’ filmmaking in Britain and was a leading member of the influential London Filmmakers’ Co-op. She currently lives and works in London, where a survey exhibition of her career, Lis Rhodes: Dissonance and Disturbance, was held at the ICA from January to March 2012. Her films are distributed by LUX.

https://www.tate.org.uk/whats-on/tate-modern-tanks/display/lis-rhodes-light-music

John Cage

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“It was at Harvard not quite forty years ago that I went into an anechoic [totally silent] chamber not expecting in that silent room to hear two sounds: one high, my nervous system in operation, one low, my blood in circulation. The reason I did not expect to hear those two sounds was that they were set into vibration without any intention on my part. That experience gave my life direction, the exploration of nonintention. No one else was doing that. I would do it for us. I did not know immediately what I was doing, nor, after all these years, have I found out much. I compose music. Yes, but how? I gave up making choices. In their place I put the asking of questions. The answers come from the mechanism, not the wisdom of the I Ching, the most ancient of all books: tossing three coins six times yielding numbers between 1 and 64.”
–John Cage, 1990

UBUWEB:SOUND


John Cage “4’33” – Original Performance, 1952

John Cage “4’33”


NOLA The Cat Performs John Cage’s 4’33”

Stephen Vitiello


From composing electronic music to scoring experimental videos to making larger-scale public installations that create immersive soundscapes, sound artist Stephen Vitiello invites his audience to reinterpret sound. He took us on a sonic tour of his work including recordings from a 1999 residency at the World Trade Center and his sound installation at New York City’s High Line, “A Bell for Every Minute.”


Sound Artist, Stephen Vitiello, encourages you to “close your eyes to watch this talk.” A talk of sound, he explains that your eyes process images more slowly than your ears process sound. Close your eyes and listen well.

This talk was given at a local TEDx event, produced independently of the TED Conferences. It was filmed and edited by Tijo Media at the Carpenter Theatre at Dominion Arts Center in Richmond, VA.

#sound #listen #VCUarts #kineticimaging

Electronic musician Stephen Vitiello’s work is in the permanent collections of the Museum of Modern Art, the Whitney Museum, and the Museum of Contemporary Art of Lyon. His exhibitions include a site-specific work for New York City’s High Line and the 2006 Biennial of Sydney. Vitiello has been awarded a Guggenheim Fellowship for Fine Arts, Creative Capital funding for Emerging Fields, and an Alpert/Ucross Award for Music. In 2012, Australian Television produced the documentary, “Stephen Vitiello: Listening With Intent.” Originally from New York, Vitiello is now based in Richmond, VA where he is a professor of Kinetic Imaging at Virginia Commonwealth University.

This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at http://ted.com/tedx

Stephen Vitiello (b. 1964, New York City)
Solo exhibitions include All Those Vanished Engines, MASS MoCA, North Adams, MA (2011-(ongoing)); A Bell For Every Minute, The High Line, NYC (2010-2011); More Songs About Buildings and Bells, Museum 52, New York (2011); and Stephen Vitiello, The Project, New York (2006). He has participated in such group exhibitions as Soundings: A Contemporary Score, Museum of Modern Art, NY (2013); Sound Objects: Leah Beeferman and Stephen Vitiello, Fridman Gallery, New York (2014); September 11, PS 1/MoMA, LIC, NY (2011-2012); the 15th Biennale of Sydney, Australia (2006); Yanomami: Spirit of the Forest at the Cartier Foundation, Paris; and the 2002 Biennial Exhibition, Whitney Museum of American Art, New York (2002). Vitiello has performed nationally and internationally, at locations such as the Tate Modern, London; the San Francisco Electronic Music Festival; The Kitchen, New York; and the Cartier Foundation, Paris. In 2011, ABC-TV, Australia produced the documentary Stephen Vitiello: Listening With Intent. Awards include Creative Capital (2006) and a Guggenheim Fellowship (2011-2012). Vitiello is a professor of Kinetic Imaging at Virginia Commonwealth University. He lives and works in Richmond, Virginia.

“Electronic musician and sound artist Stephen Vitiello transforms incidental atmospheric noises into mesmerizing soundscapes that alter our perception of the surrounding environment. He has composed music for independent films, experimental video projects and art installations, collaborating with such artists as Nam June Paik, Tony Oursler and Dara Birnbaum. In 1999 he was awarded a studio for six months on the 91st floor of the World Trade Center’s Tower One, where he recorded the cracking noises of the building swaying under the stress of the winds after Hurricane Floyd. As an installation artist, he is particularly interested in the physical aspect of sound and its potential to define the form and atmosphere of a spatial environment.”

Fondation Cartier pour l’art contemporain catalog for the exhibition
Ce qui arrive/Unknown Quantity, 2002

http://www.stephenvitiello.com

Pauline Oliveros

Pauline Oliveros (1932-2014) has influenced American music extensively in her career spanning more than 60 years as a composer, performer, author and philosopher. She pioneered the concept of Deep Listening, her practice based upon principles of improvisation, electronic music, ritual, teaching and meditation, designed to inspire both trained and untrained musicians to practice the art of listening and responding to environmental conditions in solo and ensemble situations. During the mid-’60s she served as the first director of the Tape Music Center at Mills College, aka Center for Contemporary Music followed by 14-years as Professor of Music and 3 years as Director of the Center for Music Experiment at the University of California at San Diego. Since 2001 she has served as Distinguished Research Professor of Music in the Arts department at Rensselaer Polytechnic Institute (RPI) where she is engaged in research on a National Science Foundation CreativeIT project. Her research interests include improvisation, special needs interfaces and telepresence teaching and performing. She also serves as Darius Milhaud Composer in Residence at Mills College doing telepresence teaching and she is executive director of Deep Listening Institute, Ltd. where she leads projects in Deep Listening, Adaptive Use Interface. She is the recipient of the 2009 William Schuman Award from Columbia University for lifetime achievement. A retrospective from 1960 to 2010 was performed at Miller Theater, Columbia University in New York March 27, 2010 in conjunction with the Schuman award. She received a third honorary degree from DeMontort University, Leicester, UK July 23, 2010. Recent recordings include Pauline Oliveros & Miya Masoka and Pauine Oliveros & Chris Brown on Deep Listening.

http://www.deeplistening.org

Tony Conrad


The Theater of Eternal Music performing in 1965. From left, Mr. Conrad, La Monte Young, Marian Zazeela and John Cale.
FRED W. MCDARRAH / GETTY IMAGES

Tony Conrad Was Such a Good Minimalist, He Was Almost Forgotten
By WILLIAM ROBIN
MARCH 24, 2017

In February 1963, a 22-year-old experimental violinist named Tony Conrad stood outside Philharmonic (now David Geffen) Hall in New York wearing a signboard that read “Demolish Lincoln Center!” With the composer Henry Flynt and the filmmaker Jack Smith, Mr. Conrad formed a three-man picket line that spent a day marching at the center, the Museum of Modern Art and the Metropolitan Museum of Art. They were protesting, Mr. Conrad later recalled, “the imperialist influences of European high culture” and gesturing toward “the dismantling and dispersion of any and all organized cultural forms.”

Anti-authoritarian actions soon became typical for Mr. Conrad, whose significant legacy in music, film and performance remained relatively unknown when he died last April at 76.

“Tony Conrad is as punk rock as anyone who ever had the audacity to call themselves punk rock,” said the writer and musician Henry Rollins, formerly of Black Flag, who moderated a post-screening conversation for the new documentary “Tony Conrad: Completely in the Present” in Los Angeles earlier this month. On Friday, March 31, the film has its American theatrical premiere at Anthology Film Archives in the East Village.

At the time of the Lincoln Center protest, Mr. Conrad was playing a formative role in the sound of Minimalism as a performer in the improvising ensemble Theater of Eternal Music. The next year, he and his roommate, John Cale, were recruited to join a rock group with Lou Reed known as the Primitives, the precursor to the Velvet Underground. Rather than joining that band, Mr. Conrad moved on to other art forms, becoming a pioneer in structural film with “The Flicker” (1966), a trippy juxtaposition of black-and-white frames that reportedly caused some audience members to become physically ill.

“It seemed to be the thing that drove almost everything: There was just an incredible resistance to authority,” the new documentary’s director, Tyler Hubby, said in a recent interview. “It got very deep, the idea of resisting these established institutionalized ideas. Why does it have to be that way? Why can’t we do something different? Why can’t we make something new or see something in a different way?”

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LUIGI RUSSOLO

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The Art of Noise
by Luigi Russolo February 22, 2004

 
Luigi Russolo (1885 – 1947), Italian futurist painter and musician and inventor of the “intonarumori” expounded his musical theories in 1913 in this manifesto entitled “L’arte dei rumori” (The Art of Noises) in which he presented his ideas about the use of noises in music.

Dear Balilla Pratella, great Futurist composer,

In Rome, in the Costanzi Theatre, packed to capacity, while I was listening to the orchestral performance of your overwhelming FUTURIST MUSIC, with my Futurist friends, Marinetti, Boccioni, Carrà, Balla, Soffici, Papini and Cavacchioli, a new art came into my mind which only you can create, the Art of Noises, the logical consequence of your marvelous innovations.

Ancient life was all silence. In the nineteenth century, with the invention of the machine, Noise was born. Today, Noise triumphs and reigns supreme over the sensibility of men. For many centuries life went by in silence, or at most in muted tones. The strongest noises which interrupted this silence were not intense or prolonged or varied. If we overlook such exceptional movements as earthquakes, hurricanes, storms, avalanches and waterfalls, nature is silent.

Amidst this dearth of noises, the first sounds that man drew from a pieced reed or streched string were regarded with amazement as new and marvelous things. Primitive races attributed sound to the gods; it was considered sacred and reserved for priests, who used it to enrich the mystery of their rites. And so was born the concept of sound as a thing in itself, distinct and independent of life, and the result was music, a fantastic world superimposed on the real one, an inviolatable and sacred world. It is easy to understand how such a concept of music resulted inevitable in the hindering of its progress by comparison with the other arts. The Greeks themselves, with their musical theories calculated mathematically by Pythagoras and according to which only a few consonant intervals could be used, limited the field of music considerably, rendering harmony, of which they were unaware, impossible.
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