[microsound] [as] july 2004

[Benjamin Green <b@xxxxxxxxxxxxxxxxxxx>]

[apologies for delay..]


....as...
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.........
10.07.04
Marc Schulz: one hour as a peep-hole

I have no idea how to comment on my audio works, but I think that the 
context is interesting for this work. A few years ago I wrote for a room 
installation in Wiesbaden/ Germany, a one-paged Vita Artis to explain my 
background. I started with the first performance of my life in 1974, my 
birth, as co-performer my mother. Thinking that a conscious life is 
always a (performance) art act. Over my thirty years I did hundreds of 
performances, drawings, installations but only a few recorded audio 
works. Recorded sound was always magic to me, having grown up with my 
deaf parents; it was always holy but also too static. I never had a mind 
to ‘hold’ these acoustical moments, because they were thought of as live 
works, often in combination with other ideas/ works. So I was happy 
that, once, I did a number of recordings taped directly onto a normal 
audio tape, because my friend Ilya Monosov asked for them. T sent these 
works across the ocean. Now, a while later after doing also a remix of a 
Tony Conrad/ Andrew Deutsch piece (which will be released in summer 
2004, as a picture disc on www.bathrecords.com), I was surprised to get 
this invitation to broadcast my works. The recordings were thought as a 
gift to a good friend.

The recordings are mainly the sound of boxes I’ve constructed between 
1998 and 2000. Their last public performance was at the 40th Years after 
Fluxus exhibition, where I also did a number of piano performances on a 
cheap toy piano, having the joy to do one piece together with the 
grandseigneur of Fluxus, Ben Patterson. These sound boxes are wooden 
cubes, painted white, with a mini motor, beater and sound bars from old 
clocks inside. The sound bars I found at a flea market; I found them 
great but had no idea what to do with them. I mounted these sound bars 
into the cubes, played by mini motors with beaters, powered by 
batteries. It was important to me that these cubes are almost invisible: 
They are approx. 15 x 10 x 10 big, closed (bottom is open for the 
resonance) and when placed in a room, you almost never know where the 
music is coming from. Their music was always like a stream to me: People 
who listen to these boxes sometimes stayed for hours, telling me that 
after a while they found a specific silence in the bell-sounding but 
loud playing room, and they relaxed. The cubes stopped when a bar was 
broken by too much beating or the battery power was running out.

One comment to my own person: Beside my works as artist I’m working as 
an assistant at the University of Hildesheim, Faculty of Social Work/ 
Pedagogic. I have a research project in the field of Youth Work, 
preparing my doctor degree with the idea to bring together Youth Work 
and Performance.
klangkiste[at]web.de


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17.07.04
Tzesne: one hour as one side and other of the door

Crawl yourself like an injured animal through the tunnel´s labyrinth.
Put your eyes blinded like turned to yourself.
Feel something, someone,
they´ll never touch you
they´ll never speak you.
You´ll know that ground is upon your head.
Your thoughts are not yours
but they will be knocking your temples.
Lean your back on the wall
it´s cold and humid.
You will realize that you are naked.
Piss on your feet undermud,
you will get warm again.
Renew your way
you will have a long way to find the door wich leads to the other side,
where madness is banned
but red traffic lights are crossed.
tzesne[at]yahoo.es
www.seriesnegras.org

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24.07.04
Akihiro Kubota: one hour as sinusoids

The piece is generated by stochastic and generative additive synthesis 
method only written in Csound program.
akihiro.kubota[at]nifty.ne.jp

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31.07.04
Gen Ken Montgomery:
as was

The sound view out of my window
23rd street & 8th avenue
New York City
May 2003


as is

the sound of duct tape and spit being laminated
The Ministry of Lamination
www.ministryoflamination.com

.........



thankyou.
b.





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