Davide Balula

Mimed Sculptures,(Henry Moore, Moon Head)

“Artistas vestidos com uniformes brancos e luvas de manuseio de arte rosa se movem em torno de pedestais de vários tamanhos. Eles gesticulam, imitando os contornos de esculturas – Le-nez de Giacometti (1947), Hang up de Eva Hesse (1966) e Paisagem inconsciente de Louise Bourgeois (1967 -8), entre outros.
Como se fosse um jogo de charadas da história da arte, você se pega adivinhando com o que eles estão manipulando, qual é a superfície e a textura dos objetos. Através dessa performance, a nova relação sensual com essas obras é formada. No entanto, você não pode deixar de fazer a conexão com o comentário sobre a arte de manipular em si – pode o mundo da manipulação de arte, instalação de exposições e, de fato, venda de obras de arte estar se tornando tanto uma arte quanto a própria obra de arte? ” Maisie Skidmore

ANDREW KUDLESS

P_wall (the self-organization of material)
P_Wall (2009) was commissioned by the SFMOMA Architecture and Design Curator Henry Urbach for the exhibition Sensate: Bodies and Design. The wall, part of a series started with P_Wall (2006), is an evolution of the earlier work exploring the self-organization of material under force. Using nylon fabric and wooden dowels as form-work, the weight of the liquid plaster slurry causes the fabric to sag, expand, and wrinkle.

FREDERIK HEYMAN

Formalidade Cerimonial
O trabalho de Frederik Heyman é um ato de equilíbrio que incorpora várias mídias – incluindo vídeo, instalações e fotografia – muitas vezes em um ambiente digitalmente alterado. Em seu trabalho, Heyman explora a memória e a duração, usando fotogrametria e digitalização 3D para retratar e representar a passagem do tempo. As marcas registradas do trabalho de Heyman são mecânicas e tecnológicas: fios, rodas, letreiros LED de rolagem, armações de metal, pinças, lâmpadas industriais, telas e câmeras. Corpos – ao contrário dos humanos – estão sujeitos a uma dinâmica incomum com essas armadilhas tecnológicas. Em Cerimonial Formality (2020), uma contorcionista está presa em uma gaiola de metal enquanto um espectador, preso a fios, observa.

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Zeremonielle Formalität Frederik Heymans Arbeit ist ein Balanceakt, der mehrere Medien einbezieht – darunter Video, Installationen und Fotografie – oft in einer digital veränderten Umgebung. In seiner Arbeit erforscht Heyman Gedächtnis und Dauer, indem er Photogrammetrie und 3D-Digitalisierung verwendet, um den Lauf der Zeit darzustellen und darzustellen. Die Markenzeichen von Heymans Arbeit sind mechanisch und technologisch: Drähte, Räder, scrollende LED-Schilder, Metallrahmen, Pinzetten, Industrielampen, Bildschirme und Kameras. Körper unterliegen bei diesen technologischen Fallstricken – anders als der Mensch – einer ungewöhnlichen Dynamik. In Ceremonial Formality (2020) ist ein Schlangenmensch in einem Metallkäfig gefangen, während ein kabelgebundener Zuschauer zuschaut.

Terreform ONE

PLUG-IN ECOLOGY: Urban Farm Pod with Agronomy
The Plug-In Ecology; Urban Farm Pod is a “living” cabin for individuals and urban nuclear families to grow and provide for their daily vegetable needs. It is an interface with the city, potentially touching upon urban farming, air quality levels, DIY agronomy techniques in test tubes, algal energy production, and bioluminescent light sources, to name a few possibilities. It can be outfitted with a number of optional systems to adapt to different locations, lighting conditions, and habitation requirements. While agricultural food sources are usually invisible in cities such as New York, the pod archetype turns the food system itself into a visible artifact, a bio-informatic message system, and a functional space.

CHRISTIAN BOLTANSKI

基督教波尔坦斯基
בולטנסקי
クリスチャン·ボルタンスキー
Кристиан Болтански

Homage

R.I.P 1944-2021

Preoccupied with collective memory, mortality, and the passage of time, Christian Boltanski creates paintings, sculptures, films, and mixed-media installations that approach these themes in a range of styles, symbolic to direct. Boltanski often makes metaphorical use of found objects, as in No Man’s Land (2010), an enormous pile of discarded jackets set to the soundtrack of thousands of human heartbeats, suggesting the anonymity, randomness, and inevitability of death. In Monuments (1985), electrical bulbs cast a seemingly bittersweet light on pictures of child holocaust victims. Describing his interest in personal histories, Boltanski has said, “What drives me as an artist is that I think everyone is unique, yet everyone disappears so quickly. […] We hate to see the dead, yet we love them, we appreciate them.”

VR/URBAN

SMS Slingshot
file festival

SMSlingshot
The SMSlingshot est un lance-pierre numérique qui envoie des SMS colorés sur les murs, telles des billes de paint-ball. La recette est simple, ou presque : un vidéo projecteur, un lance-pierre en bois muni d’un pointeur laser et une radio à Ultra Haute Fréquence. L’utilisateur utilise le clavier du lance-pierre pour écrire son message, vise un mur et le bombarde. Son SMS s’inscrit dans une tâche de peinture colorée.
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SMSlingshot
Der SMSlingshot ist eine digitale Schleuder, die wie Paintballs bunte Textnachrichten an Wände schickt. Das Rezept ist einfach oder fast: ein Videoprojektor, eine Holzschleuder mit Laserpointer und ein Ultrahochfrequenz-Radio. Der Nutzer schreibt mit der Schleuder-Tastatur seine Nachricht, zielt auf eine Wand und bombardiert diese. Ihre Textnachricht ist Teil einer bunten Lackierung.

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SMSlingshot
SMSlingshot è una fionda digitale che invia messaggi di testo colorati ai muri come palline di vernice. La ricetta è semplice, o quasi: un videoproiettore, una fionda di legno con puntatore laser e una radio Ultra High Frequency. L’utente utilizza la tastiera a fionda per scrivere il proprio messaggio, mira a un muro e lo bombarda. Il suo messaggio di testo fa parte di un lavoro di pittura colorato.

Denis Villeneuve

Arrival

“Arrival’s narrative plays out in four languages: English, Mandarin, Russian and Heptapod. Though they are not spoken in the film, we learn that Louise is also fluent in Farsi, Sanskrit and Portuguese (and possibly others). The language learning process and the growing translingual bond between Louise and the heptapods forms the film’s narrative arc and the majority of its plot. Thus language, and specifically the mechanics of ←215 | 216→multilingualism, is Arrival’s central theme. Within this context, the ability to communicate across language barriers is an asset, and the flexibility to navigate new linguistic challenges is invaluable. The heptapods are pure science fiction, but serve a powerful metaphorical function. As Emily Alder (2016) writes in The Conversation, “ultimately, Arrival is less about communicating with the aliens than with each other – internationally but also individually […] The film’s message is that difference is not about body shape or colour but language, culture and ways of thinking. It’s not about erasing that difference but communicating through it”. Gemma King

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语言学习过程以及路易丝与七足动物之间越来越多的跨语言联系形成了电影的叙事弧线和大部分情节。 因此,语言,尤其是←215的机制| 216→使用多种语言是到达中心的主题

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Процесс изучения языка и растущая межъязыковая связь между Луизой и гептаподами составляют повествовательную дугу фильма и большую часть его сюжета. Таким образом, язык и, в частности, механика ← 215 | 216 → многоязычие – центральная тема Арривала.

ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
Боб Уилсон
SHAKESPEAR`S SONETTES
Staging Shakespeare, not dramatic but lyrical: that was the intention of the American director Bob Wilson in Sonnets de Shakespeares (Sonnets de Shakespeare), a show on display at the Berliner Ensemble. To that end, Wilson is associated with American-Canadian composer and musician Rufus Wainwright. The result is a variety night, with reference to all genres of entertainment, from the commedia dell’arte to television sketches, passing through the cabaret. If in the Elizabethan era female roles were played by men, Bob Wilson did the same, creating this reverse practice: actresses play male roles. This inversion – Queen Elizabeth 1st, on her throne, declaiming a sonnet with a deep voice and Shakespeare himself, as a young man and an elder, in female voices – further intensifies the farcical tone of the show. So much so that even the sporadic number of transvestite actor Georgette Dee, microphone in hand, does not disagree much of the Shakespearean surroundings.

Do Ho Suh

Passages

Do Ho Suh es un artista coreano que crea instalaciones espectaculares utilizando varios materiales, incluida la tela de poliéster. Para explorar los vínculos entre la individualidad y la comunidad, a menudo usa hilo y tela para invertir el espacio. Al distorsionar las perspectivas y jugar con las propiedades mismas de los materiales utilizados, el artista pone a prueba nuestra percepción del espacio y nuestro lugar en él.
¡Impresionante!

SUNYUAN & PENGYU

孙原和彭禹
ВС ЮАНЬ И ПЭН ЮЙ
Teenager Teenager
“Teenager Teenager est une installation unique et hyper-réaliste réalisée par les artistes chinois collaboratifs Sun Yuan et Peng Yu. L’installation présente des corps humains vêtus de costumes fantaisie et de robes du soir tout en se prélassant sur des canapés et des chaises en cuir, mais avec des rochers géants pour les têtes. L’étrange La situation évoque un sentiment de perplexité chez les téléspectateurs, qui sont confrontés à déchiffrer un message dissimulé dans l’arrangement inhabituel. ” Katie Hosmer

GAO BROTHERS

高氏兄弟
אחים גאו
ГАО БРАТЬЯ
Lenin Sculpture
Miss Mao (Trying To Poise Herself At The Top of Lenin’s Head)

Œuvre des frères Gao de Chine, la sculpture de Lénine est une autre pièce dans leur progression de l’art provocateur. Les artistes ont inclus plusieurs éléments qui montrent cette figure controversée sous un nouveau jour pour le monde de l’art. Avec une finition chromée vive, la sculpture en métal est construite à partir de sections horizontales qui ont été délibérément décalées pour constituer cette ressemblance très inspirante du dictateur russe impitoyable Vladimir Lénine. En tant que personne bien connue, la décision des artistes de donner à son visage une finition chromée détourne l’attention de Lénine et du contexte de la sculpture en permettant aux réflexions de mettre en évidence l’environnement immédiat au lieu de Lénine d’une manière convenablement dégradante. Les sections décalées représentent son héritage brisé et destructeur qui a provoqué tant de troubles en Russie. Au sommet se trouve une inclusion très ludique de bébé tenant un bâton d’équilibre au-dessus de la tête saillante de Lénine, comme s’il marchait sur une corde raide de ses idéaux marxistes désastreux et risqués.

OUCHHH

Sagen Sie Superstring
Ouchhh wird sich von den im Universum vorhandenen Noten inspirieren lassen, während Mikroketten in Echtzeit vibrieren (subatomare Teilchen), und die von den Noten erzeugten Melodien als “Materie” und die Symphonien dieser Melodien als „Universum“ definieren. Mit Dastrio wird Ouchhh in der hochgradigen Gravitationstheorie 11 Dimensionen in abstrakten Richtungen aufnehmen und sie in Echtzeit über den Raum hinaus bewegen. Die im Wohnraum intuitiv erfassten Dimensionen ändern sich ständig und werden Wirklichkeit.

Kimchi and Chips

Difference and Repetition
The title references Deleuzes thesis ‘Difference and Repetition’ – his attempt to understand reality without referring to identities. The artists aim to ‘unidentify’ the audience – to criticize the bubbles of reality which technology has helped us to build around ourselves. By allowing ourselves to remove our identity occasionally, we can better understand the thoughts of those we disagree with and therefore better work together to build a combined reality. Difference (in both senses) is generated by the motion control system which continuously changes the pose of the mirrors relative to the viewer. This movement disrupts space itself, creating a transformation similar to that of a Lorentz transformation when one travels close to the speed of light. This causes space itself to compress, twist and break, giving the viewer a tool for observing the non-absolute nature of time.

LAb[au]

What hath God wrought?
The title of the installation is a line from the Book of Numbers in early modern English. It was the first message transmitted by telegraph in 1844, the first communication technology on the basis of electricity and binary coding. The artwork is fed by the 100 most used words in Thomas More’s book ‘Utopia’, feeding the correspondence between a series of telegraphs. The telegraphs translate the words into sound and light. Written rolls of paper drift to the floor. Slowly but surely, mistakes slip into the closed system and the meaning of the words alters. The Morse orchestra deals with the rationalism of the Renaissance and its belief in progress and posits by contrast an aesthetic of a self-regulating system in which the fault rules and defect becomes beauty.

bill viola

比尔•维奥拉
빌 비올라
ביל ויולה
ビル·ヴィオラ
БИЛЛ ВИОЛА
martyrs (earth, air, fire, water)

“As the work opens, four individuals are shown in stasis, a pause from their suffering. Gradually there is movement in each scene as an element of nature begins to disturb their stillness. Flames rain down, winds begin to lash, water cascades, and earth flies up. As the elements rage, each martyr’s resolve remains unchanged. In their most violent assault, the elements represent the darkest hour of the martyr’s passage through death into the light.”

CHRIS CUNNINGHAM

Björk: All Is Full of Love

The video reaches its harmonious climax as the robots join in embrace, still being detailed by the robotic machines beside them.
Each robot was designed by Cunningham, faces reminiscent of Björk’s own delicate visage. The sterility of the room and lighting and the rendered movements of the machines contrasts with the fluid motions of the robots as they connect in a purely human method.

RAFAEL LOZANO-HEMMER

РАФАЭЛЬ ЛОЗАНО-ХЕММЕР
拉斐尔·洛萨诺 – 亨默
ラファエル·ロサノ=ヘメル
라파엘 로자노
רפאל לוזאנו, המר
Open Air
Depending on atmospheric conditions, Open Air could be seen up to 10 miles away from the Parkway each evening from 8 to 11 p.m. The Project Information Center at Eakins Oval was equipped with app download, free mobile loan stations and seating areas for watching the lights and listening to the messages. There was also be an Information Outpost located at Sister Cities Park (18th Street and Logan Square).The Open Air voice archive also features selected “Voices of Philly,” recorded messages from distinct individuals both past and present who have inspired and influenced the flavor of Philadelphia. “Voices of Philly” messages are accessible on this website and were played at various times throughout the project. Content for “Voices of Philly” was collected by project partner WHYY executive producer Elisabeth Perez-Luna and includes David Lynch, Sonia Sanchez, Sun Ra, Louis Kahn, M. Night Shyamalan, Tina Fey, ?uestlove, Marcel Duchamp, Buckminster Fuller, Jimmy Heath, Santigold, Maurice Sendak, Patti LaBelle and many more.

THATGAMECOMPANY

Journey
File Festival
Enter the world of Journey, the third game from acclaimed developers thatgamecompany and presented by SCEA Santa Monica Studio. Journey is an interactive parable, an anonymous online adventure to experience a person’s life passage and their intersections with other’s. You wake alone and surrounded by miles of burning, sprawling desert, and soon discover the looming mountaintop which is your goal. Faced with rolling sand dunes, age-old ruins, caves and howling winds, your passage will not be an easy one. The goal is to get to the mountaintop, but the experience is discovering who you are, what this place is, and what is your purpose.

South Georgia Heritage

NEON – Fantastical Architecture, Art and Design

FROM DARKNESS TO LIGHT
South Georgia Heritage Trust launched an open call for a site-specific commission to be located on Grytviken the former whaling station of sub-Antarctic Island of South Georgia. The project was required to celebrate the whale through a reinterpretation of the former Flensing Plan (a large timber deck used to process the captured whales) and offer a message of hope for future generations by demonstrating how humankind can move from exploitation to conservation. Our proposal imagines that the deck of the Flensing plan has been cut like a piece of flesh from the ground and bent upwards to form an arc. The timber deck is replaced with concrete pavers which are coloured based on the activities which took place in the sites past and present (whale processing and whale watching). The coloured pavers are positioned to create a gradient which provides the visitor with a visual representation of the way the site has changed over time.

Atsushi Koyama

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What exactly is METAMACHINE? The metaphor comes from the artistic path of Atsushi Koyama, one of the participating visual artists. While emphasising the aesthetic qualities of machines and mechanical drawings in oil paintings, Koyama merges the human body with mechanisms, creating a man-machine (similar to the notorious Tetsuo, but in a more sublimated way). As if to incorporate the beauty of the human body, Koyama’s mechanisms break away from their earthly nature. They take us to another reality, beyond utilitarian usage or function itself. Koyama’s machines act more like ‘mechanical’ (‘mechaaesthetical‘) keys to another dimension, existing outside of the physical reality and its laws.

 

yoshi sodeoka

of soil

Of Soil explore la relation entre les modèles de la nature etl’infini. La pièce est composée de fragments photographiques et d’éléments géométriques, disposés en motifs complexes résultant en un jeu kaléidoscopique ressemblant à une transe du soleil scintillant et de la lune noire, du paysage, de l’ombre et de la lumière, alors que le jour cède la place à la nuit.

XANDRA VAN DER EIJK

Momentum
Momentum shows the rhythm and registers the passage of time. The installation, accompanied by the actions of the artist, describe the bittersweet feelings of transience. In a four meter long iron construction pigments drip slowly, drawing circles on a water surface.

CHANG YEN TZU

Self Luminous 2 – Unbalance
Self-luminous 2 is an experimental handmade instrument shown as performance. It is a series-project which I have been working on since 2013 and finally developed into shape in 2014. I am looking for intimate and personal instrument that reflects on the relation of digital sound and light message. In computer language, light on is 1 and light off is 0. If more than 2 lamps, it could be code or readable possibility by the meanings. When I press the button or turn the knob, the message will be sent to Pure Data, and the sound will be triggered in live by Pure Data.
The Data of sound such as frequency and volume, are analysed and sent out to the second Arduino to control the light. The light, in thus case, is an intuitive element for human beings. From this point, it is really close to sound which disturbs our biological body directly. The lights are visualised and they can be transferred the into messages. The message might be readable by coincidence with the link to the code. The light is bright enough to let audience to have persistence of vision in mind. During the performance, the sound will be reproduced by code and part of it is impromptu.
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JON RAFMAN

New Age Demanded
“New Age Demanded” tries to send a strong message regarding the role of the artist, who in each era is called upon to offer something new, powerful and desperate. The artist, according to Rafman, has to represent the impossible: the true character of an epoch, but also its inevitable decline.

FRITZ LANG

فريتز لانغ
弗里茨·朗
הפריץ לאנג
フリッツ·ラング
Фриц Ланг
Metropolis
Made in Germany during the Weimar period, Metropolis is set in a futuristic urban dystopia and follows the attempts of Freder, the wealthy son of the city master, and Maria, a saintly figure to the workers, to overcome the vast gulf separating the classes in their city and bring the workers together with Joh Fredersen, the city master. The film’s message is encompassed in the final inter-title: “The Mediator Between the Head and the Hands Must Be the Heart“.
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Luciano Berio

Visage
O trabalho eletrônico de Berio data, em grande parte, de sua passagem pelo Studio di Fonologia em Milão. Uma das obras mais influentes que produziu lá foi Thema (Omaggio a Joyce) (1958), baseada na leitura de Cathy berberiana do Ulisses de James Joyce, que pode ser considerada a primeira composição eletroacústica da história da música ocidental feita com voz e elaboração dele por meios tecnológicos. Um trabalho posterior, Visage (1961) vê Berio criando uma linguagem emocional sem palavras cortando e reorganizando uma gravação da voz de Cathy Berberian; portanto, a composição é baseada na carga simbólica e representativa de gestos e inflexões de voz, “de sons inarticulados a sílabas, de risos a lágrimas e canto, de afasia a padrões de inflexão de idiomas específicos: inglês e italiano, hebraico e dialeto napolitano ”

DAN CORSON

Empyrean Passage

Empyrean Passage is reminiscent of both a theoretical black hole and portal into the celestial worlds. Empyrean (notice the pyre in the word) is the final and fiery level of heaven as depicted by Dante- or aether in Aristotle’s cosmology. The form is constructed like a giant hoopskirt and gracefully moves in the wind creating a gossamer lighting effect overhead. While this project is an oculus to the heavens, more focus is usually paid to more terrestrial stars in this neighborhood.The interior of the spiral is designed with aqua and black dashes. The dashed interior creates optical effects with the eyes and at certain times of the day shifts your perception of the sky’s color.This project utilizes extremely “green” electroluminescent lighting. The entire sculpture consumes less electricity than a household nightlight and operates on a photo cell. Special thanks to the City of West Hollywood, Andrew Campbell, Maria Lusia de Herrera, Greg Coons, Glen Bundrick / Luminous Film.

Moment Factory

Ode à la vie
Sagrada Familia

Um grande desafio criativo e técnico foi realizado recentemente pela Moment Factory. Eles foram convidados pela cidade de Barcelona e a cidade de Montreal para criar o primeiro espetáculo de som e luz para ser projetada na complexa fachada da Sagrada Família em Barcelona. Essa apresentação multimídia de 15 minutos de duração, utilizando técnicas de mapeamento de vídeo e seu sistema de reprodução X-Now, foi apresentada dentro de La Mercè Festival em Barcelona neste fim de semana. A inspiração: para realizar o sonho de Antoni Gaudí. O arquiteto desejava que a fachada fosse cheia de cores.

ALEJANDRO JODOROWSKY

Алехандро Ходоровский
La Montaña Sagrada (holy mountain)

Não é fácil digerir o cinema de Alejandro Jodorowsky. Menos ainda talvez seja escrever qualquer coisa a respeito de seus filmes. E a situação pode ficar ainda mais complicada quando tratamos de A Montanha Sagrada. Pode-se dizer que o filme representa o auge da confluência criativa entre Jodorowsky, o cineasta e Jodorowsky, o mago. Nunca antes um filme fora tão bem sucedido ao capturar a poderosa essência imagética dos símbolos místico e religiosos. E vale notar aqui que religioso não tem nada a ver com crenças institucionalizadas, mas com o aspecto humano que lida com tudo o que é misterioso, invisível e sobrenatural.

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ruud van empel

루드 반 엠펠
РУУД ВАН ЭМПЕЛЬ
Analogy #1

Sua montagens fotográficas, belas, perturbadoras e polêmicas, tem um forte apelo surrealista e chegam a ser confundidas com pinturas, tamanha a riqueza de cores e contrastes, conseguidos através da utilização de um papel especial chamado Cibachrome, o qual intensifica a definição, a cor e o brilho das fotos. O processo utilizado por Ruud, consiste em tirar fotos dos modelos em estúdio e posteriormente inserir as paisagens nas fotos.

Jonathan Monk

All The Possible Combinations Of Eight Legs Kicking
Intégrant mouvement, performance et imagerie, l’exposition explore les idées derrière le temps et la séquence, tandis que Monk interroge subtilement la compréhension du spectateur du passage du temps. Avec “Toutes les combinaisons possibles de coups de pied de huit jambes (une à la fois)” (2012-2013), Monk démontre la contrast entre la réalité clinique du temps et notre réaction spontanée. L’œuvre est une représentation littérale de son titre – car les jambes ont été programmées pour donner un coup de pied dans toutes les séquences possibles, soit un total de 40320 séquences différentes qui prennent plus de 177 heures à terminer. Contrairement à cette démonstration objective, le geste de donner des coups de pied est assez explosif, imitant les mouvements d’un danseur de cancan, et c’est cette explosion d’émotion qui met en évidence le suspense qui existe tout au long de l’œuvre. Alors que le spectateur est conscient que les jambes sont spécifiquement programmées pour donner un coup de pied à un moment précis, l’heure précise à laquelle cet événement se produit n’est pas donnée, créant une sorte de jeu de devinettes où le spectateur tente de prédire quand chaque coup de pied se produira, à chaque fois. individu ayant sa propre idée du moment où cela se produira.

Janaina Mello and Daniel Landini

ciclotrama 10

Das in Brasilien lebende Künstlerduo Janaina Mello und Daniel Landini von Mello + Landini schaffen baumartige Installationen mit ungedrehten Seilen, die an den Wänden der Galerien befestigt sind. Die Kunstwerke mit dem Titel Ciclotramas haben seit 2010 17 verschiedene Iterationen durchlaufen, von denen jede eine Form von Seilen enthält, die sich durch die Luft zu verzweigen scheinen und sich auf Oberflächen wie Fraktalen oder einem Netzwerk von Neuronen ausbreiten. Die Künstler sagen, dass sie daran interessiert sind, Metaphern zu schaffen, die organische Strukturen umgeben, die sowohl aus miteinander verbundenen als auch unabhängigen Teilen bestehen, sowie den Lauf der Zeit und die „Choreografie von ineinander verschlungenen Linien“.

Candaş Şişman

SYN-Phon
file festival
Kunst spielt eine entscheidende Rolle bei der Zerstörung der Grenzen unseres Verständnisses, in das unsere Denkweise durch die gebildete Sprache eingebunden ist. Die menschliche Sprache dient im Vergleich zur Musiksprache als eher konservative Kommunikationsform; wo die Freiheit des Weltraums als Zufluchtsort für diesen breiten Horizont dient, der auf der Suche nach einer hochmodernen Form des Rundfunks ist.Candas ‘Versuche, verschiedene Formen zu kämmen, implizieren nicht notwendigerweise die bloße Schaffung eines wegweisenden Blitzes, sondern die Nutzung der endlosen Möglichkeiten, das Bekannte und Unbekannte miteinander zu verbinden. Durch das Unbekannte entstehen wir mit einer neuen Denkweise, die versucht, ein neues Werkzeug der Selbstdarstellung zu ersetzen und Raum dafür zu schaffen. Zusammenfassend lässt sich sagen, dass die grafische Notation die Möglichkeit bietet, eine persönliche Sprache zu erstellen, die auf dem parallelen Fühlen von Bild und Ton basiert.

POTLATCH

Gretchen at the Potlatch Feast

“Potlatch is a festive event within a regional exchange system among tribes of the North pacific Coast of North America, including the Salish and Kwakiutl of Washington and British Columbia.”
The potlatch takes the form of governance, economy, social status and continuing spiritual practices. A potlatch, usually involving ceremony, includes celebration of births, rites of passages, weddings, funerals, puberty,and honoring of the deceased. Through political, economic and social exchange, it is a vital part of these Indigenous people’s culture. Although protocol differs among the Indigenous nations, the potlatch could involve a feast, with music, dance, theatricality and spiritual ceremonies. The most sacred ceremonies are usually observed in the winter.
Within it, hierarchical relations within and between clans, villages, and nations, are observed and reinforced through the distribution of wealth, dance performances, and other ceremonies. Status of families are raised by those who do not have the most resources, but distribute the resources. The host demonstrates their wealth and prominence through giving away the resources gathered for the event, which in turn prominent participants reciprocate when they hold their own potlatches.
Before the arrival of the Europeans, gifts included storable food (oolichan [candle fish] oil or dried food), canoes, and slaves among the very wealthy, but otherwise not income-generating assets such as resource rights. The influx of manufactured trade goods such as blankets and sheet copper into the Pacific Northwest caused inflation in the potlatch in the late eighteenth and earlier nineteenth centuries. Some groups, such as the Kwakwaka’wakw, used the potlatch as an arena in which highly competitive contests of status took place. In rare cases, goods were actually destroyed after being received. The catastrophic mortalities due to introduced diseases laid many inherited ranks vacant or open to remote or dubious claim—providing they could be validated—with a suitable potlatch.
Sponsors of a potlatch give away many useful items such as food, blankets, worked ornamental mediums of exchange called “coppers”, and many other various items. In return, they earned prestige. To give a potlatch enhanced one’s reputation and validated social rank, the rank and requisite potlatch being proportional, both for the host and for the recipients by the gifts exchanged. Prestige increased with the lavishness of the potlatch, the value of the goods given away in it.

JANE BENSON

The Splits (Rehearsal)

The Splits begins with the bisecting of various string instruments into two halves, cutting them along their length, creating two separate instruments. The two halves must then be played together to complete a tune and are, thus, for duets (or quartets, octets or dectets) only—pieces which she is creating in collaboration with musicians and composers. The act of splitting at once destroys the integrity of the instrument as an object, and disrupts the conventional process of aesthetic creation that the instrument traditionally permits. Splitting is not merely an act of destruction, however. Instead, it opens graceful passages for imagined evolution: the split instrument becomes a newly creative instrument, permitting the creation not only of new music, but new communities (visual artist, the composer, the musicians, and the audience). Ms. Benson has “split” two violins, a viola, cello and double bass: all, cheap, mass-produced string instruments made in China.