Sie sind auf Seite 1von 6

"Splitting Bits, Closing Loops: Sound on Sound": Contributors' Notes

Author(s): AGF, M. Behrens, Alejandra A. Severgnini, Aeron Haynie, DAT Politics, Stephan
Mathieu, Francisco López, Institut fuer Feinmotorik, Janek Schaefer, Steve Roden, Scanner
and Stephen Vitiello
Source: Leonardo Music Journal, Vol. 13, Groove, Pit and Wave: Recording, Transmission and
Music (2003), pp. 83-87
Published by: The MIT Press
Stable URL: http://www.jstor.org/stable/1513460 .
Accessed: 19/12/2013 12:44

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp

.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact support@jstor.org.

The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to Leonardo Music Journal.

http://www.jstor.org

This content downloaded from 193.137.34.26 on Thu, 19 Dec 2013 12:44:13 PM


All use subject to JSTOR Terms and Conditions
LMJ13 CD COMPANION

Splitting Bits, Closing Loops:


Sound on Sound
Contributors' Notes

AGF: LEO'SCODE from the reinterpretation pieces by Taylor Deupree, Hsi-


Performed and produced by Antye Greie, Berlin, Germany, Chuang Cheng, Aube, Richard Chartier,Akira Rabelais,John
February 2003. (? Antye Greie) Hudak, Bernhard Gunter and Steve Roden to construct a fur-
ther reinterpretation. After the completion of the piece in-
Contact: AGF, c/o Kitty-Yo,Greifswalder Strasse 29, 2. HH 2 cluded here, I gave the material to the Portuguese artist Paulo
OG, 10405 Berlin, Germany. E-mail: <agf@poemproducer. Raposo (of Vitriol), who himself did another reinterpretation.
com>. Web site: <poemproducer.com>. Raposo and I use different methods to compose, as well as dif-
ferent structural approaches, and premiered both of our-
For Leo'sCodeI used HTML code that I found on a random however complementary-pieces in the form of a friendly
web site and improvised with it while reading the site's scripts "audio duel" (like a Ping-Pong match) on 21 March 2003 in
and text fragments. Later, I edited the piece in a way that em- the auditorium of the Goethe-Institut Inter Naciones in Lis-
bon. The show was entitled "Further Consequences of Rein-
phasizes its broken flow of words and content, creating an
image of an emotionalized female turtle robot that desper- terpretation."
ately needs a restart because it has gotten lost in the code.
I created a minimal soundtrack based on two tones, just as Born in Darmstadt, Germany,M. Behrenshas lived and worked
in Frankfurt since 1991; he also has been a citizen of Elgaland-
computers are based on two tones-is and Os. I used a mi-
crophone, a pre-amp, an Apple PowerBook, a VX Pocket audio Vargaland<www.krev.org/>since 1997. Afterbeginninghis mu-
card, Logic, GRM (Group de Recherches Musicales de l'In- sical studiesin experimentaljazz and rockgroupsin the late 1980s
stitut National de l'Audiovisuel) plug-ins, a digital synthesizer recordingand
andpursuinga seriesof tapereleases,acousticfeedback
and a mouse and a brain for editing. multimediaworksthroughoutthe 1990s, Behrenstodayis perhaps
bestclassedas a "soundartist,"workingacrosstheboundariesofper-
Born and raised in East Germany,AGF-a.k.a. Antye Greie-has formance,installationand recordedmedia.He hasperformedand ex-
beenactive as a musician and producersince 1990, playing in the hibitedextensivelyacrossEastern and WesternEurope,the Middle
Germanband Laub as wellas performingsolo.A memberof Berlin's East,Japan and NorthAmerica,includingappearancesat Chicago's
Kitty-Yolabel, herresponsibilitiesas the label'swebsiteprojectman- Lampo and the Sound Art Exhibitionat the InterCommunication
Centerin Tokyo.
agermutatedinto an artisticexplorationof technologyand expression
with her2001 releaseHead Slash Bauch, in whichGreietranslated
fragmentsof HTML scriptand softwaremanuals into a choppy,de- ALEJANDRA & AERON: VILLAGE FOOTBALL
constructed popformat.AGF'srecordingshavebeenfeaturedon Mille Written and produced by Alejandra Salinas and Aeron
Plateaux,Disco Bruit, Sprawl,Crosstalkand otherlabels.Greiewas
an artist in residenceat Podewil,at theBerlin Contemporary Center, Bergman, La Rioja, Spain, 2003. A longer original version
was published as an MP3 project on Datamusik <www.
in 2001, and contributeda sound installation, Berlin Klang, to
Sonar2000. datamusik.com>, Denmark, 2002. (? Alejandra Salinas and
Aeron Bergman)

Contact: Alejandra Salinas and Aeron Bergman, Torrent de


M. BEHRENS: FOR THEFURTHER Vidalet 13 (5), Barcelona 08012, Spain. E-mail: <aaland@
CONSEQUENCES OF REINTERPRETATION luckykitchen.com>. Web site: <www.luckykitchen.com>.
Written and produced by M. Behrens, at the composer's stu-
dio, Frankfurta.M., Germany, and Grimacco, Italy,2002-2003. Generally speaking, we have reached the conclusion that al-
(? M. Behrens) though quality formal techniques are essential in presenting
a body of work, the process must be a fine blend of form and
Contact: M. Behrens, Brfder-Grimm-Str.46, 60385 Frankfurt, idea. We like to work with sound pieces in which our views,
Germany. Web site: <www.mbehrens.com>. tales and observations of the world around us are included
not to display our technical virtuosity,but as essential elements.
This track is a product of a process that was started by the Telling tales, offering opinions, pondering death, sketch-
Japanese artist Nosei Sakata (a.k.a. *0), who asked other artists ing portraits and documenting ways of living: These are job
to "remix" some of his material for release on the CD *0- descriptions usually attached to writers, but we feel they could
0. 000 remix-INFLATION.Sakata had produced a CD that ap- apply to sound artists as well. The inclusion of narrative in art
peared to play back basically nothing (its sound was outside is an old practice, and our ideas may be old-fashioned, but are
of the human hearing range), and the idea was to create "ev- abstraction and formalism so new? Perhaps the notions of old
erything from nothing." When I received my promo copies of and new have outlived their usefulness: It seems more accu-
the CD I decided to take the process further: I took material rate to speak about history as occurring in overlapping circles

( 2003 ISAST LEONARDO MUSICJOURNAL, Vol. 13, pp. 83-87, 2003 83

This content downloaded from 193.137.34.26 on Thu, 19 Dec 2013 12:44:13 PM


All use subject to JSTOR Terms and Conditions
and spirals than as a straight cause-and-effect timeline such as Austria; and the ICC in Tokyo.In 2002 theyreceivedthe Prix Ars
we see in conservative history books. ElectronicaAwardofDistinctionfor Digital Music.
Our recording VillageFootballis based on an excerpt from a
series of cassette tapes recorded in the late 1960s by Emiliana
Sainz in her living room in Viana (Navarra), Spain. The orig- DAT POLITICS:BAG
inal tapes were made as a homey and creative way to send fa- Recorded at Lovestock Studio, Lille, France, 2001. Originally
miliar domestic sounds as souvenirs to relatives living away created for the Fallt MP3 label project Fodder.(? DAT Politics)
from home. These particular tapes were sent to Sainz's daugh-
ter, Pilar Tolosa, who had emigrated to Toronto in the mid- Contact: Skipp/Claude Pailliot, B.P. 57, 59003 Lille cedex,
1960s. By the time we found them 30 years later in Tolosa's France. E-mail: <datpolitics@ski-pp.com>. Web site:
home, dust and travel had degraded the quality of the already <www.ski-pp.com>.
low-fidelity tapes to a muddy, wonderfully brown sound. We
found these recordings incredibly beautiful: their simple, mun- Bag is based upon no particular concept but nonetheless in-
dane subjects and the degraded sound quality created a dis- corporates numerous examples of error (both digital and ana-
embodied and yet warm, sentimental feeling. log) as a medium in and of itself. We reformat wave data as
There was no central focus in the recordings. Frequently, pulse code modulation (PCM) (Intel/Motorola LSB, MSB),
Sainz had kept the tape recorder going until the tapes ran out, A-law 8-bit or Mu-law8-bit data, and then feed text and image
collecting long periods of whatever conversation or quiet was files into sound-editing software.In addition to particularsonic
naturally occurring in the house. In addition to conversations textures, unexpected melodies occasionally occur from such
about lunch, there are endless sections where the only sounds processes to then become the "musical"content of the piece.
are the dripping of a leaky sink, the tick of a Swiss clock, and We use slow, cheap laptops. This means that we have to ad-
the occasional footsteps of someone passing from one room just the size of the buffer accordingly, recording at a lower data
to another. rate and creating skipping and drop-out effects that are used to
The section we chose for this track is of Sainz's son, Pilar's make "breaks"in the track.Finally,electroacoustic sources come
brother, Alberto Tolosa, watching a football match on the tele- into play,such as interference from cables and the mixing desk.
vision between the teams Osasuna and FC Barcelona. Alberto Bag was originally commissioned by the MP3 label Fallt in
grumbles and roots for his team, as is the custom of villagers 2001. As part of the Fodderseries, it has existed until now only
everywhere. on Fallt's web site <www.fallt.com>. Fodderreleasesare "pack-
We composed and assembled electronic sounds to ease the aged" using MP3 and PDF technologies for purely digital dis-
original recordings one step further from chance documen- tribution. Reflecting a "distribute then print" concept, each
tation. In the process, we used samples from the original tapes release is designed to be easily assembled once downloaded.
along with computer-generated tones so that harmonies, dis-
sonance and textures build up and fall awaywith the "action" The Lille-basedquartetDAT Politicsformed in 1998 and was in-
of the footage, thus emphasizing the mundane drama of the volved in ToneRec, which has releasedthreealbumson Belgium's
past. SubRosalabel.DATPolitics,whichhas recordedforFat Cat,A-Musik,
In our work, we include select instances of "imprecision"to Digital Narcis, Tigerbeat6and Chickson Speed,pursuesa "glitch"
bring our recordings awayfrom the artificialityof studio record- electronicaagendathat unitesstrainsof computermusic,post-techno
ings towards a more realistic fidelity of how the world actually andpop.DATPoliticsperformsliveon laptopsand runs its ownlabel,
works. That is, the real world is dirty,full of imperfections and Skipp,whichhas releasedrecordingsfrom Goodiepal,AeltersandFelix
uncontrollable dynamics. To erase all trace of these moments Kubin, amongothers.
is a typical response: We choose specifically to include them.
In VillageFootball,we use the imperfections of the medium
as strengths to lend warmth and atmosphere to the final com- STEPHAN MATHIEU: A MICROSOUNDFAIRYTALE
position, which is equally musical, narrative, sentimental and (CONCLUSION)
strange. This short work speaks for some of the drives behind Original recordings from a KapotteMuziekconcert at Im Eimer,
our greater body of work, and yet we hope it stands alone as Berlin, Germany,August 1996. Reworked by Stephan Mathieu
an intriguing, small piece of recorded time. at Pixelland, Schafbriicke, and Pullover, Falkensee, between
Februaryand October 2002. Published by Freibank.Taken from
Theduo of AlejandraSalinas and AeronBergmanrecentlyrelocated the CD KapotteMuziekbyStephanMathieuon Korm Plastics (KP
to Barcelonaafterseveralyearsin La Rioja, Spain; thepair has also 3012) <www.kormplastics.nl>. (? Stephan Mathieu)
lived and workedin Toronto,Detroit,New Yorkand London. They
dedicatethemselvesto a highlypersonalyet communicativestyleof Contact: Stephan Mathieu, Akazienweg 25, 66121 Saar-
compositiondrawing on field recordings,musique concrete, com- brucken, Germany. E-mail: <mathieu@bitsteam.de>. Web
puter music,pop and folk music. Salinas, bornin Logrono,Spain, site: <www.bitsteam.de>.
studiedfine art at New York'sSchoolof Visual Arts and London's
Guildhall University;Bergmanstudied art historyand fine art at I like the basic idea of the computer being a machine that
Michigan State University,the Universityof Toronto,and New York works for you. My main applications are like organisms-liv-
University.Since 1997 theyhave run theLuckyKitchenrecordlabel, ing creatures. Once you've made friends with them, you can
and theirrecordingsappearon Fat Cat, Tomlab,BottropBoy, Softl rely on them and become a team. This is what my work since
Music and OrthlorngMusork.Alejandraand Aeronhaveperformed 2001 has been based on: a certain trust in my software, with
and installedworkinternationally,including at Ex TeresaArteAc- not too much control imposed by the composer.
tual, MexicoCity;Museumof ModernArt, Luxembourg; NordicIn- With my rework for the Dutch band Kapotte Muziek, this
stitutefor Contemporary Art, Copenhagen;ChangingRoomProject concept topped itself out. I spent 8 months processing rawma-
Space,Stirling,Scotland;Palais de Tokyo,Paris;Odum(LampoNew terial, resulting in the usual several gigabytes' worth of mate-
MusicFoundation),Chicago;OKCenterforContemporary Art, Linz, rial. When it was about time for me to finish the piece, I

84 LMJ13 CD Contributor's Notes

This content downloaded from 193.137.34.26 on Thu, 19 Dec 2013 12:44:13 PM


All use subject to JSTOR Terms and Conditions
returned to my files to edit them down in ProTools (Mac OS9). tures and aesthetic codes of digital/electronic music by using
I re-listened to everything, made some adjustments and then an important instrument of electronic music, namely the DJ
rebooted in OSX to work in Soundhack. After a little while my setup. With club equipment, minus the records, we create the
machine crashed, hard-so hard that all I could do to restart aesthetic approach of a stumble-structured rhythm music,
it was to take out the batteries. When I finally rebooted in OSX, sounding not unlike some state-of-the-art PowerBook click-
the computer did nothing but play this music for 30 minutes- hop piece listened to through closed doors. Unlike many other
a medley of my Kapotte Muziek material, finished by the com- generative procedures of this genre, no single piece of our
puter itself. music is reproducible; each performance is unique.
Kapotte Muziek, ironically enough, translates as "damaged
music." The live concert I remixed took place in 1996 in a Foundedin 1997for a clubeventin Basel, Switzerland,Institutfuer
Berlin club called Im Eimer-that's "in the bucket," a funny Feinmotorik(IFF)is an artists'groupthat workswithvariousformats
way of saying "out of order/damaged". and media,currentlyfocusing on acousticart and music.Primarily
living and workingin theBlackForest,IFFis alsopresentin Zurich,
Born in 1967 in Saarbricken,Germany,StephanMathieuspentthe Switzerland,and Cologne,Germany.1FFproducesphotographs,video,
1990s in Berlinas an improviserplayingdrums.In 1998 hereturned music, drawings,computerprogrammingand printed matter,orga-
to his hometownto "become a family man"and beganworkingwith nizes artistic/culturaleventsand is involved in publishing music,
a computerSince2000 he has taughtdigital arts and conceptsat the recordsand books.
UniversityforArts and DesignHBK Saar in Saarbriickenand at the
Bauhaus Academyin WeimarA composer, performerand installa-
tion artist,Mathieuhas createdsound installationworksfor thecul- JANEK SCHAEFER:RINK (EXCERPT)
tural heritagemonumentVolklingerHiitte, Germany,and elsewhere Written and recorded byJanek Schaefer at the audiOh!Room,
and has releasedmorethan 10 albumsfor labelssuch as Orthlorng London, U.K., 14 February 2002. This recording appears in a
Musork,Ritornell,LuckyKitchenand Fillt, bothsoloand in collab- longer form on Skate/Rink, audiOh! 11 LP and Staalplaat
orationwithEkkehardEhlers(as Heroin), amongothers. STmCD 023 3-inch CD. (?Janek Schaefer)

Contact: Janek Schaefer, audiOh! Room, 34 Crewdson Rd,


FRANCISCO LOPEZ: UNTITLED #11r5 London SW9 OLJ,U.K. E-mail: <janek@audiOh.com>. Web
(PARTS1 AND 2) site: <www.audiOh.com>.
Recorded at Mobile Messor, Barcelona, Spain, and Prague,
Czech Republic, 2001. (? Francisco L6pez) Rink uses source sounds taken from my SkateLP combined
with live room recordings taken from the Skateinstallation at
Contact: Francisco L6pez. E-mail: <franciscolopez@csi.com>. Triskel Arts in Cork, Ireland, August 2001.
Web site: <www.franciscolopez.net>. The composition and the installation both began with a sin-
gle copy of the LP. By playing the LP on my Tri-Phonic
Overthe last 20 years,FranciscoL6pezhas developedhis own sonic Turntable in various ways,I recorded 60 different textural and
universe,absolutelypersonaland iconoclastic,basedon a profound rhythmic sound events. Adding 30 silent tracks of varying
listening to the world.His piecesaim to destroyboundariesbetween lengths, I then produced a master source CD-R, copies of
industrialsoundsand wildernesssound environments.L6pezhas re- which were loaded into three random-play CD players. These
alizedconcertsand sound installationsall overWesternand Eastern were broadcast simultaneously into the gallery via three sets
Europe,North, Centraland SouthAmerica,Japan and Australia, of speakers positioned along the length of the space. The ar-
and his workshave beenreleasedbymorethan 100 recordcompanies chitectural context was therefore mixed into this continuous
throughouttheworld. re-composition and recorded.
Attached to each pair of speakers was a light source that
flickered, faded and glowed according to the linked sounds
INSTITUT FUER FEINMOTORIK: SLO from each CD; occasionally the gallery was left in silence and
Recorded at Breite2 Studios, Bad Saeckingen, Germany, 2000. total darkness as all CDs hit a silent track and the lights died.
(? Institut fuer Feinmotorik) The result was an immersive exploration of the impact that
sound and reactive lights can have on the experience and per-
Contact: Institut fuer Feinmotorik, P.O. Box 1424, 79707 Bad ception of the space where they are installed. The 3-inch CD
Saeckingen, Germany. E-mail: <feinmotorik@gmx.net>. Web pressing of the composition has 99 track marks so it too can
site: <institut-fuer-feinmotorik.de>. be played randomly.
My original concept for the SkateLP itself was for a record
Institut fuer Feinmotorik (IFF) is Marc Matter, Mark Brued- that usurped the deterministic spiral (and the "anti-skate"
erle, Daniel van den Eijkel, Florian Meyer and Melanie Wratil, mechanism) as a way of playing and listening to sound on vinyl.
plus some freelancers and collaborators. To do this I developed a "fragmented" cutting technique, a
The setup for this track, as for other tracksproduced by IFF, method of cutting a concentric collage of individual short
is rather simple: eight turntables, four DJ mixers, an end-mixer "sound scars"onto the disc. When it is played, the stylus navi-
and one to four persons. Everything (except records) that gates its own random path across this intermittent terrain of
somehow fits between the turntables and pick-up cartridges these physical and sonic diversions. The type of record player,
(e.g. household rubber bands, paper stickers, rubber gums, its speed and the user will all affect the result, and thus each
handicraft tools and various tinker trivia) is used to produce and every playbackof the LP will elicit a different composition.
sounds, which are manipulated and arranged through the DJ After much research it proved unfeasible to experiment in
mixers. a professional cutting room to develop this process. I then de-
IFF's music appears mostly in the context of electronic cided to build my own lathe by inverting the acoustic sound
music, but it is deeply mechanical. We aim to imitate the struc- reproduction mechanism of a wind-up 78-rpm gramophone.

LMJ13CD Contributor's Notes 85

This content downloaded from 193.137.34.26 on Thu, 19 Dec 2013 12:44:13 PM


All use subject to JSTOR Terms and Conditions
Using a car stereo system, I positioned a pair of speakers so that worksarea combinationof conceptualstrategiesand intuitive move-
they played "backwards"into the sound funnel and thus ulti- ments.Found structuresand systemsare liftedfromtheiroriginalin-
mately back into the acoustic stylus of the gramophone. With tentions and used as the basisfor improvisation,abstractionand
sufficient volume applied, the stylus would then act as a vi- composition. In his soundworks,objects,architectural
spacesand field
brating cutting head, a basic lathe. A 14-inch blank master disc recordings areabstractedthroughelectronics
to createnewaudiospaces,
was placed on the turntable and rotated at varying speeds using or "possiblelandscapes."Roden'ssound and visual workshave been
the gramophone's wind-up mechanism. By very quickly plac- presented museums,galleriesand arts spacesinternationally-in-
in
ing the stylus/cutting head onto the disc, I built up the final cluding the San Diego Museum of ContemporaryArt, the UCLA
collage sound by sound. This was a rudimentary cutting pro- HammerMuseumLos Angeles,the Stadt GalerieSaarbriicken,Ger-
cess, one of both loss and accumulation of the sound "quality." many, the Miami Museum of Contemporary Art and theDrawing
Centerin New York.He has performedhis sound worksat numerous
Janek Schaeferwas bornin middleEngland toPolishand Canadian festivals and arts spacesincluding the WalkerArt Centerin Min-
parentsin 1970. Afterpreparingsound collagesas a boy,Janek'smu- neapolis,Gallery360 in Tokyo,the San FranciscoMuseumof Mod-
sical careerwasfracturedin his teenswhen,as headchoristerat school, ernArt and theHaywardGalleryin London.Morethan 20 CDsof
at theRoyal
his voicebroke.A decadelater,whilestudyingarchitecture his workhave beenreleasedon various labels,including Sonorisof
Collegeof Art, he rekindledhis audio careerwith a piece entitled Franceand TrenteOiseaux in Germany.He recentlycompletedan
Recorded Delivery. Since then, the nature of sound has beenhis audio residencyat Engine 27 in New York.
focus, resultingin many releases,installations,soundtracksfor ex-
hibitions, and performancesinvolving his self-built/inventedTri-
SCANNER: SPIRIT TRACE
phonic Turntable.
Written and produced by Robin Rimbaud, Scannerdot Pub-
lishing, London, U.K., administered by Bug Music, 2003. (?
STEVE RODEN: OTR Robin Rimbaud)
Written and produced by Steve Roden, 2002-2003. Recorded
at the Bubble House, Pasadena, California. (( Steve Roden) Contact: Robin Rimbaud, P.O. Box 6127, London E2 6XD,
U.K. E-mail: <scanner@scannerdot.com>. Web site: <www.
Contact: Steve Roden, P.O. Box 50261, Pasadena, CA 91115, scannerdot.com>.
U.S.A. E-mail: <sroden@inbetweennoise.com>. Web site:
<www.inbetweennoise.com>. SpiritTracefollows my collaboration with the artist Mike Kel-
ley as part of the Sonic Process exposition at Centre Pompi-
This piece was originally composed for the En Red O Festival dou in Paris, France, in 2002. We produced a multimedia
in Spain and presented as an installation for the Beyond Noise installation as a musical homage to the pioneering researchers
Conference in August 2002 at the University of California at of Electronic Voice Phenomena: Friedrich Juirgenson, Kon-
Santa Barbara. The installation consisted of a simple setup of stantin Raudive and Attila von Szalay. Electronic Voice Phe-
a CD player and two speakers on a table in front of a couch. nomena refers to the sounds and voices that can be heard in
The work was looped and played quietly. ambient audio recordings, arguably those of the deceased. For
A few years ago, my mother gave me a small stack of 45s that that project we recorded at locations of a spiritual relevance
were her favorites as a kid: Chuck Berry, the Platters, etc. When to the city of Paris-the tomb of Allan Kardec (1804-1869),
I began listening to these, it was not only the music that I was one of the leading exponents of spiritualism in his day; the
attracted to, but also the surface scuffs from repeated listen- gravesite of Charles Cros (1842-1888), the man who designed
ings and years of wear and tear. For OTRI used a recording of the phonograph and tried to contact life on other planets, and
"Overthe Rainbow"by the Dimensions as my source material. so on. For Spirit Trace,I focused on the anomalies found on
What you are hearing are the processed sounds of the surface blank digital recording media of very personal locations in
noise at the beginning and end of the record-along with London. What one hears is the highly amplified sound of the
some of the first and last notes of the music. I was inspired by ghosts in the machine, the spaces in between the zeros and
the noise as a kind of physical history of the object. The sound ones, corrupted, distorted, processed and reconstructed into
of a vinyl record exists as a kind of performative or listening this work-literally, the sound of digital "silence."
moment; I wanted my work to exist as a kind of after-listening,
like a memory that has disintegrated into the fuzzy shadows Scanner-British sound artist RobinRimbaud-creates absorbing,
of its original presence. The aging processes of a human and multilayeredsoundscapesthattwisttechnology in unconventionalways.
a piece of well-played vinyl are not so different-one is cov- His controversialearlyworkusedfound mobilephone conversations
ered with wrinkles and scars, the other with scratches and fin- that he woveinto his compositions;
hisfocus has shiftedmorerecently
gerprints. These images begin to redefine the surface as a new to trawlingthehiddennoiseof themodernmetropolis as thesymbolof
surface or new persona, a new face built upon the old one, a theplace wherehiddenmeaningsand missedcontactsemerge.Scan-
new song composed of disturbances and interruptions. Some- ner is committedto workingwith cutting-edge practitionersand has
where beneath the noise still exists the song. I like the idea collaboratedwith artistsfrom a varietyof genres:musiciansBryan
that this quiet, repetitive music is a kind of aesthetic mirror Ferryand LaurieAnderson;theRoyalBalletand RandomDance com-
for all those nights my mother fell asleep listening to these panies;composers MichaelNymanand LucFerrari;and artistsMike
records, the dark room humming with the minimalist rhyth- KelleyandDerekJarman.In additionto compositions and audio CDs,
mic sound of a needle stuck in the last groove, endlessly cir- his diversebodyof workincludessoundtracks for films,performances,
cling the record label until morning. radioand site-specific
intermediainstallations.He hasperformed and
createdworksat SFMOMA,San Francisco;HaywardGallery,Lon-
SteveRodenis a visual and sound artistfrom LosAngeles.His work don; PompidouCentre,Paris; CorcoranGallery,WashingtonD.C.;
includespainting, drawing,sculpture,films and soundpieces. The TateModern,London;and theModernMuseum,Stockholm.

86 LMJ13CD Contributor's Notes

This content downloaded from 193.137.34.26 on Thu, 19 Dec 2013 12:44:13 PM


All use subject to JSTOR Terms and Conditions
STEPHEN VITIELLO: SLOW REWIND ment the sound of the machine rewinding, as it was creating
Written and produced by Stephen Vitiello, and recorded at an unintentional composition. It has become the ghost-print
Make Believe Ballroom, West Shoken, New York, 2002. (? of the missing record.
Stephen Vitiello)
StephenVitiellois an electronicmusicianand mediaartist basedin
Contact:Stephen Vitiello, c/o The Kitchen,512 West 19th Street, New York.Recentexhibitionsincludethe2002 WhitneyBiennial; Ce
New York, NY 10011, U.S.A. Web site: <www.stephenvitiello. qui arrive, curatedbyPaul Virilioat the CartierFoundation,Paris;
com>. and Yanomami:Spiritof theForest,also at the Cartier CD releases
includeBright and Dusty Things (NewAlbion Records)and the
SlowRewindis the only remaining byproduct of an unreleased forthcomingScanner/Vitiellocollaboration on Audiosphere/SubRosa.
12-inch record that I worked on for about 6 months in His installationWorld Trade Center Recordings: Winds after
2001-2002. Recorded in a beautiful old-fashioned studio on Hurricane Floyd is in thepermanentcollectionof theWhitneyMu-
2-inch audiotape, the piece is the sound of several songs mov- seumand has beenexhibitedinternationally.
ing from tail to head. I had the last-minute thought to docu-

0.ml, WSI A.1 MM

Cultural Roots of Globalization Web Site

Leonardo/OLATS is pleased to announce the English presentation of the Leonardo/OLATS project


"Fondements Culturels de la Mondialisation" ("Cultural Roots of Globalization") on the FCM web site
<www.olats.org/setF12.html>.
Included are essays by Roy Ascott, Stephan Barron, Karen O'Rourke and Sharon Daniel, andJulien
Knebusch, all questioning, in different ways, what art has to say about globalization.

Another new section presents links to web sites concerning questions about globalization as raised in this
project, related events (symposia, exhibitions, etc.) and artists' projects dealing with planetary issues and
revealing particular relationships to global dimensions.

LMJ13CD Contributor's Notes 87

This content downloaded from 193.137.34.26 on Thu, 19 Dec 2013 12:44:13 PM


All use subject to JSTOR Terms and Conditions

Das könnte Ihnen auch gefallen