After completing her informal education in Berlin's underground club scene, artist and musician Holly Herndon relocated to the Bay Area to pursue an MFA at Mills College's esteemed music program. Now continuing her studies in computer-based music at Stanford, Herndon has an inquisitive approach to technology, finding common threads among often-divided disciplines and communities: electronic music, academia, the tech sector, and contemporary art. As a result, her work is not easily categorized, whether she's composing music for brass ensembles or working on robotic sculptures with artist Conrad Shawcross, touring festivals in Europe or making dance music with heavily processed recordings of the human voice. This week, she released a 12" entitled Chorus on RVNG Intl.
Ceci Moss: Your new 12" Chorus comes out this week. The title track recalls the experience of continuous partial attention in online browsing, using audio samples derived from your own daily browsing. Chorus begins chaotically, taking form with the addition of percussion. Could you discuss the ideas behind this composition? Also, what did you use to sample your browsing history, and how did you technically create the track?
Ben Aqua, NEVER LOG OFF, 2013 (Limited edition t-shirt designed for #FEELINGS)
We are no longer mostly dealing with information that is transmitted form a source to a receiver, but increasingly also with informational dynamics—that is with the relation between noise and signal, including fluctuations and microvariations, entropic emergences and negentropic emergences, positive feedback and chaotic processes. If there is an informational quality to contemporary culture, then it might be not so much because we exchange more information than before, or even because we buy, sell or copy informational commodities, but because cultural processes are taking on the attributes of information—they are increasingly grasped and conceived in terms of their informational dynamics.
- Tiziana Terranova, Network Culture: Politics for the Information Age
Post internet, post media , post media aesthetics, radicant art, dispersion, formatting, meme art, circulationism—all recent terms to describe networked art that does not use the internet as its sole platform, but instead as a crucial nexus around which to research, transmit, assemble, and present data, online and offline. I think all of the writers advancing these terms share a sense that since the rise of mainstream internet culture and social media, art is more fluid, elastic, and dispersed. As Lauren Cornell astutely points out in the recent "Post Internet" roundtable for Frieze, terms are always placeholders for more complex ideas, and when successful, can instigate further, deeper conversation. Towards that end, I'd like to introduce another word to the list—expanded. Drawing from the definition of expansion as "the action or process of spreading out or unfolding; the state of being spread out or unfolded," I consider "expansion" not as an outward movement from a fixed entity, but rather, in light of data's dispersed nature, a continual becoming. Expanded internet art is not viewed as hermetic, but instead as a continuously multiple element that exists within a distributed, networked system. In order to elaborate this term, and to take small steps towards thinking through the changing conditions for art production in the early 21st century, I will use Tiziana Terranova's notion of an "informational milieu" to describe the dynamic process of exchange among artist, artwork, and network.
Photo of Earth by the crew of Apollo 8. December 22, 1968
The central theme for this year’s Venice Biennale exhibition, curated by Massimiliano Gioni, comes from an obscure patented design for an encyclopedic palace by the self-taught Italian-American artist Marino Auriti. Envisioned as a 136-story building that would take over sixteen blocks of Washington, D.C., Auriti’s palace was to house all the available knowledge in the world. Titling the show "Il Palazzo Enciclopedico" after Auriti’s unrealized model, Gioni and his team selected an eclectic group of artists, psychologists, mystics and more whose work resonates with Auriti’s desire to create a total image of the world. In many ways, the exhibition can be seen as a response to the exhaustive overabundance of information available on the internet. As Gioni pointedly asks in his essay, "…what is the point of creating an image of the world when the world itself has become increasingly like an image?"
The Paris, Texas of the Second Empire
Compiled July 2012 by Lawrence Kumpf
The flâneur is someone abandoned in the crowd. He is thus in the same situation as the commodity. He is unaware of this special situation, but this does not diminish its effects on him, it permeates him blissfully, like a narcotic that can compensate him for many humiliations. The intoxication to which the flâneur surrenders is the intoxication of the commodity immersed in a surging stream of customers. -- Walter Benjamin, 1938
A phantasmagoric journey through mid-20th century Country-Western music inspired by Walter Benjamin’s "The Paris of the Second Empire in Baudelaire."
Like the poet as flâneur in Benjamin’s essay, the country singer holds a position as the susceptible vessel that embodies the incongruities and ruptures characteristic of modern life. Neither an active symptom nor proprietor of a solution for the social ills, the singer finds himself drawn into the intoxicating world of empathetic relations to, with and as commodity. We hear, perhaps more clearly then in Baudelaire, a voice speaking not from the elevated position of a social commentator or critic, but as the desire of the commodity and commodified. Connoisseurs of narcotics sing empathetic odes to inanimate objects and intoxicants, fortifying themselves in homes that are really bars. Hobos, trashmen and ragpickers walk the street collecting and picking through the worn out, exhausted items that have escaped our economy of exchange: the antiques of modernity, the images of obsolescence. The perpetual peregrinator, a rambling man, heroically stripped of the comforts of modern life finds himself stalking graveyards and mourning a loss that has yet to occur, the final refuge of his own death. In a way these songs embody the last gasp of a failed American politics, the moment before county western music slips into an emphatic listing of personal property as banal as Rick Ross’ "Trilla." The tragedy of our era is that the latent revolutionary desires present in Hank Williams Jr.’s "Fax Me a Beer" (not included in this mix) are forever doomed to find their outlet in an inane fantasy of endless technological advancement.
1.Porter Wagoner - The Wino
2.Jim Ed Brown- Bottle, Bottle
3.Porter Wagoner – Shopworn 4.Hank Williams – Men with Broken Hearts
5.Leon Rausch – Glass of Pride
6.Don King – Live Entertainment
7.David Allen Coe – Sad Country Song
8.Don Silvers – Play me another Hank Williams
9.Porter Wagoner – Bottom of the Bottle
10.Merle Haggard – Swinging Doors
11.Porter Wagoner – I Just Came to Smell the Flowers
12.D. Sheridan – Don’t Make Me Laugh (While I’m Drinkin’)
13.The Willis Brothers – Gonna Buy Me A Jukebox
14.David Frizzell – I’m Gonna Hire A Wino to Decorate our House
15.Frank Lowe - "Trash Man"
Lawrence Kumpf is a curator at Issue Project Room in Brooklyn, NY.
New York-based musician and artist Eli Keszler integrates piano wire into his compositions in a way that falls between installation and improvisation. For Cold Pin, motorized beaters controlled by a generative sequence struct 14 piano strings hung across the wall of Boston's Cyclorama in 2011. Keszler then invited Ashley Paul, Greg Kelley, Reuben Son and Benjamin Nelson to play off the work, improvising alongside the randomized clunks, scraps, and bangs emanating from the wall.
His recent L-Carrier at Eyebeam complicated this format by activating the motors in tandem with a changing visual score designed by Keszler. Hosted on a dedicated website commissioned by Turbulence, these images evolved when visitors tripped up "targets" on the site that interfere with the code, modifying the pattern of the motors. On June 7, Keszler again played in a seven piece ensemble in conjunction with the installation, including musicians Ashley Paul, Anthony Coleman, Alex Waterman, C Spencer Yeh, Catherine Lamb, Geoff Mullen, and Reuben Son.
In both compositions accompanying Cold Pin and L-Carrier, the installation serves not as a simple backdrop, but a central element. On their own, the installations continue to have a commanding presence. Unlike the extended resonating tones of Ellen Fullman's Long Stringed Instrument, which meditatively fill a room, Keszler's approach to auditory space reveals his training as a percussionist, where the plucks are akin to hits - busy, feverish and complex. Taken out of an enclosed environment, such as in Collecting Basin, piano wire is not only responsive to the whims of the motor beaters but also the wind and the elements. Here, Keszler hung the wire from a large water tower, transforming an industrial space into an open air instrument.
The Curatorial Fellow must be based in New York and must be able to commit to 16 hours of work per week, for 6 months, beginning in Spring 2009. This position is unpaid, but academic credit may be arranged. The Curatorial Fellow will work directly with artists and be overseen by the Director and Senior Editor.
The Fellow's primary responsibilities include:
* Coordination, and development of the Rhizome ArtBase, including managing submissions and reaching out to artists
* Curating sections of the Rhizome website
* Researching topics for editorial coverage
* Writing articles for Rhizome's blog and publications
* Administrative support of programs, such as Rhizome's monthly New Silent Series at the New Museum
* General support of the organization
QUALIFICATIONS: Candidates should have a level of familiarity with contemporary art and particularly new media and its history. Education or advanced experience beyond the undergraduate level is preferred. At a minimum, the candidate should have very strong writing, editing, and analytical skills, and very high internet literacy. Knowledge of Microsoft Office software is also required and basic Photoshop skills are preferred.
TO APPLY: Please email a cover letter, resume or c.v., three references, and three writing samples (url's or attachments) to Ceci Moss at editor(at)rhizome.org. Review of applications will begin immediately. Deadline is April 15, 2009.
Two Interdisciplinary Events
Saturday February 28, 2009
New York University
Silver Center of Arts and Science
100 Washington Square East
Department of Music, Room 220, 2nd Floor
Enter at Washington Place Doors
Admission is free and open to the public
Saturday April 4, 2009
Speakers and location TBA
"Music, Language, Thought" is a new interdisciplinary event series organized by graduate students within New York University's Music and Comparative Literature Departments. Broadly speaking, the series focuses on the relationship between music and language, and our speakers will examine its theoretical ramifications for politics, aesthetics and historiography. The project stems from ongoing conversation and collaboration between graduate students within these two departments, and will continue on an annual basis.
Sponsored by the FAS Department of Music and the Department of Comparative Literature
With additional support from the NYU Humanities Initiative
Organized by Michael Gallope, Daniel Hoffman-Schwartz, Magali Armillas-Tiseyra, Amy Cimini and Ceci Moss
Schedule for Saturday, February 28, 2009
10am - 12pm
[URL=http://www.nyu.edu/fas/dept/complit/faculty/index.html#Hamilton]John Hamilton[/url] (Comparative Literature, Music and German; NYU)
"The Rape of Euterpe: Music, Philology, and Misology in the Work of Nietzsche"
The pronounced distrust of verbal language throughout Nietzsche's work, what Socrates scorned as "misology" in Plato's Phaedo, correlates to a life-long devotion to music. A fundamental conception of music as the art of time—and hence of modification, alteration, and therefore instability or uncertainty—motivates Nietzsche's singular contribution to philological method and subsequently his destructive zeal against all species of stabilized metaphysical images. What, however, would a "musical philology" precisely entail, and what are some of its ramifications? In what ways can musical sensibility and scholarly inquiry interact? To what extent is a "love of words" grounded in a deep mistrust of communication? Is it not the case that every philologist is, at least potentially, a misologist, an iconoclast, a music-making Socrates—a philosopher with a "third ear"?
[URL=http://music.berkeley.edu/Smart.html]Mary Ann Smart[/url] (Music; UC Berkeley)
"Rossini and Nonsense"
The recent admission of Rossini's music to the canon has been founded on an unusual basis: that of the music's nonsensical qualities, its refusal of musical thought. Rossini's preference for vocal fireworks over careful word-setting has been celebrated as prefiguring the pure musical patterns of absolute music, as privileging body over mind, and as reflecting the nihilism of post-Napoleonic Italy. This paper will situate these claims in relation to early nineteenth-century Italian thought about mimesis and musical expression, as articulated in contemporary encyclopedias of music, composition treatises, and pamphlets on musical aesthetics.
[URL=http://www.nyu.edu/fas/dept/complit/faculty/index.html#Lezra]Jacques Lezra[/url] (Comparative Literature, Spanish & Portuguese; NYU)
"The Devil's Interval"
In Minima Moralia, Theodor Adorno writes: "'I have seen the world spirit,' not on horse-back, but on wings and without a head, and that refutes, at the same stroke, Hegel's philosophy of history." Adorno's thought-image places "Hitler's robot-bombs" alongside the images of Alexander's corpse, Caesar's murder or Napoleon's exile in St. Helena's, with the goal of "refuting" the Hegelian claim that at certain privileged moments "world-spirit manifests itself directly in symbols" [unmittelbar symbolisch sich ausdruckt]. It is a disquieting, searching image, and it is associated with Adorno's running critique of the "immediate" presentation of aesthetic experience generally, and of "symbols" particularly. Nowhere does Adorno more emphatically treat the temptation, and the danger, of immediacy than in his writing on music, and in particular in his understanding of the function of rules and of rule-following in modern music. Can we derive a "philosophy of history" from these writings? What principles of change, internal to modern music, take the place of the direct, symbolic manifestation of world-spirit that one finds in Hegel? Edward Said's late return to the concept of humanism arises from a symptomatic misreading of Adorno's answer to these questions. (Said's humanism may amount to a disavowal of the diabolical principles he encounters in Adorno's work.) This talk approaches the problem through a discussion of the concept of "interval" that develops in Adorno's account of Wagner and Schoenberg's different responses to Beethoven's rethinking of the so-called devil's interval, or tritone (one might say: from Fidelio through the "Tristan" chord to Moses und Aron).
[URL=http://www.columbia.edu/cu/arthistory/html/dept_faculty_joseph.html]Branden Joseph[/url] (Art History and Archaeology; Columbia University)
The onset of those operations collectively known as the "Global War on Terror" has brought to light the use of music by the United States as a component of physical and psychological torture, a topic which has given rise to a certain amount of discussion within musicological circles. Developing upon such discussions, this paper will trace the affinities of contemporary weaponized uses of sound to "biomusic," a little-known development within advanced musical practice in the 1960s and 70s. Beyond the possible connections to contemporary techniques of abuse, the investigation will shed light on a number of transformations in the manner in which subjectivity, power, and signification have been conceived and engaged within the later part of the twentieth century.