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 <[email protected]>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.