Posts for January 2010

-_{}`- Wildlife (2009) - Elna Frederick

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"Something Wrong is Nothing Wrong: Jodi.org" on Motherboard.tv

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In this clip, Motherboard.tv speak with Joan Heemskerk and Dirk Paesmans of the legendary Jodi about several of their works, focusing on their playfully chaotic approach toward technology.

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Excerpts from Tony Vegas' Animated Acidburn Flashback Tabu

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Below are excerpts from the 1991 VHS compilation of experimental animated shorts Tony Vegas' Animated Acidburn Flashback Tabu.

Vincent Collins, Life Is Flashing (Before Your Eyes)

Sky David/Dennis Pies, Ace of Light

Jeffrey Noyes Scher, Reasons To Be Glad

Michael Dwass, Lunch

Skip Battaglia, Parataxis

Ruth Peyser, One Nation Under TV

Andrea Gomez, Bus Stop

Vincent Collins, 200

Jeff Carpenter and Mary Lambert, Rapid Eye Movements (Excerpt)

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Support Rhizome and Receive a Poster by Casey Reas!

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It's not too late to give to Rhizome! Our campaign ends on January 14th, which means there is still time to donate $100 and receive this beautiful poster (pictured above) by artist Casey Reas. An example of the artist's trailblazing algorithmic artwork, the poster is an original limited edition produced especially for the campaign.

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"Pleiades" by Iannis Xenakis

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A composition by Iannis Xenakis, Pleaides was originally commissioned for Les Percussions de Strasbourg, to premiere at the Opera du Rhin in May 1979. A sextet for percussion, it is here performed by the Yale Percussion Group.








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"Psappha" by Iannis Xenakis

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Psappha is a score for solo percussion, and it originally premiered at the London Bach Festival in 1976. Here it is performed by Steven Schick.

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"Mikka, For Solo Violin" by Iannis Xenakis

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Mikka ("small," also named for Mica Salabert, Xenakis's publisher), was completed in 1971 and premiered at the 1972 Festival d'Automne in Paris, soon after the opening of the Polytope de Cluny. The piece's most immediately striking aspect is the solo line that unfolds in continuous fashion from beginning to end. It consists entirely of a single glissando, snaking its way along the registral compass of the violin in a perpetually varying contour. The banishment of vibrato from the music lends a metallic edge to the sound, although Xenakis does vary the timbre through ponticello and tremolo effects. Dynamics, too, play an important role in adding depth to the singular sonority of the glissando, even if quite different from the constantly varying markings of Nomos alpha. After the relatively neutral mf opening, the rest of the score consists of shifts between extreme dynamic levels, usually linked to changes from ponticello (soft) to normal mode (loud).

-- EXCERPT FROM "XENAKIS: HIS LIFE IN MUSIC" BY JAMES HURLEY (PG 76)

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Iannis Xenakis, Music Biennale Zagreb 1985

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Interview with Iannis Xenakis, 1967

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retrouver ce média sur www.ina.fr

In this short clip, which aired on French television on November 12, 1967, Xenakis discusses his work and his influences.

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Interview with Carey Lovelace and Sharon Kanach

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I had the chance this week to speak with Carey Lovelace and Sharon Kanach, the co-curators behind a new exhibition of composer Iannis Xenakis’s sketches, drawings, scores and plans spanning from 1953 -1984 titled “Iannis Xenakis: Composer, Architect, Visionary.” The show opens at the Drawing Center on Friday January 15th and it will run through April 8th. To coincide with the exhibition, a number of arts organizations in New York City organized public programs on Xenakis’s work in collaboration with the Drawing Center, including a virtual reality rendering of Poème Électronique, a three-day colloquium bringing together Xenakis scholars from the Americas, and much more. Please check the full schedule here (scroll to the bottom).

Based in Paris, Sharon Kanach worked very closely Xenakis for two decades, as a translator of his works, as a scholar and as Vice-President of Centre Iannis Xenakis (formerly CCMIX) in France. Carey is an independent curator and writer based in New York. Both are former students of Xenakis.

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