Artist Cory Arcangel appears at Light Industry to perform the first complete and authoritative version of his now-notorious Bruce Springsteen Born to Run Glockenspiel Addendum. This appearance marks the first time “and perhaps last” that Arcangel will provide live accompaniment on glockenspiel to Springsteen’s canonical album in its entirety, alongside the premiere of a new video featuring Springsteen and the E Street Band.

“In 2006, on a whim, I decided to go uptown to Sam Ash music store, buy a Glockenspiel and record glockenspiel parts for the songs on Bruce Springsteen’s Born to Run record that did not already feature that instrument. Most everything I have ever made has been ignited from a similar semi-destructive whim. A certain idea, most often against my better judgment, mixes with my slight OCD, and I can’t stop thinking about it until it is completed. Some people count their steps on the way to work…I do this. This project took a few weeks (the glockenspiel turned out a little more difficult to play then it would seem) and eventually ended up as a 12inch vinyl sold off of my website. This release featured just my Glockenspiel playing and a lot of silence in between. The intent was that people were supposed to play my record and the original at the same time. Once I sold out of these I released a FREE mix CD. This featured my Glockenspiel tracks mixed back into Bruce’s original. To most people, this second version sounds just like Springsteen. This free CD has been distributed over the past year or so, at galleries, performances, and to friends. Since it is tagged by computers automatically, it has circulated as Springsteen. My thoughts on this version were based on the fact that my own artwork for years had floated around the Internet uncredited, in fact I kinda encourage it, so why not just start it off this way? Cut out the middle man so to speak, even if the middle man is myself. Since this gesture is kinda an end game for p2p and art, at light industry I will be doing the opposite……….a live performance. You will get me, playing Glockenspiel live, a real experience, with a live instrument. One night only. Also as an added bonus, after years of fooling around playing only small bits of this composition because I was too lazy to practice the hard parts (i hate practicing an instrument), this will be THE FIRST TIME EVER I HAVE ACTUALLY PLAYED THE WHOLE THING. Mistakes and all! 42 minutes!!! Plus there will be an all new video accompaniment. One could even call it a premiere. A real sensation so to speak. You will see the gesture at its source, before it gets vacuumed up into p2p networks, and its provenance is erased ………. Ill also bring some of those mix CD’s 2 give away. So there will be a live performance and a FREE CD, one a pastiche of the other, or both pastiches of whatever, but to be honest at this point I cant see any other way to go for 2008. And what role does Bruce play in all of this? Well, nothing to be honest. It was just a whim afterall.” - Cory Arcangel

http://www.youtube.com/watch?v=imz_DdzmL_c

Cory Arcangel is an artist, performer, and curator who lives and works in Brooklyn. His work centers on his love of personal computers. He is the co-founder for the Beige Programming Ensemble. Current interests include C.S.N.&Y., C.S.N., CSS, RSS, GCC , C++, HTML, XML, and TEX. His work has shown in the Whitney Museum of American Art, New York, The Guggenheim Museum, New York, the Museum of Modern Art, New York, The Museum of Contemporary Art, Chicago, Musee d’Art Moderne de la Ville de Paris, Space 1026, Philly, the Migros Museum, Zurich, Team Gallery, New York, and Thaddaeus Ropac Gallery, Paris/Salzburg and on the world wide web at the address http://www.beigerecords.com/cory/

At what point will common sense prevail, 26 sound works to be presented for a 5 year period, was commissioned by the Lewis Glucksman Gallery and curated by René Zechlin. It marks the second phase of a series of projects exploring the formation of opinion; it deals with how cognition occurs in conversation, discussion or debate.

Phelan produced the text for each of the sound pieces by participating in a range of online forums, from physics to religion. Subjects such as Commitment to truth, Youth isn’t a defense or Change is our only Commonality were inspired by previous ideas associated with the first phase of the overall formation of opinion project. These online discussions were led by the artist and then edited into scripts. Thirteen scripts were translated into French, Spanish, Dutch, Chinese or Kirundi; the others remain in English. Phelan recorded the reading of the texts by 26 different native speakers in the basement of The Lewis Glucksman Gallery, located in Cork City, Ireland. They were then recorded a second time; they had to listen to their own recording and repeat exactly what they heard the moment they heard it, thereby creating 26 regurgitated monologues.

At what point will common sense prevail is a challenging audio project that raises questions about private outlooks and current modes of personal and media communication.

Kunstradio – Radiokunst is presenting a selection of At what point will common sense prevail as part of its Curated by series.

David Tagg - Waist Deep Seas of Milk (review) New York musician, David Tagg, has seen The Future of Modern Guitar. And this sonic seer’s astral projections are sumptuously spread across the ambient expanses of Waist Deep Seas of Milk, though all trace of twang, pluck and strum is dissolved in FX haze and spun out in endless echo returns. Review by Alan Lockett.

Favourite Places (review) Everyone has a favourite place, whether cosy internal retreat or cherished patch of Great Outdoors. Forest, bathtub, museum and alley find common cause on this audio-document from Audiobulb, compiling ten pieces representing selected artists’ Favourite Places. Captured field recordings blend with musical treatments to make mementos enfolding inspiring source within inspired composition. Review by Alan Lockett.

Hectic Tenuous - Chic Nerve (review) Starting with flanged, panned scratching (ala fingernails, not decks), this solo CDR from The Caution Curves laptop lady Rebecca Mills, is an eleven track melange of textures, echoes, drones, processed field recordings and even the occasional bit of singing! Review by Mark Francombe.

La Ciutat Ets Tu - Tomasz Krakowiak (review) La Ciutat Et Tu surrounds the listener with evolving percussive transformations in timbre. The compositions have a circular unwinding quality, never abrasive and utterly hypnotic. Tomasz Krakowiak is a Polish-born percussionist now living in Toronto, Canada. Having collaborated with the likes of Kaffe Matthews, John Oswald, Phil Minton, Otomo Yoshihide, Gert-Jan Prins among other. Review by Derek Morton.

Love City by Dsic (review) Dsic, also known as Greg Godwin, is a Bristol-based noise artist that employs a wide range of influences and sound sources. Love City and the miniDsic EP, both released through Lf Records, weave their way through noise, drone, glitch, ambient and microsound. Review by Alex Young.

Nelson Foltz and Tom Lynn - Still Life (series) (review) The internally themed Rothko-esque cover art of the Still Life series could stand as a semiotic of Nelson Foltz and Tom Lynn’s sound, with its slow-shifting tones that spread across a spartan canvas - ostensibly static swathes that reveal micro-variativity on deeper insertion. Review by Alan Lockett.

Of Memory & Dreams - Bill Thompson (review) There is a trajectory that many improvised electro acoustic performances reach, which although unique in every given context, often manage to take you to a zen like point where you become one with the signal and phase in and out of listening to the development of structure or dynamic of the work. Review by Roger Mills.

Three Rooms - Steve Peters (review) Sound artist Steve Peters’ recent CD, Three Rooms documents three of his site-specific installations. The three pieces succeed without reference to the installations for which the pieces were originally composed, capturing the quiet reflection of the original locations. Review by Caleb Deupree.

The whole piece is based on field recordings from: Mamori Lake, Amazonia, Brazil; Alphios Bridge, Ancient Olympia, Greece; Vibrations from the bridge which connects Denmark with Sweden; A bottling plant in operation and hydrophone recordings from Mamori Lake. Also used were sounds and notes from a church organ. Output signals have been manipulated and electronically treated.

Dramazon is made in memory of a long rainy night in Amsterdam… In the era of 01110011000111010110, one thing remains stable and it will remain stable and non-mutated for eternity. The way people kiss, the way bodies are connected…
Listen >>

TouchRadio is internet audio broadcast streaming direct from the server. To listen you need a mp3 player app. that supports streaming such as Apple’s iTunes for Mac and PC. In the archive >>: Jana Winderen, Guðni Franzson, Lasse Marhaug, Chris Watson, Steve Roden, Leif Elggren, Scott Taylor, The Skull Defekts, Daniel Menche, Fennesz/Rehberg/Toral & Feliciano, Brandon LaBelle, Stephan Mathieu, Leif Inge, Jacob Kirkegaard, People Like Us, KK.Null, Peter Rehberg, Toshiya Tsunoda, Philip Jeck, z’ev, Christian Fennesz & Max Nagl, Carl Michael von Hausswolff, BJNilsen.

Beginning at 2:00 pm there will be in-store hearing tests administered on an audiometer :: 2:15 – 2:16 (EDT) International Minute of Silence :: 8:00 pm Concert – Brendan Murray, Asher, Jed Speare.

The concert will feature an investigation into the earliest known recording, from 1860, predating Edison’s by 28 years. A recent article in the NY Times on Edourard-Leon Scott de Martinville’s phonautogram included the sound file of this recently played-back recording. (To read the article and listen to the sound file, go here.) Brendan Murray, Asher, and Jed Speare will exclusively source this recording as the form-building basis for their concert, signaling a clear intent to transform. While juxtaposed within the confines of Twisted Village’s aeons and multitudes of recorded sound, this pause for reflection, of 148 years, beckons new sonic awareness, here for the future.

The data stream is transmitted via wireless LAN from PALAOA to the German Neumayer Base. From there, a permanent satellite link transmits the data to the AWI in Germany. A constant hiss pervading the signal is the natural, isotropic background noise made audible here through the use of ultra sensitive hydrophones. Additional broad band noise caused by wind, waves and currents adds to it on occasion. Due to the limited bandwidth of the satellite link, jamming of the WLAN link due to storms, or energy shortage, the connection might temporarily be down or scrammed.”

You can listen to the underwater sound of the Antarctic Ocean with a delay of a few seconds. [MP3 audio stream. OGG-Vorbis audio stream - provides better sound quality at a lower bitrate, for a list of compatible players please check out www.vorbis.com.] [via]

Thus, van Veen turned to reel-to-reel (RTR) tape machines and Konstantin Raudive’s experiments with blank media in which he attempted to record the ‘voices of the dead’. (Little did van Veen know that John Hudak was exploring similar terrain in Voices from the Paradise Network.)

“This led to a series of investigations of the sonic realm arising between two networked R2R machines, a simple mixer and a DSP processor (to add spatialization and stereo channel manipulation to sometimes mono signals). These investigations revealed a performative realm, a space to improvise and to develop a capacity to ‘play’ the machines, or rather tweak & twiddle their hard knobs into spasms of ecstasy, cries of joy &, at times, moans of despair. The machines sang to me & each other, & I was drawn into the deadzone…”

[’til death do us a part] will be performed live at Programmable Media II: Networked Music tomorrow [Not in New York? Join us in Second Life].

Read Greg J. Smith’s interview with Tobias on Serial Consign.

[’til death do us a part] is a 2007 commission of New Radio and Performing Arts, Inc., for Networked Music Review. It was made possible with funding from the New York State Music Fund, established by the New York State Attorney General at Rockefeller Philanthropy Advisors.

BIOGRAPHY

Tobias c. van Veen is a renegade theorist and pirate, techno-turntablist and writer. Since 1993 he has directed conceptual and sound-art events, online interventions and radio broadcasts, working with STEIM, the New Forms Festival, the Banff Centre, Eyebeam, the Video-In, MUTEK, MDCN.ca, the Vancouver New Music Society and Hexagram. His work has appeared in CTheory, EBR, Bad Subjects, Leonardo, Locus Suspectus, FUSE (contributing editor), e/i, the Wire, HorizonZero and through Autonomedia, among others. He has sonic and mix releases on No Type’s BricoLodge and the and/OAR labels. From 1993-2000 he was Direktor of the sonic performance Collective [shrumtribe.com] in Vancouver. He is co-founder of technoWest.org with Dave Bodrug, controltochaos.ca with DJ FISHEAD and thisistheonlyart.com with artist ssiess. From 2002-2007 Director of UpgradeMTL [upgrademtl.org] and Concept Engineer at the Society for Arts and Technology [SAT.qc.ca]. Tobias is doctoral candidate in Philosophy & Communication Studies at McGill University.

The new “phonautograph”, created by etching soot-covered paper, has now been played by US scientists using a “virtual stylus” to read the lines. “When I first heard the recording as you hear it … it was magical, so ethereal,” audio historian David Giovannoni, who found the recording, told AP.” Continue reading Oldest recorded voices sing again, BBC News. You can also listen to the recording.

A few months ago I wrote a note to myself: “Try to create a mask that that doesn’t have anything to do with anything” and kept wondering what that could mean until I started to imagine Mask/Mirror. Mask/Mirror a sampler to process recordings of spoken language in real time… The sampler follows both sound and meaning criteria in sorting, organizing and processing samples and in formulating utterances. It is a software tool based on MaxMSP and speech recognition software interacting with my own voice during performances. It’s also a state of mind enabling expanded spoken and vocal improvisation, expanded communication and ecstasy.

It has been developed in collaboration with Harvestworks Digital Arts Center in New York and STEIM in Amsterdam. Mask/Mirror has to do with virtually everything but at the same time it does not have anything special to do with anything special. As well as being a blank mask I can put on my face - and my voice - it’s also a mirror that let me browse and talk to my memory while I am watching into it.

All mirrors are masks and vice versa. Both are tools enabling identity.

“It is difficult not to treat Mask/Mirror, with its randomized garble of words, as a willfully cryptic Oracle of Delphi reincarnated as an Apple laptop. While Bosetti had described the project as “about the aboutness of being about” what Noise got out all of this is that it’s devilishly hard not to seek meaning even where it’s clear none is forthcoming. Not until the program, in a moment of absurd hilarity, spit forth the word “hamburgers” did it all click: Mask/Mirror is a tool for shearing all meaning from language. It’s a liberation, of sorts, like the sound version of Rorschach tests: The mind is encouraged to wander freely and delight in words purely for their sound. In the information overload of contemporary times, Mask/Mirror’s playful rupturing of sense–its nonsense, in other words–is a welcome respite.” Raven Baker - Noise/Citypaper

ALESSANDRO BOSETTI, voice, electronics, Berlin / Milano / Baltimore: Alessandro Bosetti, composer and sound artist, was born in Milan, Italy in 1973. He works on the musicality of spoken words and unusual aspects of spoken communication and produced text-sound compositions featured in live performances, radio broadcastings and published recordings. In his work he moves on the line between sound anthropology and composition often including translation and misunderstanding in the creative process. Field research and interviews often build the basis for his abstract compositions along with electro-acoustic and acoustic collages, relational strategies,trained and untrained instrumental practices, vocal explorations and digital manipulations. Since he’s curious about differences he travels. Just in 2006 he’s been living and working in West Africa, China, Taiwan, Holland, Scandinavia, United States , Germany and Italy. For the future he plans to be living and working between Berlin (D), Milano (I) and Baltimore (USA).

CHRISTIAN KESTEN, voice, Berlin, Germany: Christian Kesten was born in 1966 and works as composer, performance artist, vocalist and stage director. He lives in Berlin, Germany. His interest lies in the “space in-between”: between music and theatre, music and language, between music and the visual arts. His pieces work with the space which opens up between the sound of language and the parallel, non-illustrative action (-cycling 1990; des Kleinen Übergewicht 1995; 45 seconds 2006). They make use of everyday spaces and their sounds, including works made for train stations, in which minimal sounds of winds and brass are spread over the station and mixed with sounds of trains and passers-by (nordbahnhof 1996, bahnhof westend 1996, bahnhof zoo 1997). welcome home is written for the squeaking doors of the Nordbahnhof station in Berlin and two violins which mirror the door sounds: the passers-by experience the music while on the move. In (o.T.) für klarinette in einem raum mit langem nachhall 1(1999) and 2(2000) [(without title) for clarinet in a space with a long reverberation time] the clarinet plays to its own reverberation as a second voice, microtonally, and thus refers to the presence of space. parochial (1998) – for the group “Maulwerker” (4 female voices, trumpet/voice, clarinet/voice, alto saxophone + additional instruments) – was written especially for the space of the Parochialkirche in Berlin: sculptural shaped sounds are moved in space, while trumpet, clarinet and sax move mostly outside the space and so extending acoustic perception beyond the walls of the church.

Recently he developed the “video audio field recording”, by recording field sounds with a video camera, composing dense and light sound textures of field recordings and live instruments. The projected images are always fixed camera angles, filming spaces in-between, the incidental, the mundane: the Los Angeles catalogue; dodger stadium; cypress park; urban cafe restroom (all 2007). Kesten studied at the University of Arts (UdK) Berlin (Music: guitar, piano, voice; counterpoint/twelvetone-technique with H.Fladt; musicological thesis on “Silence in the works of John Cage and Morton Feldman”; Experimental music and music-theatre with Dieter Schnebel | Performance Art | Projects with the stage design class of Achim Freyer) and TU Berlin (German literature and linguistics). 1989-91 he studied privately with Michael Vetter (overtone singing, vocal improvisation, calligraphy/notation etc.). Movement studies with various teachers (Amos Hetz a.o.).

Since 1987, he has been performing new vocal music and experimental music-theatre throughout Europe and in New York, Rio de Janeiro, Israel, Moscow and Tokyo. He currently works with the ensemble “Maulwerker” and as soloist. In a long collaboration with Dieter Schnebel he premiered most of his music theatre works since 1987. He has recently worked with Alessandro Bosetti, Jacques Demierre, Chico Mello, Makiko Nishikaze, Iris ter Schiphorst, who wrote solo works or operas for him. Kesten conceives and curates the series “maulwerker performing music” (since 2005) in Berlin with programs like ?poems for feet“, ?pro cedere. Music as Process“, “Situationen.. Interpenetrations of art and life” or “Halt’s Maul. Screaming pieces from four decades”, with World Premieres by Antonia Baehr, Alessandro Bosetti, Bill Dietz, Jürg Frey, Robin Hayward, David Helbich, Michael Hirsch, Sven-Åke Johansson, Travis Just, Christian Kesten, Andrea Neumann, Pauline Oliveros, Dieter Schnebel, Emmett Williams, István Zelenka, a.o. Since 2006, he is co-curator of the experimental music concert series Labor Sonor at KULE Berlin.

Diapason gallery for sound and intermedia was founded by composer Michael J. Schumacher in 2001 and its program builds on the efforts of Schumacher’s previous sound space, Studio Five Beekman, founded in 1996. Diapason is the sole venue in New York City and one of few internationally dedicated to the presentation of multichannel sound installation where composers and sound artists can realize their work for an interested public. By providing an optimum listening environment, two high quality multi-channel sound systems, a regular audience, and a place for experimentation, Diapason seeks to engage composers and the public in dialogue about the place of contemporary music and sound practice in a broader cultural context. Diapason is supported by NYSCA, the New York City Department of Cultural Affairs, the Phaedrus Foundation, the Foundation for Contemporary Performance Arts, The Trust for Mutual Understanding, Kirk Radke, and by generous individuals. Diapason is a 501(c)3 organization.

Newcastle-based Chris Watson — who Stephen Vitiello calls “a brilliant master of environmental and field recordings” in his recent interview with Peter Traub for NMR — is one of the world’s leading recorders of wildlife and natural phenomena. A former sound archivist for the RSPB, Watson was a BAFTA award-winning force behind David Attenborough’s The Life of Birds, The Blue Planet and The Life of Mammals.

“I love the sounds of these parallel worlds,” he says - “spaces we occupy alongside other animals but rarely tune into.” On location he explores his experiments in sound, then weaves them into haunting recordings.

Watson has made three solo albums and also takes his field recording into the performance arena, producing surround-sound installations in the UK and abroad.

Watson has been working with sound since 1972. In the late 1970s and early 1980s he was a member of the early English industrial music group Cabaret Voltaire. After departing C.V., he co-founded The Hafler Trio, an experimental music project. In 1987 he formally began his present work as a sound recordist.

You can listen to some of his work here:

Wild Song at Dawn

Blessing

Celebration