ROBIN FOX Phillipe_Vranjes_RobinFox.tif 12.07.2014

Phi

lippe

Vra

njes

, Stu

dy fo

r a P

ortra

it of

Rob

in F

ox a

fter

Fra

Ang

elic

o’s

Mad

onna

of t

he S

hado

ws,

201

2.

CHRISTOF MIGONE Christof Migone_Liquid Catalogue_Hit Parade.docx 02.07.2014

Ten

part

icip

ants

lie f

ace d

own

on th

e str

eet w

here

they

blo

ck tr

affic

an

d pr

ocee

d to

pou

nd th

e pav

emen

t with

the m

icro

phon

e one

th

ousa

nd ti

mes

. The

soun

d of

eac

h pe

rson

’s ac

tions

is am

plifi

ed

thro

ugh

an am

plifi

er lo

cate

d in

the g

arde

n of

the S

ongW

on A

rt

Cen

ter.

Cab

les r

un o

ver t

he w

all c

onne

ctin

g th

e par

ticip

ant i

n th

e st

reet

to th

e am

plifi

er in

the g

arde

n. E

ach

perf

orm

er ch

oose

s the

ir ow

n rh

ythm

and

inte

nsity

. Onc

e the

par

ticip

ants

had

fini

shed

, the

m

ics a

nd th

e cab

les w

ere l

eft i

n th

eir p

lace

for c

ars t

o ru

n ov

er th

em.

An

inst

alla

tion

docu

men

ted

the p

erfo

rman

ce w

ith th

e rem

nant

s of

the m

icro

phon

es an

d a p

olar

oid

for e

ach

part

icip

ant.

The

inst

alla

tion

was

pre

sent

ed at

the T

OTA

L M

useu

m o

f Con

tem

pora

ry A

rt in

Se

oul.

The

per

form

ance

and

inst

alla

tion

were

par

t of S

FX S

EO

UL

20

07 an

d to

ok p

lace

on

Sept

embe

r 8, 2

007.

Par

ticip

ants

: Jun

g Ye

Sle

, Z

in K

yung

-Chu

i, L

ee Ja

e-ho

on, M

aeng

Dam

i, O

n Je

ongh

yi, K

im

Bum

-jun,

Jin

Soon

y-ho

on, H

aan-

Ayo

o, (a

nd tw

o na

mes

miss

ing)

. Hit

Para

de (S

eoul

)

Ele

ven

part

icip

ants

lie f

ace d

own

on th

e str

eet w

here

they

alm

ost

bloc

k tr

affic

on

Boul

evar

d St

. Lau

rent

and

proc

eed

to p

ound

the p

ave-

men

t with

the m

icro

phon

e one

thou

sand

tim

es. T

he so

und

of e

ach

pers

on’s

actio

ns is

ampl

ified

. Eac

h pe

rson

choo

ses t

heir

own

rhyt

hm

and

inte

nsity

. The

per

form

ance

took

pla

ce as

par

t of t

he S

uoni

per

il

Popo

lo, a

t the

Sal

a Ros

sa, J

une 9

, 200

8. P

artic

ipan

ts: A

dam

Bob

bett

e,

Gin

a Bad

ger,

Ale

xis B

ella

vanc

e, O

livia

Bou

drea

u, S

ophi

e B. C

lém

ent,

Lea

nne D

yer,

Nad

ège G

rebm

eier

-For

get,

Dar

sha H

ewitt

, Mar

c-A

ntoi

ne K

. Pha

neuf

, Fre

d Sa

vard

, Jan

ice W

u. H

it Pa

rade

(Mon

tréa

l)

Four

teen

par

ticip

ants

lie f

ace d

own

on th

e str

eet w

here

they

occ

upy

the a

triu

m o

f the

mus

eum

and

proc

eed

to p

ound

the g

roun

d w

ith th

e m

icro

phon

e one

thou

sand

tim

es. T

he so

und

of e

ach

pers

on’s

actio

ns

is am

plifi

ed. E

ach

perf

orm

er ch

oose

s the

ir ow

n rh

ythm

and

inte

nsity

. T

he p

erfo

rman

ce w

as p

art o

f C’es

t arr

ivé p

rès d

e che

z vo

us at

the

Mus

ée N

atio

nal d

es B

eaux

-Art

s du

Qué

bec (

cura

tor N

atha

lie d

e Bl

ois)

, Jan

uary

17, 2

009.

Par

ticip

ants

: Car

ol-A

nn B

elzi

l-Nor

man

d,

Wah

med

Ben

youn

es, A

dam

Ber

gero

n, E

dith

Duf

our,

Mar

tin

Duf

rasn

e, C

arol

ine G

agné

, Car

olin

e Gau

thie

r, Pa

scal

Gin

gras

, Jo

nath

an L

amy,

José

e Lan

dry-

Siro

is, P

ierr

e-L

uc L

apoi

nte,

Chr

isto

f M

igon

e, H

ugo

Nad

eau,

Ger

aldi

ne P

erna

. Hit

Para

de (Q

uébe

c)

Twel

ve p

artic

ipan

ts li

e fac

e dow

n on

the s

tree

t whe

re th

ey b

lock

fo

ot tr

affic

at th

e ent

ranc

e of t

he D

CA

and

proc

eed

to p

ound

the

pave

men

t with

the m

icro

phon

e one

thou

sand

tim

es. T

he so

und

of

each

per

son’

s act

ions

is am

plifi

ed. E

ach

perf

orm

er ch

oose

s the

ir ow

n rh

ythm

and

inte

nsity

. The

per

form

ance

was

par

t of K

ill Y

our T

imid

N

otio

n, D

unde

e Con

tem

pora

ry A

rts (

DC

A),

21-2

8 Fe

brua

ry, 2

010.

Part

icip

ants

: Sin

éad

Brac

ken,

Tar

a Cha

lone

r, L

iam

Cas

ey, P

aul G

ault,

Sy

lvia

Law

, Eau

n Ly

nch,

Eili

dh M

acK

ay, K

riste

n Pa

rker

, Ben

jam

in

B. P

arke

s, L

aurie

Pit,

Gill

ian

M. S

mith

, Alis

on T

arry

. Hit

Para

de

(Dun

dee)

Fifte

en p

artic

ipan

ts li

e fac

e dow

n on

the s

tree

t whe

re th

ey o

ccup

y a

side

wal

k an

d pr

ocee

d to

pou

nd th

e pav

emen

t with

the m

icro

phon

e on

e tho

usan

d tim

es. T

he so

und

of e

ach

pers

on’s

actio

ns is

ampl

ified

. E

ach

perf

orm

er ch

oose

s the

ir ow

n rh

ythm

and

inte

nsity

. The

pe

rfor

man

ce w

as p

rese

nted

in p

art b

y Pl

ug In

for t

he S

end+

Rec

eive

Fe

stiv

al, O

ctob

er 7

, 201

1. Pa

rtic

ipan

ts: E

lise d

’Aw

son,

Hea

ther

Bar

il,

Iren

e Bin

di, T

aylo

r Bur

gess

, cry

s col

e, C

hant

al D

upas

, Ang

ela F

orge

t, E

rica J

acob

son,

Cam

eron

John

son,

Joe K

altu

rnyk

, Les

Kla

ssen

, Sa

ndee

Moo

re, A

ndre

a Rob

erts

, Jos

h R

ose,

Rob

ert T

aite

. Hit

Para

de

(Win

nipe

g)

Twel

ve p

artic

ipan

ts li

e fac

e dow

n on

the s

tree

t whe

re th

ey o

ccup

y a

city

squa

re an

d pr

ocee

d to

pou

nd th

e pav

emen

t with

the m

icro

phon

e on

e tho

usan

d tim

es. T

he so

und

of e

ach

pers

on’s

actio

ns is

ampl

ified

. E

ach

perf

orm

er ch

oose

s the

ir ow

n rh

ythm

and

inte

nsity

. The

pe

rfor

man

ce w

as p

art o

f the

Tra

ma F

estiv

al. P

erfo

rman

ce to

ok p

lace

on

Oct

ober

14, 2

011.

Part

icip

ants

: Joã

o M

igue

l Bro

jo, D

iana

Cos

ta,

Mat

ilde N

icol

au d

e Alm

eida

, Sar

ah K

limsc

h, F

erna

ndo

Seba

stiã

o L

alan

da, A

lícia

Mor

eira

, Cát

ia N

eves

, Ana

Sofi

a Nic

o, P

aulo

Bru

no

Osó

rio, P

edro

Per

eira

, Ric

ardo

Per

eira

, Fel

ícia

Tei

xeira

. Hit

Para

de

(Por

to)

Thi

rtee

n pa

rtic

ipan

ts li

e fac

e dow

n w

here

they

pro

ceed

to p

ound

th

e gro

und

with

the m

icro

phon

e one

thou

sand

tim

es. T

he so

und

of

each

per

son’

s act

ions

is am

plifi

ed. E

ach

perf

orm

er ch

oose

s the

ir ow

n rh

ythm

and

inte

nsity

. The

y ta

ke a

paus

e at e

very

hun

dred

of w

hate

ver

leng

th th

ey w

ish.

Pre

sent

ed as

par

t of A

rika

’s pr

ogra

mm

ing

for t

he

Whi

tney

Bie

nnia

l titl

ed A

surv

ey is

a pr

oces

s of l

iste

ning

, May

3,

2012

at th

e Whi

tney

Mus

eum

. Par

ticip

ants

: Deb

oara

h A

ruta

, Don

na

Blic

harz

, Rob

in E

dger

ton,

Sto

rm G

arne

r, D

awn

Kas

per,

Dag

es

Kea

tes,

Seth

Kim

-Coh

en, J

ecca

, Jef

f Lad

ouce

ur, S

ayha

n M

usao

glu,

C

hris

toph

er O

rtiz

, Mee

na S

ajw

ani,

May

a Win

frey

. Hit

Para

de (N

ew

York

)

Seve

ntee

n pa

rtic

ipan

ts li

e fac

e dow

n on

the g

roun

d w

here

they

pr

ocee

d to

pou

nd th

e pav

emen

t with

the m

icro

phon

e one

thou

sand

tim

es. T

he so

und

of e

ach

pers

on’s

actio

ns is

ampl

ified

. Eac

h pe

r -fo

rmer

choo

ses t

heir

own

rhyt

hm an

d in

tens

ity. T

hey

take

a pa

use a

t ev

ery

hund

red

of w

hate

ver l

engt

h th

ey w

ish.

Pre

sent

ed as

par

t of t

he

7a*1

1d In

tern

atio

nal F

estiv

al o

f Per

form

ance

Art

, Oct

ober

27, 2

012,

in th

e lob

by o

f the

Ont

ario

Col

lege

of A

rt &

Des

ign

(rai

n lo

catio

n).

Part

icip

ants

: Sha

rlene

Bam

boat

, Mar

c Cou

roux

, Con

nor C

raw

ford

, Br

ian

Da S

ilva,

Fra

ncis

co-F

erna

ndo

Gra

nado

s, D

orot

hea H

ines

, R

eena

Kat

z, B

riann

a Mac

Lel

lan,

Mitc

hell

McG

oey,

Mic

helle

D.

Mor

eno,

Fay

e Mul

len,

Ste

phen

Par

kins

on, D

avid

Poo

lman

, Eld

ritch

Pr

iest

, Tas

man

Ric

hard

son,

Dav

id S

utin

, Jay

Wils

on. H

it Pa

rade

(T

oron

to)

Ten

part

icip

ants

lie f

ace d

own

on th

e gro

und

whe

re th

ey p

roce

ed to

po

und

the p

avem

ent w

ith th

e mic

roph

one o

ne th

ousa

nd ti

mes

. The

so

und

of e

ach

pers

on’s

actio

ns is

ampl

ified

. Eac

h pe

rfor

mer

choo

ses

thei

r ow

n rh

ythm

and

inte

nsity

. The

y ta

ke a

paus

e at e

very

hun

dred

of

wha

teve

r len

gth

they

wis

h. P

rese

nted

as p

art o

f the

Inte

rnat

iona

l Fi

lm F

estiv

al R

otte

rdam

, par

t of t

he S

igna

ls: S

ound

Sta

ges c

urat

ed

by E

dwin

Car

els.

Mon

day,

Janu

ary

28, 2

013,

at th

e Sch

ouw

burg

plei

n.

Part

icip

ants

: Bar

ry E

sson

, Sat

o E

ndo,

Tjy

ying

Lui

, Jud

ith V

ld M

ade,

K

iki P

etra

tou,

Mar

cy S

aude

, Kat

e Tay

lor,

LiC

hun

Tsen

g, Ja

nnek

e Van

D

er P

utte

n, M

arie

lle V

erdi

jk. H

it Pa

rade

(Rot

terd

am)

Fifte

en p

artic

ipan

ts li

e fac

e dow

n on

the g

roun

d w

here

they

pro

ceed

to

pou

nd th

e pav

emen

t with

the m

icro

phon

e one

thou

sand

tim

es. T

he

soun

d of

eac

h pe

rson

’s ac

tions

is am

plifi

ed. E

ach

perf

orm

er ch

oose

s th

eir o

wn

rhyt

hm an

d in

tens

ity. T

hey

take

a pa

use a

t eve

ry h

undr

ed

of w

hate

ver l

engt

h th

ey w

ish.

Per

form

ance

pre

sent

ed at

the B

etwe

en

the E

ars p

ortio

n of

CA

FKA

.13, M

ay 3

1, 20

13, i

n K

itche

ner C

ity

Hal

l. Pe

rfor

mer

s: L

ine A

nton

isen

, Kris

ta B

lake

, Ric

hard

Bur

row

s, A

dam

Cam

pbel

l, V

edra

n D

zebi

c, M

iche

lle H

wu,

Dav

id Je

nsen

ius,

Sand

ro M

anzo

n, D

anie

l Mor

phy,

Mar

k Pr

ier,

Mic

helin

e Roi

, Nat

alie

R

oman

o, G

reg

Sam

ek, R

yan

Scot

t, St

efan

Ser

ada.

Hit

Para

de

(Kitc

hene

r)

Twel

ve p

artic

ipan

ts li

e fac

e dow

n on

the g

roun

d w

here

they

pro

ceed

to

pou

nd th

e pav

emen

t with

the m

icro

phon

e one

thou

sand

tim

es.

The

soun

d of

eac

h pe

rson

’s ac

tions

is am

plifi

ed. E

ach

perf

orm

er

choo

ses t

heir

own

rhyt

hm an

d in

tens

ity. T

hey

take

a pa

use a

t eve

ry

ten

for t

he fi

rst h

undr

ed, a

nd th

en at

ever

y hu

ndre

d, an

d ju

st b

efor

e re

achi

ng o

ne th

ousa

nd. T

he p

ause

can

be o

f wha

teve

r len

gth

they

w

ish.

Per

form

ance

pre

sent

ed in

the c

onte

xt o

f the

Cild

o M

eire

les

exhi

bitio

n tit

led

Inst

alla

tion.

The

sam

e eve

ning

feat

ured

Mar

k Fe

ll’s

Sky

Dan

cers

. Thu

rsda

y Ju

ly 10

, at H

anga

rBic

occa

in M

ilan,

Ital

y. Pa

rtic

ipan

ts: N

ajm

a Bad

er, F

eder

ico

Cra

fa, F

ranc

esca

Fed

eli,

Giu

lia

Gar

ofal

o, L

aura

La T

orra

ca, S

ergi

o M

essi

na, N

icol

a Met

te, F

eder

ica

Pane

lli, D

avid

e Sav

oran

i, O

livia

Str

ada,

Sim

one T

rabu

cchi

, Ste

fano

Z

icch

ieri

. Hit

Para

de (M

ilan)

CHRISTOF MIGONE Christof Migone_Mics one on one.tif 02.07.2014

CHRISTOF MIGONE Christof Migone_Liquid Catalogue_Hit Parade.docx 02.07.2014

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1000

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ALESSANDRO BOSETTI mask mirror notes.rtf 21.07.2014

Mas

k M

irror

?

Mas

k M

irror

is an

inst

rum

ent,

poss

ibly

a m

usic

al o

ne, t

hat d

eals

with

lang

uage

. The

in

stru

men

t con

tain

s tho

usan

ds o

f fra

gmen

ts o

f lan

guag

e org

anis

ed in

“fam

ilies

” or

cate

gorie

s. T

he ‘f

amily

mem

bers

’ are

of d

iffer

ent s

izes

, the

big

gest

one

s are

phr

ases

mad

e up

by

seve

ral w

ords

, whi

le th

e sm

alle

st ar

e pho

netic

par

ticle

s, so

met

imes

as sm

all a

s tin

y so

und

gran

ules

. Eac

h ke

y of

my

keyb

oard

corr

espo

nds t

o on

e of t

hose

cate

gorie

s. W

hen

I pre

ss th

e “si

ngul

ar n

ouns

” key

Mas

k M

irror

‘say

s’ a s

ingu

lar n

oun.

Whe

n I p

ress

the

“plu

ral n

ouns

” key

Mas

k M

irror

‘say

s’ a p

lura

l nou

n an

d so

on.

The

re ar

e hun

dred

s of

noun

s in

ther

e and

eac

h on

e is a

sam

ple o

f my

voic

e tha

t has

bee

n re

cord

ed an

d st

ored

in

side

the i

nstr

umen

t.

Eac

h tim

e I p

ress

the k

ey ca

lled

“plu

ral n

ouns

” I g

et a

diffe

rent

one

, at r

ando

m. I

t mig

ht

be sh

oes,

cloud

s or a

ctiv

ists

or a

nyth

ing

else

. I h

ave n

o w

ay to

pre

dict

it. A

nd th

is is

true

fo

r all

the c

ateg

orie

s. If

I pre

ss th

e key

for “

adje

ctiv

es” f

or ex

ampl

e, M

ask

Mirr

or m

ight

‘sa

y’ af

fect

iona

te. I

then

follo

w w

ith a

“sin

gula

r nou

ns” k

ey to

find

out

wha

t is i

t tha

t is

affe

ctio

nate

. May

be an

affe

ctio

nate

dog

, aun

t, ic

e cre

am. I

n fa

ct I

have

no

way

to p

redi

ct

wha

t will

com

e.

In to

tal t

here

are c

a. 8

0 ca

tego

ries,

the m

ore “

synt

actic

” one

s are

div

ided

in th

ree g

roup

s: E

nglis

h, It

alia

n an

d K

orea

n. T

he “p

hone

tic” o

nes a

re al

l tog

ethe

r and

do

not r

efer

to a

spec

ific l

angu

age.

By “s

ynta

ctic

” cat

egor

ies I

mea

n “n

ouns

” - si

ngul

ar an

d pl

ural

- “v

erbs

” - t

rans

itive

and

intr

ansi

tive -

adje

ctiv

es, a

dver

bs, a

rtic

les,

conj

unct

ions

and

so o

n. B

y “p

hone

tic” c

ateg

orie

s I m

ean

fam

ilies

or r

egio

ns o

f sou

nds t

hat a

re so

meh

ow in

bet

ween

vo

wels

or c

onso

nant

s. If

I pre

ss th

e key

calle

d “o

-a” M

ask

Mirr

or w

ill sp

eak

a sou

nd

som

ehow

in b

etwe

en o

and

a, if

not

pla

in o

or p

lain

a. T

hese

“pho

netic

” sou

nds a

re al

so

rand

omly

sele

cted

. I ca

n on

ly b

e sur

e tha

t the

soun

d w

ill b

e som

ewhe

re b

etwe

en a

and

o an

d no

t e o

r b o

r h et

c.

Whe

n I p

lay

with

Mas

k M

irror

I al

way

s im

prov

ise.

I use

bot

h m

y vo

ice a

nd M

ask

Mirr

or

- whi

ch al

so u

ses m

y vo

ice.

I po

sitio

n a m

ono

loud

spea

ker c

lose

to m

e, ro

ughl

y at

the

sam

e hei

ght o

f my

head

as if

it w

ere a

seco

nd m

outh

and

bala

nce t

he re

al an

d th

e rec

orde

d vo

ices

so th

at o

ne is

und

istin

guis

habl

e one

from

the o

ther

. Som

etim

es th

e tw

o in

tegr

ate,

gi

ving

pla

ce to

a co

here

nt n

arra

tion.

Som

etim

es it

is a

conv

ersa

tion

or a

fight

. The

re ar

e in

finite

pos

sibi

litie

s of i

nter

actio

n be

twee

n M

ask

Mirr

or an

d m

e.

The

opt

imal

cond

ition

for m

e in

play

ing

Mas

k M

irror

is to

empt

y m

y he

ad an

d be

gin

sayi

ng th

e firs

t thi

ngs t

hat c

ome t

o m

ind,

tryi

ng to

be o

pen

to w

hate

ver m

ay d

evel

op. I

us

ed to

thin

k of

Mas

k M

irror

as an

inst

rum

ent t

hat I

pla

y al

ong.

Now

I co

nsid

er M

ask

Mirr

or as

an in

stru

men

t tha

t pla

ys m

e, o

r the

thin

g in

side

me c

alle

d la

ngua

ge. M

ask

Mirr

or ac

tivat

es o

ther

pos

sibi

litie

s for

usi

ng, p

layi

ng re

cons

truc

ting

or d

econ

stru

ctin

g m

y lin

guis

tic ab

ilitie

s. It

is a

drug

that

dis

turb

s my

lingu

istic

abili

ty, m

akin

g it

mal

leab

le

to th

e poi

nt o

f bec

omin

g a m

usic

al in

stru

men

t.

Tho

se w

ho m

edita

te k

now

how

diffi

cult

it is

to tr

y em

ptyi

ng th

e min

d of

idea

s. T

iny

idea

s kee

p m

ater

ialis

ing

out o

f now

here

. Mas

k M

irror

enga

ges t

his c

ondi

tion

of th

e hu

man

min

d an

d su

gges

ts a

prac

tice o

f rev

erse

med

itatio

n, m

obili

sing

the r

aw m

ater

ial

cons

tant

ly p

ourin

g ou

t of t

he m

ind

as if

it w

ere t

ap w

ater

. Thi

s is t

he st

uff M

ask

Mirr

or

take

s as i

ts so

urce

.

How

did

I co

me t

o th

e ide

a of b

uild

ing

such

a th

ing?

I hav

e shi

fted

from

bei

ng an

inst

rum

enta

list a

nd im

prov

iser

- m

y fir

st in

stru

men

t was

the

sopr

ano

saxo

phon

e - to

bec

omin

g a c

ompo

ser a

nd te

xt-s

ound

artis

t who

use

s lan

guag

e as

a mus

ical

mat

eria

l. I f

elt t

he u

rge t

o cr

eate

a si

tuat

ion

whe

re I

coul

d ta

ke th

e spo

ntan

eous

an

d im

prov

isat

iona

l fre

edom

that

a m

usic

al in

stru

men

t affo

rds w

hile

usi

ng n

ewly

chos

en

mat

eria

ls: v

oice

reco

rdin

gs an

d m

onta

ges,

inte

rvie

ws,

conv

ersa

tions

, mis

unde

rsta

ndin

gs,

tran

slat

ions

and

- mor

e bro

adly

- se

nse.

Thr

ough

pro

duci

ng ra

dio-

art a

nd te

xt-s

ound

pi

eces

I of

ten

wor

ked

on in

tric

ate s

peec

h an

d vo

ice e

dits

, and

won

dere

d if

a dev

ice c

ould

be

dev

elop

ed al

low

ing

me t

o ca

rry

out s

imila

r edi

ts an

d co

nstr

uctio

ns in

real

tim

e as p

art

of a

live p

erfo

rman

ce.

My

‘new

iden

tity’

as an

abst

ract

- no

t alw

ays f

unny

- st

and

up co

med

y ha

s bee

n gr

eatly

in

form

ed an

d in

fluen

ced

by fr

ee im

prov

iser

s. Fo

r ins

tanc

e, I

see c

omed

y in

the w

ork

of

saxo

phon

ists

like

Ste

ve L

acy,

Evan

Par

ker,

Ant

hony

Bra

xton

or J

ohn

Butc

her.

The

diff

er-

ence

is th

at I

use l

angu

age,

and

lang

uage

ofte

n (b

ut n

ot al

way

s) p

oint

s at s

omet

hing

else

.

Ano

ther

- m

ore p

oetic

- an

swer

I so

met

imes

giv

e to

this

que

stio

n is

that

onc

e I h

ad a

drea

m. I

kno

w th

is so

unds

chee

sy an

d pr

eten

tious

but

it ac

tual

ly h

appe

ned:

this

dre

am

was

sugg

estin

g m

e to

build

a m

ask

that

had

not

hing

to d

o w

ith an

ythi

ng. I

n th

e sen

se

that

if so

meo

ne ca

n be

mas

ked

as a

pira

te, a

s Spi

derm

an o

r as P

inoc

chio

and

so o

n he

or

she c

ould

also

be m

aske

d as

not

hing

(or n

othi

ng sp

ecifi

c) a

nd st

ill b

e mas

ked.

Afte

r w

akin

g up

I w

onde

red

wha

t tha

t mas

k co

uld

be an

d th

en af

ter s

ome t

imes

the i

dea o

f thi

s

ALESSANDRO BOSETTI mask mirror notes.rtf 21.07.2014

inst

rum

ent c

ame a

bout

. In

cert

ain

way

s Mas

k M

irror

conc

erts

can

be a

very

psy

chol

ogic

al b

usin

ess.

I am

awar

e th

at a

cert

ain

dist

ance

from

the a

rtw

ork

shou

ld b

e ens

ured

to av

oid

falli

ng in

to so

me s

elf

indu

lgen

t rum

inat

ions

. Stil

l the

re’s

no w

ay fo

r me t

o ke

ep m

y em

otio

nal s

tate

away

from

th

e gam

e.

Wha

t if M

ask

Mirr

or as

ks yo

u “H

ow ar

e you

doi

ng?”

In a

cert

ain

way

it’s

hard

not

to an

swer

, eve

n if

I am

not

supp

osed

to te

ll th

e tru

th al

l th

e tim

e. T

here

are n

o ru

les r

eally

but

just

infin

ite p

ossi

bilit

ies a

nd I

cann

ot p

redi

ct th

e di

rect

ion

it w

ill ta

ke.

Som

etim

es st

ory

lines

are s

hort

and

get s

ever

ed ab

rupt

ly. O

ther

tim

es st

orie

s tak

e off

and

star

t dev

elop

ing

on th

eir o

wn

for a

long

tim

e with

the m

achi

ne g

ivin

g m

ore a

nd m

ore

sere

ndip

itous

inpu

ts. O

ther

tim

es ag

ain

the n

arra

tive c

hara

cter

gra

dual

ly d

issol

ves i

nto

a m

usic

al st

ruct

ure,

or I

bre

ak in

to so

ng o

r find

mys

elf p

eelin

g of

f lay

ers o

f a co

mpl

ex an

d ab

stra

ct m

usic

al te

xtur

e unt

il I r

emai

n al

one,

my

un-a

mpl

ified

voic

e tel

ling

a sim

ple s

tory

to

the a

udie

nce.

Som

etim

es th

e mac

hine

is p

erce

ived

as so

met

hing

det

ache

d fr

om m

e giv

ing

shap

e to

segm

ents

of c

onve

rsat

ions

with

me:

The

her

mit

look

s at m

e in

the e

yes a

nd h

e sai

d:

“At h

ome”

“Y

es, I

am at

hom

e” an

d he

says

: “P

eru”

. A

nd I

say:

“I sh

ould

go

to P

eru?

Is th

at w

hat y

ou m

ean?

” “I

n si

x m

inut

es”

“Oh

my

god.

. tha

t’s fa

r aw

ay to

go

to P

eru

in si

x m

inut

es! H

ow ca

n I d

o it

?”“T

ight

ly”

“I sh

ould

…??

”“L

azily

” “I

cann

ot b

e laz

y an

d ge

t to

Peru

in si

x m

inut

es. I

t’s n

ot p

ossi

ble.

I mea

n if

I hav

e to

get t

o Pe

ru in

six

min

utes

I ha

ve to

be e

very

thin

g el

se th

an…

”

Oth

er ti

mes

the m

achi

ne an

d I d

evel

op a

stor

y to

geth

er as

if w

e are

one

nar

rato

r: St

atio

n m

et P

eace

and

they

got

mar

ried.

The

y m

oved

insi

de a

ruin

, had

sex

and

soon

a ch

ild w

as b

orn.

The

y na

med

the c

hild

Sig

nific

ance

. One

day

Sig

nific

ance

told

Sta

tion

and

Peac

e: “D

ear P

aren

ts, I

was

nev

er ab

le to

figu

re o

ut w

hich

one

of y

ou tw

o is

the m

om

and

whi

ch o

ne is

the d

ad”.

Sta

tion’

s ans

wer w

as th

at “s

omet

imes

I’m

the l

ady

rath

er th

an

the m

an”.

To

whi

ch si

gnifi

canc

e sai

d, “r

ight

, tha

t’s w

hat I

thou

ght”

. Sig

nific

ance

mov

ed

out r

ight

afte

r.

The

re ar

e situ

atio

ns w

here

the n

arra

tives

bec

ome v

ery

frag

men

ted

and

the l

angu

age

brea

ks d

own.

Oth

er ti

mes

the p

hone

tic p

art o

f the

syst

em ta

kes o

ver a

nd m

akes

it h

ard

to

dist

ingu

ish

entir

e wor

ds fr

om th

e ove

rall

nois

y flo

w.

Des

pite

des

crib

ing

Mas

k M

irror

as a

sort

of m

usic

al in

stru

men

t, ul

timat

ely

I set

out

to

not d

istin

guis

h be

twee

n m

usic

and

lang

uage

. Mus

ic an

d la

ngua

ge ar

e tw

o ve

ry d

iffer

ent

thin

gs yo

u m

ay sa

y, w

ith g

ood

reas

on. W

e lis

ten

to m

usic

with

a di

ffere

nt e

ar fr

om

the o

ne w

e use

for l

angu

age a

nd o

ur b

rain

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ALESSANDRO BOSETTI Bosetti Mask Mirror.jpg 21.07.2014

THE CHARLES IVES SINGERS CIS An ear is a brain speedboat.jpg 08.07.2014

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SALOMÉ VOEGELIN Salome Voegelin Page 1.psd 13.07.2014

SALOMÉ VOEGELIN Voegelin_page3.docx 13.07.2014

My room

has sound behind its walls, under its floorboards and on top of its ceiling. They make it shrink and expand, move and be still. What is in the room is visible, present, objectively here. The sound is invisible, not here, but present all the same. It is generated in my subjective hearing of it: rushing into the objective and changing what I see. The walls are less stable in sound, wobbly even, permeable, letting things in and out; testing notions of intimacy, neighbourliness and safety. The visual room is the set on which sound plays invisible narratives: some sinister, some cheerful, some unnoticed. Unseen protagonists, who might really be there or just invented by me, play out fantastic scenarios that might be real, involving alien space ships, cats, dogs and microwaves. - Anything can happen.

soundwords.tumblr.com January 28, 2011, 9:00pm

My textual phonography produces not a recording of the heard but of listening, which produces another sound in the imagination of the reader that is not the sound I heard but the sound generated in her action of perception of reading about sound. The recording in words of what I heard invites not the recognition of an object or a subject, but triggers a generative interpretation: the production in the reader’s auditory imagination of what it might have been that I heard, and what he might remember to have heard, or might go on to hear as a possibility of my words and her present auditory environment. This phonographic writing notates not a solipsistic listening however. Listening is never separate from the social relationships that build the fleeting circumstance of hearing. Rather, listening inhabits that circumstance, and thus My room transcribes not the heard in isolation but composes its sociality: the hearing of myself in the social context of a room, my soundscape, a position and its consequence, which these words are trying to reflect upon and share.

Salomé Voegelin Melbourne SoundWords

NEW WAVER l5.jpg 12.07.2014

JOHANNES KREIDLER page1.tif 07.07.2014

JOHANNES KREIDLER page2.tif 07.07.2014

JOHANNES KREIDLER page3.tif 07.07.2014

I DM THEFT ABLE liq--walm.jpg 12.07.2014

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Here is the art Re: Here is the art /// www.pozible.com/ur1stluv thoughts? or think with ur muni. x Sam /// dudes, this work of yours has got me really engaged. I've been thinking heaps about what youse are getting at, and on the different levels (and times) 'a sound investment' exists on. So thank you! I don't want to be the guy that just criticises work that people put hours of time and energy into without doing anything himself. So please see my following in-line responses [which are hurried and not completely thought through – my time being limited… something about capitalism…] as excitement, not back seat driving… : )

- yes, this is very tongue-in-cheek. we are attempting to use irony and humour to communicate the idea that crowd-funding forces us into buying into capitalist modes of thinking. creating scarcity to generate value, thinking always in terms of outcomes. the hyper-commodification of the artistic product and the standardization of that product. much of the text we have used is taken from existing ads...

but does replicating these modes function as a critique of them? Or does the critique exist in the artistic product youse will make? If so, then do only the people who exchange capital for the product get to consume the critique?

- another point of interest for us is the question: can this work have a critical function from within pozible? can it raise questions about how we fund the arts, how we value art, what we expect from in return (exchange-value logic) whilst simultaneously engaging earnestly in the platform of pozible. Does reaching our target nullify this critique? what does it mean to try to create critical work in an environment where capitalism can so easily transform critique into commodity?

Good questions! Who is the 'we' in 'how we fund the arts, how we value art, what we expect from in return (exchange-value logic)'? if we talk in the paradigm of state funding then, to use the logic of representative democracy, the state is supposed to be the voice and actions of the people (from the greek – demos). [obviously the state is not this, but a tool of the ruling class] THEN the 'we' is all people living within a nation, but the decisions about funding, value and expectations are made by a class of professional politicians acting on a perceived mandate given them by a majority vote. If the demos are unhappy with decisions, four years later we have the chance to change the group of politicians through individualised voting. BUT does an individual vote have any affect on the underlying attitudes towards arts funding? Pozible to me kind of looks like mini representative democracy in action. I contribute capital according to my means (poor = $5; rich = $500 : kind of like income tax) and collectively we can pool our money to exchange with youse for yr labour and the goods you produce. But in this case, do youse the labourers get to determine the exchange-value of your labour? And if collectively (yet still completely alienated from each other) we don't reach your target, do you not have the mandate to create the works you write about? … or realistically, would you just create them anyway using money you make by exchanging your labour in other ways: cafe-, bar-, intellectual- work ? “what does it mean to try to create critical work in an environment

UR 1ST LUV Here is the art - Ur 1st Luv.pdf 15.07.2014

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where capitalism can so easily transform critique into commodity?” everything we produce is a commodity. I can go into any large chain bookstore and buy das kapital. [I just re-read my response to that sentence and it sounds childish and pithy to me. Yes, this is a huge question youse are asking. But a huge question within a closed system. Its like when people ask me angrily what the world would look like post-revolution. There is no possible way to answer this question. We make the road by walking, etc. do you get what I mean?]

- and then there is this shift happening here towards selectively shifting arts funding responsibilities from the tax payer to the market. The interest in this project initial came about when Liquid Architecture was approached by Creative Partnerships Australia (an Australian government initiative run through the Attorney General’s Department and the Ministry for the Arts) and offered the chance raise funds for their festival through an scheme called MATCH. The Matched-funding program matches funds raised by independent artists through crowd-funding, dollar for dollar. The money for Creative Partnerships Australia comes from the private sector in the form of tax-deductible donations. This situation got us to thinking about how we fund the arts… New schemes for funding the arts seems like a positive thing. Encouraging philanthropic investment in the arts also seems like a positive thing. And it may well be. But, in the current political landscape we find it difficult not to be cynical about schemes such as these. With funding to the Australia Council for the Arts slashed by $28.2 million in the 2014 budget forward estimates and funding to Creative Partnerships Australia increased by $5.3 million dollars, some questions to be asked are: Is this the beginning of outsourcing arts funding to the “social” and private sectors? i.e. Is this a step toward shifting the arts funding burden from the tax payer (via funding bodies such as the Australia Council for the Arts) to the market and business via crowd-funding platforms and tax-deductible donations to the Australian Cultural Fund and other “innovative” programs such as MATCH? Or, is it a genuine attempt to supplement arts funding for an already under-resourced independent arts sector? What impact on the independent and underground art scenes will changes such as these have to funding? Will critical art continue to be made? Will our experimental and fringe art scenes continue to thrive or will they be watered down as they are forced to turn to the market place to secure funding? What do we want our arts scene to look like? How do we value art and how do we value artistic labour? Will encouraging the independent arts sector to crowd-fund have a negative impact on artistic output? What will be the result of turning to the market for answers?

It seems to me that critical, independent, underground, whatever art exists DESPITE OF rather than BECAUSE OF whatever the given funding situation is. Whether we bullshit the state or the market into giving us money to make work, about which we are never completely sure of its 'meaning' or 'purpose' [its abstract, c'mon!], is irrelevant. The practice of begging for money is separate to the making of work. This is probably the main point of my work in response to yours. I am begging for money from people (and offering in exchange labour that I do as other parts of my life as an 'artist') so that I can have a tiny bit of economic 'freedom' to make art. My pozible artwork is still operating COMPLETELY within the logic of capitalism, but asking whether the consumer values labour like cooking, cleaning, massaging, service over art. And does the value of this labour increase when it is done by an artist? One can buy dinner in berlin for 2euro, and a really good dinner for 5euro. Why then would someone pay double for me – artist rishin – to make them dinner? Anyway, thanks again guys. Missing youse, loving youse, rx

UR 1ST LUV Here is the art - Ur 1st Luv.pdf 15.07.2014

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p.s here's the text for the pozible (web form to come). i went for 'show the audience something, rather than tell them what to see': “AFTER 'TO HELL WITH POVERTY!'” AN EXPERIMENT IN AESTHETIC REALISM, AND A RESPONSE TO UR 1ST LUV'S 'A SOUND INVESTMENT' I, rishin singh, am a musician/artist. What wouldn't I do for you? You, _______, are an art-lover. What is art worth to you? At what point can desperation look like cynicism? If the target is met, temporarily you might feel a little better about yourself; be not hungry; feel more relaxed; live in a clean home; be titillated in a clean home; feel powerful. If the target is met I will exchange my labour for capital and be €500 richer for it … And hopefully the Ausländerbehörder will extend my visa so I don't have to leave my new home. This is an experiment in aesthetic realism, and a performance work partly in response to A SOUND INVESTMENT by the Sydney artist collective Ur 1st Luv [LINK] When pledging please keep geography in mind. To hell with poverty! We'll get drunk on cheap wine. TARGET : €500 DEADLINE: two weeks €5 : I, rishin singh, will tell you nice things about you [100] €10 : I, rishin singh, will cook you dinner [20] €15 : I, rishin singh, will give you a one-hour massage [10] €30 : I, rishin singh, will clean your apartment [10] €50 : I, rishin singh, will clean your apartment naked [10] €100 : I, rishin singh, will be your slave for a day [4] €500 : I, rishin singh, will do anything (except cut my hair or beard) for you [1] ///

UR 1ST LUV Here is the art - Ur 1st Luv.pdf 15.07.2014

CHRISTOPHER LG HILL page one clgh.jpg 11.07.2014

CHRISTOPHER LG HILL page two clgh.jpg 11.07.2014

CHRISTOPHER LG HILL page three clgh.jpg 11.07.2014

ERIC DEMETRIOU Sure Death.jpg 13.07.2014

MAKIKO YAMAMOTO 00 prelude.pdf 12.07.2014

The voice of my grand father’s parrot

When I was 11 years old my family became bankrupt and we decided to move from the big busy city to my grand parents place, in a small village, in the mountainside of Osaka.

My grand father had, what seemed like, a thousand birds in a cage, in his back garden.

There, I remember one parrot, in the sunroom of the house. He had no name.

He repeated the same phrase over and over, day and night.

He said “Bahaachan Bahaachan” (Grand’ma grand’ma) followed by high pitch laughter.

The phrase seemed to originate from my cousin who used to live there with my grand parents when he was small. This parrot copied him and repeated this phrase for almost ten years. My cousin had left the house but his voice remained.

I was scared to listen to my cousin’s voice from the past.

One morning I came through the sunroom and found the nameless parrot on the floor of his cage not moving. What a relief!

My grand parents passed away.

The voice of the nameless parrot clearly still remains in my acoustic memory; hearing the same phrase and high pitch laugh.

I never knew where the laugher came from.

MAKIKO YAMAMOTO Yamamoto_Makiko.tif 12.07.2014

BIANCA HESTER 02_Hester_IMG_0557.jpg 17.07.2014

You might remember my previous email re: a possible collaboration? Struck by your description of your condition as "an interesting space" (when we were on the phone back in July) I've been cooking an idea of doing a conceptual biography (as a political space) for you thru various forms of collaboration.

I am officially based in Vienna now......

i'll try to be useful.(and remember that vienna was only ever front-of-house for budapest which was where the real things happened (as far as the austrohungarian empire was concerned anyway. (i think the wittgensteins were originally hungarian..

Here is my proposed angle:

A political space is often opened where contradictions and complex relations occur. Rather than constructing a biography that illustrates, it seems more interesting to explore a political history of an artist's friendship with his collaborators and interlocutors, including myself. I am drawn to Derrida's argument, -"the future of the political becomes the future of friends, the invention of a radically new friendship, of a deeper and more inclusive democracy". That's the speculative potentiality I hope this project could delve into.

Why the Greeks spoke about friendship (family being what you have no choice about)..

Liquid Architecture is fully on board for the project. "Could we encourage you to proceed unstintingly with this project?", they said.

If it's OK by you, I'd like to come to NYC and work with you around the beginning of the 2014 - convenient? Or do you have any preferred time frame?

the kettle will be on

btw, mystery of the burning log was revealed. turned out you were "misbehaving" and "heckling" drunk as an audience......

one of the hazards of an interactive piece

Planning to use the audio recordings of my conversations with you and your friend as the tiny informal, very incomplete compilation of 'recorded past'. Through that, I hope to invite various groups of cultural workers in Melbourne to engage in different sessions of cooperative "listening", "writing" and "retelling".

why 'cultural' workers? why not the actu (australian council of trade unions) or the living museum of the west (west melbourne) or car clubs or football clubs or banks or waiters or churches?

How do we convince them to participate?

ring them up

could you elaborate it again? the segment is deeply hidden in those audio recordings....

humans work well in fives. five is both stable and purposeful. decisions can be made without the minority feeling like its personal (the problem of three (two against one)). fours generate two against two, which means nothing happens.

both the LA organizers and me now are in favor of the new title: a conceptual biography of chris mann.what do you think?

From: Hong-Kai Wang <hongkai.wang@gmail.com>Subject: A Conceptual Chris Mann Biography

Date: July 12, 2014 11:07:42 AM GMT+02:00To: theuse.info

HONG-KAI WANG chris bio_artist page1&2_Ed.pdf 12.07.2014

NOEL MEEK AND OLIVIA WEBB Noel Meek Olivia Webb Liquid Architecture 2014 Right.jpg 12.07.2014

ATLANTA EKE AND DANIEL JENATSCH megamix.jpg 21.07.2014

JOHN NIXON Donkey’s Tail Liquid Architecture Page 3.jpeg 10.07.2014

JOHN NIXON Donkey’s Tail Liquid Architecture Page 1.jpeg 10.07.2014

HALF HIGH Half High A4_Image 1 FLAT.pdf 14.07.2014

HALF HIGH Half High A4_Image 2 FLAT.pdf 14.07.2014

JOEL STERN AND DANNI ZUVELA explaination.doc 28.07.2014

liquid architecture invited our 2014 artists to submit pages to this catalogue to manifest at our festival alongside their live performances and contribution to the LP. we asked of the artists that these pages not ‘represent’ their work, but be their work.

as we are a festival for artists working with sound, we think of these contributions as attempts to ‘mind’ sound, for the specific space of the page.

we have made effort to not fiddle with or interfere with the artists’ contributions (just as they have not altered our catalogue essay).

we think this is only fair.