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They say I made the Moon. (20)
Nowhere, Somewhere
Immortal since Dec 11, 2007
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    Featuring Powers of Ten by Charles and Ray Eames, based on an idea by Kees Boeke.
    I've just had the sudden urge to highlight some music videos from the past year or so...
    My personal cargo is starting to get dusty anyway.





    02: An Idea | 03: A Lilt



























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    Projekt: 0 - Lonely Sun; found here

    Fascinating visual (and musical) works by Václav Pajkrt! The above image, entitled "Growth of cubic bacteria", took first place in the NVArt: Amazing Creations competition held earlier this year:

    He says his goal was to connect his experience from 3D graphics with some interesting mathematical shapes. Inspiration for his scenes comes from macro-worlds and from fascinating views from scan electron microscope.

    { Artistic, Photographic, Musical }





    via Vandit @ FLYLYF
    Thu, Sep 18, 2008  Permanent link
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    ^ a work by Amandine Urruty

    I should be back with fresh posts soon! In the meantime, you can listen to the muxtape I made if you'd like (wait, nevermind, the RIAA says you can't). And while that's playing, I recommend either relaxing with closed eyes or, if you want to keep them open, you should peruse vi.sualize.us, FFFFOUND!, or our very own gallery. Later on, watch The Story of Stuff (or this critique) if you haven't seen it and read about the true origins of The Nonsense Nine.
    Wed, Jul 30, 2008  Permanent link
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    If something is boring after two minutes, try it for four.
    If still boring, then eight.
    Then sixteen. Then thirty-two.
    Eventually one discovers that it is not boring at all.



    "So that each person is in charge of himself. " from Chicago '82: A Dip in the Lake

    Music is Everywhere, we just have to look for it.


    { From Miroslav Sebestik's Listen : In Love With Another Sound, A Bottle Of Coca-Cola }




    Like acrostics, mesotics are written in the conventional way horizontally, but at the same time they follow a vertical rule, down the middle not down the edge as in an acrostic, a string spells a word or name, not necessarily connected with what is being written, though it may be. This vertical rule is lettristic and in my practice the letters are capitalized. Between two capitals in a perfect or 100% mesostic neither letter may appear in lower case. .... In the writing of the wing words, the horizontal text, the letters of the vertical string help me out of sentimentality. I have something to do, a puzzle to solve. This way of responding makes me feel in this respect one with the Japanese people, who formerly, I once learned, turned their letter writing into the writing of poems. In taking the next step in my work, the exploration of nonintention, I don't solve the puzzle that the mesostic string presents. Instead I write or find a source text which is then used as an oracle. I ask it what word shall I use for this letter and what one for the next, etc. This frees me from memory, taste, likes, and dislikes, By means of Mesolist, a program by Jim Rosenberg, all words that satisfy the mesostic rule are listed. IC [a program that generates the I Ching numbers, available for downloading on the Net] then chooses which words in the lists are to be used and gives me all the central words, the position of each in the source material identified by page, line, and column. I then add all the wing words from the source text following of course the rule Mesolist does within the limit of forty-five characters to the right and the same to the left. Then I take out the words I don't want. With respect to the source material, I am in a global situation. Words come first from here and then from there. The situation is not linear. It is as though I am in a forest hunting for ideas.

    { The Music of Verbal Space: John Cage's "What You Say", Norton Lectures }




    Side A from the album: John Cage Meets Sun Ra, Meltdown MPA-1 (1987). Alternates performances by Sun Ra-Yamaha DX-7; and John Cage-voc. Sideshows by the Sea, Coney Island, NY, 6/8/86. (Ubu)

    We are living in a period in which many people have changed their mind about what the use of music is or could be for them. Something that doesn't speak or talk like a human being, that doesn't know its definition in the dictionary or its theory in the schools, that expresses itself simply by the fact of its vibrations. People paying attention to vibratory activity, not in reaction to a fixed ideal performance, but each time attentively to how it happens to be this time, not necessarily two times the same. A music that transports the listener to the moment where he is.

    ~ from "An Autobiographical Statement"




    Silence excerpt from The Dial-A-Poem Poets: Disconnected

    How do you feel about the intrusion of technology with art or the intrusion of art with technology?

    I think it is one of the things that characterizes the present period and that it will probably continue, and the technology will get more and more sophisticated. I think it will ultimately get to the point where we don't notice that it exists, although it will be, then, even more essential, and generally essential, to everyone's life. But I think instead of imposing itself on our attention that it will become more and more invisible. We notice — Fuller, Buckminster Fuller has noticed that we do more with less — copper, for instance, and we can notice the difference between, oh, engines of, say, 50 years ago and engines of the present time. And there appears to be an increasing ability not only to do more with less, but to do the same thing with something simpler. And I think it would be marvelous if, say, in some utopia that I hope we're going to that we would have all the advantages of technology with seemingly no presence of it.

    In other words, art should eventually become magic?

    Yes, if, for instance, I could telephone without bothering with the telephone.

    { John Cage @ UbuWeb Historical, Sound, Film }


    This post was originally inspired by squashed's third installment of Three Lists For The Lover (After Love) at motel de moka. And on that note...

    Love is memory. In the immediate present we don't love; life is too much with us. We lust, wilt, snort, swallow, gobble, hustle, nuzzle, etc. Later, memory flashes images swathed in nostalgia and yearning. We call that Love. Ha! Better to call it Madness.


    + +


    Amazing what discoveries one often makes whilst following a tangent!



    I was looking for an image of John Cage and came across a fascinating virtual collage of Cage-related information and media, created by Ralph Lichtensteiger, whose diary contains a wealth of enlightening entries. But that's only part of the main site (and here's his latest project).
    Wed, Apr 2, 2008  Permanent link
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    Upstate Hermit, Manhattan Composer, Blind Viking Poet, He's Moondog



    How I wish I would have been able to see Louis Hardin in person! What an amazing presence he must have had (see Eyewitness Accounts). Certainly one of the most intriguing musicians of the 20th century. Recent years have seen a revival of interest in his works (via reissues and scavenged rarities). Though very much at odds with my own ideas, his beliefs concerning "overtones", "The Common Calendar", and the 'creation' of the universe are quite interesting.

    1.
    You like? you like the thoughts? you like the thoughts i think? you do?
    They're naught to me compared to just one fleeting thought of you.

    20.
    Drag the river up and down to find the Miss who's missing.
    Crowd around her, curiously, to see whom Death is kissing.

    29.
    The gods who wielded bolts of lightning were not gods, but men
    who used the atom, as we did, to wreck the world again.

    30.
    "Go commercial," cried the prostitutes, in every calling.
    "SeIl your soul, but sell yourself. Get with it. Stop the stalling."

    37.
    A skeleton's in your closet and a mirror's in there too.
    You're looking in the mirror and the skeleton's none but you.

    49.
    "It's beautiful," i said as i beheld a marble bust.
    "Just who are you to tell me so?" it muttered in disgust.

    ~ Excerpts from 50 Couplets ~

    + +



    According to the Cosmicode contraction comes before expansion, so
    to say, expansion comes before contraction, isn't being in the know.

    The overtones from one to nine equate the Code, the Code that has a key.
    That key is diminution. Two to one the ratio rises out of three.

    Contraction and expansion, in that order, are the consequence of cause-
    effect inversion, quite the most chaotic of the cosmicoded laws.

    Diminutions one to three begin on G, harmonic three, and end
    on G, harmonic seven of the row below, on that you can depend.

    The system wouldn't work if any overtone, from one to nine, had found
    itself to be some other place, a fact that never ceases to astound.

    Contraction's cause has overtones, from one to four, that have no precedent.
    Expansion's cause has overtones, from six to nine, that have no precedent.

    The overtone of overtones dividing one to four from six to nine,
    is 5, the most imposing overtone of all, I call, the Dividein.

    Contraction's cause becomes expansion's last effect the while contaction's last
    effect becomes expansion's cause, with 5 between the present and the past.

    Why contraction's last effect becomes expansion's cause is plain to see.
    On passing 5 the last of all is finest of all to claim priority.

    Contraction and expansion merge their awesome urges in contransion, C
    for short, enough to pyramid a grid of diminutions one to three.

    The overtone continuum consists of C above and C below.
    In diametric opposition, base to base, the galacseers go.

    Closewise both in both directions brings the two-directionality
    of time into existence all the Milky way from C to shining C.

    Is this the two-directionality of time? The future is the past,
    and vice versa? This is how it's been since when the cosmic die was cast.


    Overtonean Equasion: O + D = C x 2 = T



    { 1, 2, 3 }
    Sat, Feb 9, 2008  Permanent link
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    From "18 Portraits Of Atlas"

    Here are some works by my favourite 'musivician', Masakatsu Takagi. He fuses music, video, and psychedelia to reveal a highly imaginative, alternate visualization of life. ~ ~ ~ Magnificent!


    From "Bloomy Girls"
    original footage recorded in Zurich, Switzerland

    Takagi Masakatsu is one man trying to make sense of the world. He travels the globe recording people's everyday lives, and then returns home to Japan where he delicately molds the everyday into the sublime. A classically-trained pianist, a multimedia documentarian, an art-gallery exhibiting jet-setter, Takagi Masakatsu is clearly a renaissance man of our times.


    From "18 Portraits Of Atlas"
    original footage recorded in Morocco



    From "world is so beautiful" | Digest Movie (Quicktime)
    original footage recorded in Nepal, Cuba, Guatemala, Turkey, Indonesia, and Japan



    From "Tidal"
    original footage recorded in Zurich, Switzerland

    + +




    { Music Samples | Video Interview + Clips | "Journal For People" Digest Movie }
    Thu, Dec 27, 2007  Permanent link
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    Cut/Copy have a delicious new mix out. Synth/disco-fiends take notice!



    I've posted the tracklist in the comments section

    via Modular People (1, 2)

    + +

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    In memoriam
    Douglas Adams' speech at Digital Biota 2
    Cambridge U.K., September 1998



    Runtime 01:08:51

    [ Excerpts: ]

    ...Man the maker looks at his world and says 'So who made this then?' Who made this? - you can see why it's a treacherous question. Early man thinks, 'Well, because there's only one sort of being I know about who makes things, whoever made all this must therefore be a much bigger, much more powerful and necessarily invisible, one of me and because I tend to be the strong one who does all the stuff, he's probably male'. And so we have the idea of a god. Then, because when we make things we do it with the intention of doing something with them, early man asks himself , 'If he made it, what did he make it for?' Now the real trap springs, because early man is thinking, 'This world fits me very well. Here are all these things that support me and feed me and look after me; yes, this world fits me nicely' and he reaches the inescapable conclusion that whoever made it, made it for him.

    This is rather as if you imagine a puddle waking up one morning and thinking, 'This is an interesting world I find myself in - an interesting hole I find myself in - fits me rather neatly, doesn't it? In fact it fits me staggeringly well, must have been made to have me in it!' This is such a powerful idea that as the sun rises in the sky and the air heats up and as, gradually, the puddle gets smaller and smaller, it's still frantically hanging on to the notion that everything's going to be alright, because this world was meant to have him in it, was built to have him in it; so the moment he disappears catches him rather by surprise. I think this may be something we need to be on the watch out for. We all know that at some point in the future the Universe will come to an end and at some other point, considerably in advance from that but still not immediately pressing, the sun will explode. We feel there's plenty of time to worry about that, but on the other hand that's a very dangerous thing to say...

    It has always struck me as being bizarre that the idea of God as a creator was considered sufficient explanation for the complexity we see around us, because it simply doesn't explain where he came from. If we imagine a designer, that implies a design and that therefore each thing he designs or causes to be designed is a level simpler than him or her, then you have to ask 'What is the level above the designer?' There is one peculiar model of the Universe that has turtles all the way down, but here we have gods all the way up. It really isn't a very good answer, but a bottom-up solution, on the other hand, which rests on the incredibly powerful tautology of anything that happens, happens, clearly gives you a very simple and powerful answer that needs no other explanation whatsoever...

    There is a sense in which we build meta-systems above ourselves to fill in the space that we previously populated with an entity that was supposed to be the intentional designer, the creator (even though there isn't one) and because we - I don't necessarily mean we in this room, but we as a species - design and create one and then allow ourselves to behave as if there was one, all sorts of things begin to happen that otherwise wouldn't happen...

    I suspect that as we move further and further into the field of digital or artificial life we will find more and more unexpected properties begin to emerge out of what we see happening and that this is a precise parallel to the entities we create around ourselves to inform and shape our lives and enable us to work and live together. Therefore, I would argue that though there isn't an actual god there is an artificial god and we should probably bear that in mind...


    Full transcript

    + +

    Bonus : Douglas Adams performs with Pink Floyd | 01994

    Sun, Dec 16, 2007  Permanent link
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