Fluxus II

Aproveitando o post do Fredy, deixo aqui um exemplo de musica Fluxus, extraido do album Fluxus Anthology:



ben vautier - some ideas for fluxus










"Tô vivo, dog!"


Errata:
Fluxus foi um movimento que COMEÇOU nos anos 60, mas até hoje tá vivim da silva:

NEW PROJECTS AND PEOPLE IN FLUXUS

O própio Ben Vautier tá ótimo de saúde e fazendo muita arte fluxus. :)

Fluxus

O Movimento Fluxus foi um grupo de artistas de várias nacionalidades que colaboravam entre si na Europa, EUA e Japão durante a década de 60. Estruturado ao redor da figura de George Maciunas; um artista lituanês, radicado nos Estados Unidos, o Fluxus desenvolveu uma atuação social e política radical que contestava o sistema museológico através de performances, filmes, música experimental e de suas publicações (Editora Fluxus Inc).

O termo ‘Fluxus’ foi originalmente criado, por Maciunas, para ser o título de uma revista que teria com objetivo publicar textos dos artistas da vanguarda, muitos dos quais tiveram seus trabalhos apresentados, entre 1960 e 1961, no estúdio de Yoko Ono e na AG Gallery de Maciunas, ambas em Nova York. Todavia, ‘Fluxus’ passou a designar e caracterizar um série de performances organizadas por Maciunas na Europa durante três anos (1960-1963).

Essa apresentações foram prolongadas tornando-se festivais – Festum Fluxorum – que percorreram várias cidades como Copenhague, Paris, Düsseldorf, Amsterdã e Nice.
As performances e happenings realizados pelo grupo, bem como suas publicações, e vídeos tiveram um profundo impacto nas artes das décadas de 60 e 70 a partir de sua postura radical e subversiva – ainda que raramente política – na medida em que trabalhava com o efêmero, misturando arte e cotidiano, visando destruir convenções e valorizar a criação coletiva.
O grupo marcou um momento de experimentação comum entre artistas da Europa e América do Norte, possibilitando a afirmação da idéia de coletividade como distintiva das proposições artísticas posteriores, no campo da música e artes experimental.

*From wikipedia:

Fluxus (from "to flow") is an art movement noted for the blending of different artistic disciplines, primarily visual art but also music and literature. Fluxus is often described as being Intermedia because it occurs at the intersections of different media. Fluxus was loosely organized in 1962 by George Maciunas (1931-78), a Lithuanian-born American artist. In its early days Fluxus artists were active in Europe (especially in Germany), America, and Japan.
Today there are Fluxus artists active throughout the world. While there is no longer a large Fluxus community in any single urban center, the rise of the Internet in the 1990s has enabled a vibrant Fluxus community to thrive in virtual space. Some of the original artists from the sixties and seventies are also active in online communities, and many other artists, writers, musicians, and performers have joined them, and have built new Fluxus communities in cyberspace. Fluxus artists also continue to meet in cities around the world to collaborate and communicate in "real-time" and physical spaces.

The art forms most closely associated with Fluxus are Event Scores and Fluxus Boxes. Fluxus Boxes originated with George Maciunas who would gather collections of his printed cards, games, and ideas, and put them into small plastic boxes. Event Scores are essentially performance scripts that are usually only a few lines long and consist of descriptions of actions to be performed rather than dialogue. Other forms which have been adopted by several Fluxus practitioners include collage, audio, music, video, and poetry — especially visual poetry and concrete poetry.

Among its associates were Joseph Beuys, Dick Higgins, Nam June Paik and Yoko Ono who explored media ranging from performance art to poetry to experimental music to film. They took the stance of opposition to the ideas of tradition and professionalism in the arts of their time, the Fluxus group shifted the emphasis from what an artist makes to the artist's personality, actions, and opinions. Throughout the 1960s and '70s (their most active period) they staged "action" events, engaged in politics and public speaking, and produced sculptural works featuring unconventional materials. Their radically untraditional works included, for example, the video art of Nam June Paik and the performance art of Beuys. The often playful style of Fluxus artists led to their being considered by some little more than a group of pranksters in their early years. Fluxus has also been compared to Dada and aspects of Pop Art and is seen as the starting point of mail art.

The most well known Fluxus works are the Fluxus performance pieces or Event Scores, such as George Brecht's Drip Music. Fluxus artists differentiate Event Scores from "happenings" which they called Flux Events. Whereas Happenings were meant to blur the lines between performer and audience, performance and reality, Fluxus performances were sometimes one-liners and sight gags. The performances sought to elevate the banal and dissemble the high culture of serious music and art.

Marcel Duchamp, Allan Kaprow (who is credited as the creator of the first "happenings"), and John Cage were highly influential to Fluxus.
Since the death of Maciunas in 1978 a rift opened in the movement between those artists, historians and theorists who placed Fluxus in a specific time frame (1962 to 1978), and others who continue to see Fluxus as a living entity held together by its core values and world view. Thus it is not unusual for Fluxus to be referred to in either the past or the present tense. It has been suggested by some who continue to work in the Fluxus movement that a close association by the Fluxus artist and curator Geoffrey Hendricks with a major historical Fluxus collection (the Silverman collection) has unduly influenced the view that Fluxus died with Maciunas. Hendricks and associated art historians argue that Fluxus was a historical movement that occurred at a particular time, and that while contemporary artists may have been influenced by it, they cannot lay claim to being members of it.
[edit]

Fluxus artists
Many artists have associated themselves with Fluxus over the years, including:
Arman
Ay-O
César Baldaccini (César)
Joseph Beuys
George Brecht
Allen Bukoff
John Cage
Giuseppe Chiari
Philip Corner
Robert Filliou
Henry Flynt
Ken Friedman
Al Hansen
Beck Hansen
Cairn Hedland
Geoffrey Hendricks
Dick Higgins
Ruud Janssen
Ray Johnson
Joe Jones
Alison Knowles
Takehisa Kosugi
Philip Krumm
Shigeko Kubota
George Landow
Vytautas Landsbergis
György Ligeti
Jackson Mac Low
George Maciunas
Barry McCallion
Gustav Metzger
Larry Miller
Yoko Ono
Genesis P-Orridge
Nam June Paik
Ben Patterson
Dieter Roth
Ric Royer
Carolee Schneemann
Litsa Spathi
Daniel Spoerri
Yasunao Tone
Cecil Touchon
Ben Vautier
Wolf Vostell
Yoshi Wada
Emmett Williams
La Monte Young

IDM and Experimental Music Datas Vol. 0 : * Entrevista com Richard Devine

Richard Devine é um dos meus produtores de favoritos do que eu chamo de "Extreme Experimental IDM" de todos os tempos. Sua fusão entre gears, softwares, maquinárias, sci-fi e experimentaçoes densas como por exemplo noises de correntes eletricas e tranformadores de energia provocam uma atmosfera sombria e caótica em uma sincronia morbida e fantástica. E as vezes bela... mas só as vezes...

Natural de Atlanta, tive oportunidade de conhecer essa figura local, em uma das minhas aventuras idmilisticas naquela cidade. Ver ele in action foi realmente awesome. Ta ae uma entrevista com ele para o Modsquare de Chicago.


What would you say makes Cautella stand apart from your previous albums? For example, does it show any of the ways you feel you have grown as a sound designer, beat programmer or composer?

Richard: I would say this is more of a transitioning album for me. I am in the middle of developing new techniques in terms of sound design and composition. I spent a great deal of time working with new sound design applications for this release, and acquired a great deal of new kit as well, so I was still experimenting with new things and processes while creating this release. I think Cautella is more of an immediate release for me. It has more aggressive rhythmic tracks and textures. I really tried to make this release an interesting listening experience from beginning to end.

How did this album come to be released on Sublight Records?

Richard: I have been a long time friend with Aaron Funk (Venetian Snares), and Aaron asked me if I was interested in doing something with his friend’s label back in Winnipeg. I thought it would be great to release an album on this label that was relatively new, and to release something this year that wouldn’t interfere with my Ghostly and Schematic Records releases I have planned for next year. So it was a perfect place and time to do this project, and Sublight fit the bill. I really like what Aaron puts out. It’s proven to be a consistent label.

Cautella's cover art is wonderful; it looks like a crossbreed of the work of Alex Rutterford and Michael England. How much control do you exert over the art direction? Do you prefer not to make your own album art? Also, how do you feel the look of the art relates to the images and mood you wanted to evoke with the music on this album?

Richard: I would have to thank my close friends Noah and Brian at KeepAdding, in Santa Fe, New Mexico for that one. They are incredible digital media artists who I became friends with a few years ago. I basically gave them the album and told them a basic feel and mood that I was aiming for in terms of the artistic presentation for this release. They sent me some sketches and we went back and forth exchanging ideas, and came up with the Cautella album cover. I was really impressed with the way it turned out. It is by far one of my favorite releases in terms of music and artistic presentation. In terms of how the art relates to the music: I basically just sent them my tracks and Noah and Brian listened and came up with some images that were directly evoked by the tracks. They sketched out some intricate alien insect models, and some very strange demonic alien skulls morphed in Photoshop. This is what they saw in their heads while listening to the music. I thought it was perfect, as these are the types of images I want the listener to see and experience.

You have mentioned you'd like to do sound work on science-fiction films. Did you have this approach in mind when making the more ambient soundscapes on Cautella, particularly the opening track, "Helix Stair Helve"? On a more conceptual level, how does the idea of film (and music, too) with its linear progression in time hang together with the description sometimes applied to your music as being 'sound sculpture,' which could suggest a static object that is capable of being experienced from many different points of view?

Richard: Yes, I have been getting more into sound design for film and gaming companies, lately. It's really interesting to see how my sounds go up against picture and moving images, which totally changes the context and effectiveness of the sounds I create. I have always strived to create soundscapes that can basically create pictures for you in the mind, without the aid of any sort of visuals. I would invite the listener to open their brain up and experience things and places they have never seen before. It is essentially what I try to do with every piece I do. Create these surreal alien environments where you are traveling into some horrifying high-tech world. The music can be experienced in a static environment and sometimes this might be even better than in an environment where you might encounter distractions. In this case the listener can completely concentrate and process all the information.

"Orr Unfolding" is quite a haunting ambient piece. Are the unusual chords in this track a result of any special harmonic device such as microtonal scales?

Richard: This track is funny because I created it using only one piece of equipment. No computer processing or plug-ins. It was created entirely on a Nord G2 Modular synthesizer using Comb delay modules, in a sequence of detuned layers with feedback, in conjunction with String Modelers with open and ever changing envelope times. It was just a patch I made for Clavia, which I then later turned into a full-blown composition. I completely designed the patch to work as an a-tonal piece, meaning there is no tonality to the sounds. Just freeform scaling and pitching. Quite haunting, actually.

You put a lot of work into designing and manipulating your own sounds, and some of the more fascinating details of this effort might not come across immediately to those unfamiliar with your music and the more technical and academic means you sometimes employ. With that in mind, would you care to pick a few sounds or moments from the album and say a little about what processes contributed to the final result?

Richard: Yeah, it’s interesting, as I used so many sound bytes from numerous places, mostly processed sounds from external sources in my surrounding environment. Whether it is from the Kyma System or acoustic process material, I always try to make sounds that have a particular quality to them, in which they all have character and could easily stand on their own. I used a variety of different synthesizers like the Hartmann Neuron and the Roland V-synth, too, for strange ghostly smeared textures and granulated madness. Of course there was a great deal of computer processing done on this record, which accounts for at least 80 percent of the sound and processed material. It was what I considered to be a very synthetic sounding release, focusing more on detailed synthesis and found sound manipulation. There were even some parts where I used intense breathing of animals as sound transitions into the next parts. I really tried to push and change my traditional methods of composition on this release.

Any news about future projects, collaborations, DVD audio or doing sound for films?

Richard: Well, I have a limited picture disc coming out on Hymen and Sublight records which is almost already sold out. The release date is in September. I have also completed remixes for Glen Velez, Otto Von Schirach, Sector-9, Kill Memory Crash and Funkstörung. I am also working with Telefon Tel Aviv on my next record for Ghostly International. I plan to work again with Otto for a completely mad science musical record slated for next year. And I am also finishing the last edits for Mike Patton’s album Peeping Tom, which has turned out quite interesting. We have collaborated for this project on his label Ipecac. I also plan to release the DVD late next year on Schematic. Look out for this; it will be the next horrifying glimpse into 5.1* hell!

As for the Film and TV industry, I have been quite busy working constantly on new TV spots for Nike, Scion, Dodge, Xbox, Sony and many others. It’s an endless cycle of sound creation.

The limited-edition Sigstop picture disc will be released September 10th, 2005 on Sublight Records.

* Refers to 5.1 Dolby Surround Sound. See http://www.tomshardware.com/consumer/20041217/ for further explanation. - Ed.

www.richard-devine.com
www.sublightrecords.com
www.keepadding.com


Copyright © 2005 Modsquare.

Seth na Smartbiz

Começo 2006, o Delta teve a honra de participar como convidado da excelente primeira edição do projeto KLIKZ em sampa. Dj Seth - dj/produtor/bróder - é um dos criadores do projeto. O campeão é muito competente no que se refere a produções minimalistas, e o Marcio Techjun sabe disso, pois estará incluindo uma musica dele na nova coletânia da COLCCI pela Smartbiz.

Aqui está, por tempo limitado, DJ Seth - Chronocromo

Sónar 2006

Estive este fim de semana em Barcelona para presenciar um evento mágico. O Sónar tem como tema ADVANCED MUSIC AND MULTIMEDIA ART.

Fiquei impressionado com a qualidade sonora do povo que bateu ponto nos 4 palcos. A musica de amanhã, hoje!
Mas sempre tem os TOP DE LINHA.

O Sora é japonês e faz um idm contemplativo. Trabalha bastante com samples picotados, alguns de samba ou bossa nova. Pareçe muito com The Books (sou fã) e com outros compositores que participam do movimento "Laptop Folk". Divertido.

Sora - A caminho do Mar





O Jimmy Edgar abriu pro Jeff Mils na maior pista do festival. Eu não sabia o quê esperar, pois já o tinha visto em Paris e ninguem tinha dado bola pro coitado. Choquei. Fez bombar MILES de pessoas, e o som tava redondo nos multiplos amplis. Mas redondo mesmo. E ALTO. Tão alto que eu sentia o vento do grave a 30 metros de distancia. Choquei.

Jimmy Edgar - Hold it, Attach it, Connect it


Matthew Dear "do minimal" também se chama Audion "do tech house doidera". Pelo menos essa foi minha pala. Quando conheçi o som, não curti muito. Mas tava ansioso pra ver se ele faria as loucuras ao vivo. É. Ele faz as loucuras ao vivo sim, e sem dó. Botei fé, e de repente agora já curto mais o som dele.

Audion - Rubber



Herbert é Matthew Herbert, virtuoso. Trouxe a banda toda e tocou as musicas do novo album, "Scale". Impecável. O cara é ultra versatil e não para de inovar. Desde tocar com uma big band a trabalhar exclusivamente com ruidos da cozinha, Herbert gosta mesmo é de inventar moda. Sábado ele e sua banda tocaram de roupão e toalha no ombro. Doidão.

Herbert - The Movers and the Shakers




Modeselektor é o que eu queria ver e nao vi. Porquê?
Richie Hawtin & Ricardo Villalobos do outro lado do Sónar.
Som ultra fino ultra dançante ultra inteligente. Não me arrependo. Modeselektor ainda passa em paris este ano. - espero

Levando Minimal Audio Structures para Gogoland

Goiania, Texas.

Nesta sexta dia 24 o bolido XTC-0099 estara acoplando o seu " Magnetic's Surface" @ Psicodelic Shop na Av. T-2 Setor Bueno numero 918.

CODE: 329084230984n90ui409239284029842098n09842n0948
32409832409n23802938230983240984290324n82430982390238029n
to get in.

Fredy XTC - Minimal / Experimental
Alienato - Minimal / Electro
Fabricio Psicodelic - Electro

all night long! Robots only!!!!!!

He is robot and proud

Shaw-Han Liem, mais conhecido como I Am Robot And Proud mora em Toronto e faz um IDM melódico bem gostoso de ouvir. Nos seus dois primeiros álbuns ele trabalhou principalmente com tecladinhos e qualquer outro objeto que fizesse um somzinho FOFO e inocente. O novo album "The electricity in your house wants to sing", lançado no começo deste ano, apresenta mais elementos acusticos, como um belo naipe de saxofones, mas não foge da conceito "musica pra cafuné", ou como descreveu ele, "warm and inviting". Sou fã.

Ia postar uma musica do novo album, mas tem uma musica de "Grace days" - pra mim, seu melhor album - que simplesmente TRANSBORDA de beleza acustica.

I Am Robot and Proud - Winter at night

Aqui dá pra ouvir mais coisa dele, mas tem que ter RealPlayer.

Richie Fucking Hawtin

É. Esse cara tá a frente de seu tempo.
Tive sorte, junto a outros COMPATRIOTAS, de presenciar o hawtin no BMF de perto, mas de perto mesmo. Foi uma experiencia fantastica estar a 2 metros dum MESTRE de tal CACIFE, fazendo o lançe dele. Nessa noite varias loucuras aconteceram, incluindo um evento que considero especial; estava justo em baixo do palco, ao lado da mesa de som da mega pista, quando o Richie Hawtin, desestimulado pela falta de fluência de inglês do técnico, recorre a mim, pra tentar explicar ao cara q faltava grave ao som. Foi coisa de 40 segundos de diálogo, e depois eu nem consegui conveçer o cara pra bombar o grave, que voltou pra sua REDE pra dormir (sim, rede). MAS pra minha sorte, QUEM ESTAVA AO MEU LADO, BATENDO PAPO COMIGO? o DERRICK MAY. Ele, comovido com o sofrimento do Hawtin, foi pra mesa e, sem se fazer perceber pelo TECNICO LESADO IGNORANTE, subiu o master fader, mas subiu MESMO. O tecnico nem notou, mas a pista sim. E eu rindo.

Ao longo de 2005, o Delta tocou muitas musicas do "close to the edit" o primeiro DE9, fantástica serie do Hawtin. O segundo, "transitions" é legal também, embora não supere o primeiro. Digo isso tendo OUVIDO o disco e não ASSISTIDO O DEVEDÊ, que, segundo fontes internéticas é 95 minutos du puro JUGO MINIMAl TECHNO VISUAL. No youtube tem uma parte do dvd (suponho eu), um clipe do THE TUNNEL. FANTÁSTICO. (thanx geovous)


Richie Hawtin - The Tunnel


-o diretor é Ali Demirel, mas achei pouca coisa sobre ele no google.

IDM MAHLER

Acompanho o trabalho do artista canadense Brian Joseph Davis faz um tempo já, que está sempre inventando novos jeitos de FAZER ARTE.

Gosto muito de seu trabalho envolvendo audio, que geralmente recebe interpretações divididas - "gostei, é denso em sentidos" ou "horrivel. ATE EU consigo fazer isso".

Mas a vida é foda, e o cara com certeza não está buscando aceitação do publico ou coisa do tipo, ele está EXPERIMENTANDO, o que é importante para a evolução da arte.
Quem já chamou 60 pessoas aleatórias para cantar "Yesterday" (do jeito que fosse, sem ensaio, â la "não sabe a letra então inventa") e juntar tudo numa só pista? O resultado é caotico, nem muito estético, mas cheio de possiveis análises sociais e antropológicas.
Mas o que realmente quero dividir com vocês é um outro projeto dele, chamado
TEN BANNED ALBUMS BURNED... THEN PLAYED
não acho que precise explicação.
O resultado é IDM PURO.

2006 promete

Então. A priori o blog não funcionou muito bem... principalmente porque os SUPOSTOS participantes nunca apareçeram - o que levou ao meu desentusiasmo. Mas lá vou eu novamente. Motivado. Aprendi a hospedar musicas na web e CONVOQUEI novamente alguns pilares do projeto ANTI para colaborarem com este blog. De qualquer forma, vou tentar manter uma certa diciplina quanto a frequencia de posts - com ou sem ajuda - para que voces, amigos, encontrem sempre algo de novo.:)
já disse. VOU TENTAR. mas vale notar q me motiva muito o conceito de poder utilizar este espaço para apresentar musicas legais que mereçem escuta, sites bacanas e produções minhas e dos outros membros ANTI.

Para estrear o "audio-hosting" gratis, lhes ofereço uma musica-objeto:


smoke-smoke - sheila



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