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.
This post is part of a new monthly series of guest curated mixes for the Rhizome blog, entitled Wavelength.
JAPANESE NOISE: A REMINDER
Compiled Summer 2012 by C. Spencer Yeh
Back when I was an undergraduate and involved with college radio, we would hold educational meetings covering a wide variety of music by genre, artist, and geography. I was very much in thrall of the Japanese musical underground at the time, so I developed a presentation and this was the handout I made as an accompaniment. [See above.]
I’ve noticed the term ‘noise’ thrown around quite a bit lately, to encompass particular variations of form, ideology, and even affect, within organized sound culture. I generally have no qualms with what 'noise' can now mean and manifest. With that said, Japanese noise is my preeminent definition of 'noise'–my first and most formative experience. The birth and development of Japanese noise is singular, defined by its relation to time and place, to culture and aesthetic. Japanese noise taught me about freedom, fetish, listening, autodidactism, self-mythology, self-publishing, senzuri.
The selections for this mix date from the mid-'80s to the early '00s, are edited for length, and intentionally eschew the array of strategies in the scene (often deployed under the same project name) to focus on NOISE. Big parties can be a blast, but once in a while, a long visit with an old friend is incredibly fulfilling and necessary.
(note: all tracks are edited for the purposes of this mix)
01. Violent Onsen Geisha 'Heavy Introduction'
02. Government Alpha 'Anonym Slander'
03. The Gerogerigegege 'Nothing to Hear, Nothing to... 1985'
04. K2 'We Destroyed Barcelona Again'
05. Aube 'Aquatremble 2'
06. Merzbow 'Chant 2 (Part 1)'
07. Hedlah 'Proud Flesh'
08. Solmania 'Panic Bend Rock'
09. MSBR 'Psychic Blue'
10. Incapacitants 'Necrosis'
11. Masonna 'Spectrum Ripper (Part XVII/Part XII)'
12. Hanatarash 'We Are 0:00'
13. Killer Bug 'One-Eyed Nudist'
14. Monde Bruits 'Continuum'
15. Hijokaidan 'What A Nuisance!'
16. Masomania 'Burn Me Fast'
17. C.C.C.C. 'Loud Sounds Dopa (Part II)'
18. Gomikawa Fumio 'Satan's Tail, Santa's Head'
19. Niku-Zidousha 'Untitled'
20. Flying Testicle 'Testicle Rider'
21. Pain Jerk 'Crack n' Roll'
22. Kazumoto Endo 'Itabashi Girl'
Since taking on this position, I've attempted to enhance the writing and coverage on Rhizome through the publication of insightful, in-depth articles by an international group of artists, curators, and writers. If anything, our coverage is much more diverse now than it has been in the past, and I've tried to shed light on practices which intersect with new media art. I believe its profoundly important to situate this field as part of a continuum of experimental media practices, sound, video, electronic art, etc -- and also to connect the conversations here with those happening in the broader contemporary art field.
Impressed with the ingenuity of channel 53, we brought John Michael on to contribute to this variety, and he's done an excellent job so far, in my opinion. John Michael and I have also discussed, at length, the need to bring in historical documentation relevant to media art and to touch on current visual culture on the web. His unique, well-researched posts are a direct reflection of these conversations.
This thread hits on a divergence between discussion and the front page. I do spotlight conversations in the news stream and we have a permanent box on the front page for 'active discussions.' Its amusing how Rhizome staff has always been accused of being an in-club, when really the staff has always been a group of people trying to promote the work of artists in this field to the wide audiences that come to our site with as much integrity as possible. If there are ways you think discussion and the front page could be bridged more, we are always open to suggestions. Feel free to send your comments/ideas my way, editor (AT) rhizome.org
Performa is a non-profit interdisciplinary arts organization founded by RoseLee Goldberg to commission and present new performance work in the visual arts. Drawing upon the rich history of performance in New York City, Performa provides a vibrant context to expand the possibilities and accessibility of live performance for artists and audiences (www.performa-arts.org).
Interest in architecture and engineering preferred and a knowledge of the contemporary art world helpful.
If you are interested please send a note of interest to:
tairone at performa-arts.org
Yes, we plan to post video documentation of the Net Aesthetics 2.0 panel to the site. Working on it!
The Arts, Media and Engineering Program (AME) (http://ame.asu.edu) at
Arizona State University is announcing an opening for a tenure-track
assistant professor in Visual Media and Gaming.
The goal of AME is transdisciplinary research and education in the
integrated development of experiential media systems. The program has
established its own graduate interdisciplinary curriculum which includes AME
concentrations in Electrical Engineering, Computer Science and Informatics,
Dance, Music, Theater and Visual Arts, Design, Psychology, Bioengineering,
Education, and a soon to be launched PhD in Media Arts and Sciences. Ten AME
faculty and 30 affiliated faculty from the participating departments work
collaboratively with graduate students supported by research assistantships
for the creation of innovative media systems and applications. AME has state
of the art media facilities.
The successful candidate will take a leadership role in the design and
development of the visual aspects of multimodal interactive systems and
gaming technologies at AME and will also lead student training in this area.
The individual hired will spearhead research in cutting-edge areas:
interactive graphics and animation, interactive visual narrative, visual
displays for everyday systems, gaming systems. The appointee