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to change font size in firefox: PC ctrl+ or ctrl-, MAC apple+ or apple-

 

THREE LINES ; QUARTET #3 (AVELAS QUARTET) ; JAMES BECKETT'S BOOK LAUNCH ; DEAD DARLINGS 3 ; 0-250 ; THE HEADPHONES SHOW ; TAC ; IBID ; SIRENS BERLIN ; BAZKULTUR ; WORD EVENT ; POST DIGITAL ; RNGDS ; SIRENS BERGEN ; OPEN DI 5 ; EARPHONES ; AVANT ROCK ; GONZO (CIRCUS) ; DNK-AMSTERDAM.COM ; NO-)TOON) ; SIRENS ; RRSMCS END ; OPEN DI 2 ; OPEN DI ; 10 TURNTABLES & NO DJS ; DNK ; MODULATING AIR WAVES ; ALT-RR.SMCS ; AM-RR.SMCS ; MORRA O DANTAS ; METROPOLIS M ; RR END EXAM ; DEAD DARLINGS #2 ; OPEN NOISE ; RR ; OPEN 9.5 ; TAPE ; PAROOL ; ASCII ; START ; VERSTECK ; ENDEXAM ; OTHER VINYL ; CUT UP HEAVY METAL RECORDS ; AQ003 ; AQ002 ; AQ001 ; AQUELA MÁQUINA ; OFFICE217 ; GRAY ; STAINS ; MEAT ; PLUNDERPHONICS ; CORNERS ; NFOS ; TOILET DOOR ; SNAILS ; SANDPAPER ; ME

 

 

-- THREE LINES, AUSLAND, BERLIN, 09.04.2009 --

 

--> flyers 01 02
--> pictures of concert 01 02 03 04
--> audio recording 01

 

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-- QUARTET #3 (AVELAS QUARTET), THE FLOOR, AMSTERDAM, 28.03.2009 --

 

DNK-AMSTERDAM & The Floor present:

 

Quartet #3 (Avelãs Quartet), by KN / AA

for 4 players with small noise generators

 

André Avelãs / Caetano Carvalho / Maia Daw / Koen Nutters

 

Time structure by KN

Noise generators built and/or picked out by AA

 

--

 

The piece is ten minutes long.

For each consecutive period of ten seconds each player has a designated on/off state.

These states are generated by throwing the dice.

1-3 = on
4-6 = off

 

First ten seconds all players off for synching and getting ready.

 

Version 1 (generated on 27.03.2009)

 

Time:
Player 1
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10:10-...
end
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--

 

--> flyer 01
--> Pictures of the concert 01 02 03 04 05 06 07 08 09 10
--> audio recording 01

 

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-- RNGDS CONCERT AT JAMES BECKETT'S BOOK LAUNCH, MEDIAMATIC, AMSTERDAM, 14.03.2009 --

 

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-- DEAD DARLINGS III, MEDIAMATIC, AMSTERDAM --

 

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-- 0-250 HZ, W139, AMSTERDAM --

 

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-- THE HEADPHONES SHOW, ABRONS ART CENTRE, NYC, 17.11.2008-09.10.2009 --

 

THE HEADPHONES SHOW
Abrons Art Center
Henry Street Settlment
466 Grand Street New York City 10002

with Vito Acconci, Andre Avelas, Betsey Biggs, Viv Corringham, Barbara Ess, Christina Kubisch, Abinadi Meza, Tristan Perich, Seth Price
curated by Alan Licht

The Heaphones Show highlights innovative art works that incorporate headphones as a critical element. Utilizing sound art, digital projection, installation, sculpture and interactive artwork, these local and international artists explore the auditory sensation of inner space, as well as the power and nuance of sound

---

Heaphones have become a fact of the urban landscape: the Walkman, Discman, and now iPods have made headphones a ubiquitous presence in the culture of commuters. Headphones are the closest one can come to experiencing sound i the same way as reading silently to oneself. They provide an alternative, handpicked, and disjunctive soundtrack to one's surroundings. They also block out the sounds of the immediate environment, while keeping the music inaudible to others, to prevent both listeners and their cohabitants from being disturbed. In this way heaphones have come to symbolize isolation as an increasingly common attribute of life in the digital world.

THE HEADPHONES SHOW brings together recent art works that require headphones to be experienced, acknowledging the rise of sound as an element in visual art, as well as a medium in itself. The works in the show explore shared experience versus private experience, using headphones to signify the daily reconciliations of interior and exterior worlds in everyday life.

Alan Licht
Curator

 

--> pictures of the build up 01 02 03
--> pictures of the show 01 02 03 04 05 06 07 08 09 10 11 12 13
--> postcard, programme and press release 01 02 03
--> small video of my piece working 01

 

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-- DNK-AMSTERDAM SHOWCASE AT DUTCH DESIGN WEEK, T.A.C., EINDHOVEN, --

 

--> poster and flyer 01 02
--> DNK programs 01 02 03
--> pictures of installation (by Martijn Tellinga) 01 02 03 04 05 06
--> video of installation (from youtube) 01
--> video of RNGDS concert (from youtube) 01 02
--> videos on youtube 01 02 03 04 05 06 07 08

 

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-- IBID PROJECTS, LONDON, 05.09 - 05.10.2008 --

 

September - 5 October, 2008
Private View: Thursday 4 September, 6-8pm


IBID PROJECTS is pleased to present the first UK solo exhibition of Amsterdam-based artist André Avelãs. The exhibition includes a new installation, Untitled, 2008 based upon a configuration of large-scale weather balloons and musical instruments which are set up to produce an immersive and constantly shifting environment that changes throughout the duration of each day.

Since graduating from the Rietveld Academy in 2005 Avelãs has made numerous performances, sculptures, installations and recordings which share a fascination for the way in which audio is produced and how it creates meaning in relation to space and the conditions under which it is heard. For example, he has previously used industrial machinery to create sound, or built sculptures in which the physical process by which noise is produced is more apparent than any actual content of the sound itself. Central to the artist’s practice is a focus on sound not as a carrier of content but as a malleable material which shifts and changes in relation to the methods and machines through which it is reproduced.

Following the ideas of William Burroughs as much as John Cage or La Monte Young, Avelãs has expressed an interest in the disruptive potential of noise. In the current exhibition his work Untitled, 2008 is based around the airflow of three large scale weather balloons, more commonly used by meteorologists and scientists to test atmospheric pressure and other environmental conditions. In this case Avelãs has adapted these imposing and potentially explosive objects, fitting them to an automatic device that channels air to a series of discreet musical instruments connected by pipes. The result is a makeshift drone which references redundant technologies as well as setting up a network of sonic associations to do with the noises experienced in everyday life.

André Avelãs (b. Portugal, 1976) is the founder of format based record label Aquela Maquina and has presented regular programs of That Horrible Noise for Radio Rietveld since 2006. Group exhibitions in which he has participated include Word Event (2008) at Kunsthalle Basel, curated by Maxine Kopsa; Sirens (2007) at general public (2008), Berlin, curated by James Beckett; and Start (2005) at Fons Welters Gallery, Amsterdam. Avelãs is programmer of DNK Amsterdam, a series of concerts for live electronic and acoustic music.

For more information or images please contact Romilly Eveleigh on +44 (0)208 983 4355 or email: romilly@ibidprojects.com

 

--> pictures of the build uo 01 02 03 04 05
--> pictures from IBID Projects site 01 02 03 04 05 06
--> audio recording 01
--> small video file (from the mire) 01
--> picture of opepning (from artreview) 01

 

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-- SIRENS, GENERAL PUBLIC 01.07 - 14.07.2008 --

 

The Sirens show made it to the General public gallery in Berlin, part of the Tuned City festival

 

--> some pictures of the show 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 (by James Beckett)

 

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-- BAZKULTURMAGAZIN., 28.06.2008 --

 

Ein Leben in Fluxus
In der Ausstellung <<Word Event>> fehlen der Kunst die Worte nicht

In der Kunsthalle Basel zelebrieren ab heute Kunstwerke den Fluxus: Die Gruppenausstellung <<Word Event>> erweckt den Geist der Künstlerbewegung der 60er- und 70er- Jahre mittels wortgewandter Arbeiten.

Mal ganz was anderes: eine Austellung in Prophezeiungen vorabschreiten. Möglich macht das ein Werk des Londoners Paul Elliman am Eingang des Oberlichtsaala der Kunsthalle: Sein <<Maciunas Ouiji board>> ist ein Séancetisch, auf dem die für den Künstler typischen Buchstaben aus Objektumrissen verteilt sind, umgeben von einem <<No>> und einem <<Yes>>. Gelegenheit, schon eingangs durch Gläserrücken einige Fragen zu <<Word Event>>, einer Gruppenaustellung mit gut zwanzig Künstlern verschiedener Herkunft, zu klären.

Erste, auf der Hand liegende Frage: Was ist ein <<Word Event>>? Dazu ruft man am besten den Geist des 1992 verstorbenen Musikers John Cage an, die erste Jenseitsadresse für diesbezügliche Infos. Einer seiner Vortäge in New York, deren Lernmaxime in einer Kürzestfassung war, aus wenig viel zu machen, resultierte in einem Projekt seines Schülers George Brecht: Der New Yorker Künstler schrieb 1961 simpelste Regieanweisungen für Aktionen auf Karten, zum Beispiel <<Word Event, Exit>>. <<Was ein Word Event ist, bleibt aber völlig offen>>, ergänzt Maxine Kopsa, die die Schau zusammen mit Roos Gortzak kuratiert. Vielleicht könnte man als Mindestvoraussetzung definieren, dass etwas mit Sprache passiert?

ZEITGEMÄSSE ADAPTION. Sue Tompkins etwa nimmt Brechts Idee auf und stezt winzige, maschinengeschriebene Wortereignisse auf grossformatigem Zeitungspapier aus. Durch die Verwendung von billigen Material reiht sie sich gleichzeitig ein in einen grösseren Kontext: Sowohl Brecht als auch George Maciunas, der Namensgeber des Gläserrücktischchens, gehörten zur Fluxus-Bewegung, jener definitionsscheuen Gruppe von Künstlern, die in den 60er- und 70er-Jahren die Kunst nicht vom Leben - zum Beispiel durch Integrieren von Alltäglichem - und die einzelnen Kunstgattungen nicht voneinander trennen wollte, etwa wenn bildende Künstler auch in die Musik hinüberwilderten.

Eine zeitgemässe Adaption des Eingangs des buchstäblich harten Lebens in die Kunst ist das Werk von Walead Beshty aus London: Er hat per Fedex Glaskörper von Los Angeles nach Basel schicken lassen, so sein Werk aus der Hand gegeben und vom Leben zeichnen lassen. Ein Schicksal, das durch die globale Zirkulation auch andere Kunstwerke viel unbeabsichtigter ereilen kann.

Bislang sind alle drei ausgestellten Werke aber doch recht disparat. Also zur zweiten Frage ans Medium: Wie lässt sich der rote Faden durch die Schau in Worte fassen? Da zögert selbst die in der Mini-Séance angefragte Zukunft und weicht schliesslich aus, denn ein titelgebender <<Word Event>> mit seiner definitorischen Offenheit ist ein Werk noch schnell einmal: Statt einer streng durchgehaltenen Linie gibt die Schau eher Pole vor, zwischen denen sich dann eine ganze Welt an Positionen tümmelt. Ellimans Tischchen. ganz Prophet, gibt dafür mit seinen ungleichförmigen Buchstaben zwischen den Extremen <<Yes>> und <<No>> ein schönes Bild vor. Und der Besucher wird, gerade wie das gerückte Glas, von Werk zu Werk getragen, bis er sich seine eigene Antwort auf die eingangs gestellte Frage erlaufen hat.

STILLE UNS LÄRM. Bei einer Arbeit der Argentinierin Amalia Pica etwa sind die Gegensätze noch vereint: Die Projektion von Dias eines Megafons auf die Saalecke lässt Stille und Lautstärke verschmelze und bringt, wenn auch kleine hörbaren Worte, so doch die Wörtlichkeit - die Arbeit heisst <<Speaker's Corner>> - ins Spiel. Die Werke das bekannten Detroiter Künstlers James Lee Byars un von André Avelãs aus Amsterdam hingegen teilen die Extreme untereinander auf: Byars' <<The Golden Hole for Speech (A Perfect Whisper)>> von 1981 ist eine riesige Glasplatte mit winzigem Loch, mit der man sich verschiedene <<Word Events>> vorstellen kann, aber eben leise oder gar stumme. Avelãs hingegen hat eigen furchterregenden Verstärkerturm aufgebaut, vor dem er in Performances mit Plattenspielern deformierte oder neu zusammengeschusterte Tonträger abspielt, sie fast mit Guantánamo-Methoden zum Sprechen und Klingen bringt. Kopsa fasst die Ansprüche der Schau anhand eines Werks von Falke Pisano aus Amsterdam zusammen: <<Wir zeigen hier <A sculpture turning into a conversation>, eine Doppelvideoprojektion, in der fast alchemistisch der Übergang zwischen einer Skulptur und einem Dialog herbeigeführt wird. Was wir parallel erreichen wollen, ist <An exhibition turning into a conversation>.

Wenn wir es also mit Sprache gewordener Kunst zu tun haben, gleich die dritte Frage: Was kann der Besucher aus dem Dialog der verschiedenen Positionen lernen? vor allem eins: Sprache spielt in der aktuellen Kunst wieder vermehrt eine Rolle, und nicht nur als wohldurchdachter Werktitel, sondern immanent im Werk, wenn auch manchmal nur als Schweigen. Dafür ist sicherlich auch die aktuelle Vogue eines altgedienten SprachKonzeptkünstlers wie Lawrence Weiner ein Indikator. Die Kuratorinnen nennen das einen kunsteigenen <<linguistic turn>>, nach dem philosophischen Paradigmenwechsel des letzten Jahrhunderts, wonach die Grenzen unserer Welt innerhalb unserer Sprache liegen. Auch die ausgestellten Werke bewegen sich innerhalb linguistischer Mechanismen, reizen diese aber in verschiedene Richtungen aus.

WÖRTLICHE KUNST. Das unterscheidet die Positionen von ihren Fluxus-Vorgängern, denen Ausflüge in die Musik oder ins Happening näher lagen. War für jene Kunst und Leben nicht zu trennen, gehören für die hier ausgestellten Künstler Kunst und Sprache zusammen. Vielleicht ist die vermeintliche Zukunftsmusik, die aus Ellimans Séancetischchen ertönt, kein Bluff und wird die Kunst zum <<Word Event>>, sprechen Künstler statt bildlich bald vorwiegend wörtlich? Mit der Bilddomäne Malerei, die in dieser Austellung wohl wegen ihrer prinzipiellen Verweigerung von Wortsprache nicht vertreten ist, kann es die linguistische Kunst allemal aufnehmen, zumal Erstere ja immer wieder von Nahtoderfahrungen zurückkehrt.

Abschliessende Frage ans Fluxus-Medium: Lohnt sich ein Besuch der Ausstellung? Das Glas steuert ohne Umschweife zu <<Yes>>. Dann wollen wir mal.

by Daniel Morgenthaler
in Baz Kultur Magazin., Samstag. 28. Juni 2008

 

--> scans 01 02 03

 

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-- WORD EVENT, KUNSTHALLE BASEL, 29.06 - 05.09.2007 --

 

WORD EVENT

André Avelãs, Stuart Bailey & Frances Stark, Becky Beasley, Walead Beshty, Julia Born & Alexandra Bachzetsis, George Brecht, James Lee Byars, Paul Elliman, Aurélien Froment, Dora Garcia, Will Holder, Alon Levin, Amalia Pica, Falke Pisano, Michael Portnoy, Elizabeth Price, Mandla Reuter, Dexter Sinister, Sue Tompkins, Edward Underwood, Emily Wardill

Can a gesture be a word? Word Event looks at a select group of makers who carry on a tradition of subversive methodology in their practice and attitude. Word Event is a multi-level cross-sectioned exhibition of contemporary works, events, performances and informances, scores, printed matter and film. Taking George Brecht’s “Word Event” (1961), a handwritten Event Card, as its starting point, the exhibition attempts to displace itself by purposely seeking out confrontation and synchronization thus landing in the exhibition space as an active dialogue. Word Event points to a possible return of a fluxus sensibility via a new, contemporary, proverbial linguistic turn. Artists today – or more precisely, ‘cultural producers’ – are reactivating a language based and, specifically, narrative based practice. Creating room for conversation and leveling the hierarchy of production between sketch, thought and product, this linguistic turn approaches the surface of the metaphorical page as an ‘exchange surface’, ‘as a space of shift between different mediums, in which, as Rancière puts it, “signs become forms and forms become acts.”’ [1] Works by the artists in Word Event contain an active ‘displacement’ (or exchange) between word and image, the narrative and the picture, which occurs on many levels, in different media – from the more ephemeral to the concrete, as rumours, scripts, instructions, lectures, posters, objects and a seance. A sculpture turns into a conversation, a lecture into a series of posters, the unassuming viewer into a story; he receives directives by photograph, listens to a score purposefully mirrored while gambling to new rules under the watchful eyes of the Jack of Spades. Word Event is the happy hijacking of space by language where installations, film, the stage, the book and sound live together in one converged setting.
Curated by Maxine Kopsa and Roos Gortzak
[1] Quoted from ‘The Space of Words’ by Christophe Gallois, Metropolis M, nr 2 2008, who cites Rancière’s L’Espace des mots, Musée des Beaux-Arts de Nantes, 2005, p. 13, translation by Christophe Gallois.
Online review and video of the opening at Vernissage-TV
A series of performances took place on the opening night, Saturday, June 28, 2008:
7 – 9pm Abstract gambling at the solid felt table with Dir. of Behavior, Michael Portnoy (video of the performance at Vernissage-TV)
7.30pm Performance by André Avelãs (video of the performance at Vernissage-TV)
8pm John Cage: Indeterminacy*, recited by Will Holder and accompanied by Falke Pisano’s A Sculpture Turning Into a Conversation
This exhibition has been generously supported by:
Annemarie Burckhardt--> postcard 01
--> press release 01 02
--> pictures of the build up 01 02 03 04 05
--> pictures of the show 01 02 03 04 05 06 07 08 09 10
--> recordings
--> video from vernissage tv 01 and on my server 01

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-- EARPHONES, DNK POST-DIGITAL FESTIVAL, 12.06.2008 --

 

On-site remake of the Earphones installation on the basement of the Smart Project Space Building, as part of DNK's Post Digital Festival.

--> flyer and hand-out
--> pictures of the installation 01 02 03 04 05 06 (by Paul Glazier) 07 08 09 10 (by Eva-Fiore Kovacovsky)

 

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-- RNGDS, DNK POST-DIGITAL FESTIVAL, 12.06.2008 --

 

feeding sound of deep frying fish into the conert of RNGDS (Gert-Jan Prins, Koen Nutters, Raed Yassin)

 

--> sound recording 01
--> pictures 01 02 03 04

 

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-- SIRENS, LYDGALLERIET, 23.02 - 16.03.2008 --

 

Sirens show at Lydgalleriet, Bergen, Norway

--> poster 01
--> installation views 01 02
--> show views 01 02 03 04 05 06 07 08 09 10 11 12 13 14

 

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-- 2 EARPHONES, LIVE AT DNK OPEN DI 5, 21.01.2008 --

 

a short performance at DNK-Amsterdam fifth instance of the OPEN D.I. series.

It consisted of a single earphone pair in a feedback loop, connected to a self built unstable amplifying circuit. The circuit was also connected to a tweaker and a guitar amp. For the first minute only the tweaker was playing, then the guitar amp was turned on for another minute.

it is a sort of reversed version of the earphones installation - only one pair but much more amplification.

--> pictures 01 02 03 (photos by Seamus Cater)
--> live recording 01

 

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-- EARPHONES, 14.12.2007 -

 

At N Event 22a, 14.12.2007 at the Tou Brewery , Stavanger, Norway

1000 disposable earphones were spreaded on the floor, 960 working as speakers, 40 as microphones, making a feedback loop you could control on the mixer. An unpredicted but welcomed sound source was some noise from the amplification circuits. The earphones working as speakers were joined in 40 groups of 24 single pieces and connected 10 outputs of the mixer. The ones working as microphones were joined in groups of 4 and connected to 10 inputs. Each microphone was placed around a pack of 24 speakers. Most lower frequencies were muted.

 

--> pictures of installation 01 02 03 04 05 (photos by Anu Vahtra)
--> pictures of the building up 01 02 03 04 05 06 07 08
--> posters of the evening 01 02 03 by orig.ch
--> schematic sketch of the installation 01
--> short video of the installation 01
--> sound recording of the evening 01 02 03 04

 

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-- DNK-AMSTERDAM PRESENTS: A NIGHT OF AVANT ROCK!, 10.2007 --

 

design for the concert of Ultralyd and KTL at DNK-Amsterdam.

 

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the design was also used on the handout given at the door, designed by ORIG.CH

 

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-- GONZO (CIRCUS) #81, JULY-AUG 2007 --

 

Tamara van de Laarse used a picture she made of me in front of my end exam installation in de Rietveld Academie on the cover of the issue #81 of the Gonzo (circus) magazine. I am also holding my baby megaphone that I used in DNK Open DI 1. There is no reference whatsoever to me or my work inside the magazine.

 

--> Gonzo (circus) #81 cover 01

 

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-- DNK-AMSTERDAM.COM, 05.2007--

 

The new website of DNK-Amsterdam is now online. I was in charge of designing the MP3 page. The usual idea was to have the simplest page possible, just text, pretty much as this page. But in the end it turn out to be the most complex - in order to be automatically updated a lot of coding had to be done by his holiness Jeff Carey.

 

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-- NO-)TOON) FESTIVAL, HAARLEM, 31.03.07 --

 

waarom no-)toon) ?

Na het succesvolle zevende )toon)-festival, voorjaar 2006, is de achtste editie van )toon) begin 2008 gepland. Ondertussen vindt eind maart 2007 no-)toon) plaats. Géén vervangend festival en ook geen ‘)toon) in ’t klein’, maar een pamflet in beeld en geluid waarmee wij willen wijzen op het belang van )toon) voor de stad Haarlem en als karaktersitiek onderdeel van het landelijke aanbod van digitale beeld- en geluidskunst.

)toon) is in zeven jaar uitgegroeid tot één van de grootste en meest prestigieuze festivals voor elektronische kunst en muziek. Een festival met een internationale uitstraling en gebaseerd op een consequente programmavisie en een hoog kwaliteitsniveau. )toon) is een festival met ambities. Wij discussieren graag over de inhoud van het festival, maar waar het de kwaliteit van het aanbod betreft sluiten wij geen compromissen. De gestaag groeiende bezoekersaantallen door de jaren heen tonen aan dat er ook een publiek voor deze ‘strenge’ opvatting bestaat, al betekent dat dat )toon) nooit de status van een popfestival zal krijgen.

Toen het programmaconcept voor )toon)8, oorspronkelijk gepland voor voorjaar 2007, eind vorig jaar op papier stond en de formulieren voor de subsidie-aanvragen klaar lagen om ingevuld te worden, bleek echter dat de ondersteunende instanties die voorgaande jaren garant stonden voor eventuele verliezen – Nieuwe Vide en Patronaat – daar in 2008 om verschillende redenen niet toe in staat zouden zijn. Omdat uitsluitsel met betrekking tot toekenning van het merendeel van de aan te vragen subsidies pas één maand, of zelf korter, voor het festival mogelijk bleek, en omdat wij het zowel tegenover de kunstenaars als publiek en medewerkers onverantwoordelijk achtten om het hele festival op het allerlaatste moment af te moeten blazen, hebben wij besloten om )toon)8 op te schuiven naar voorjaar 2008.

In het tussenliggende jaar hopen wij de financiering van het festival grondig te kunnen onderbouwen. Maar ook willen wij de Gemeente Haarlem ervan overtuigen om )toon) te verankeren in de cultuurpolitieke plannen voor de komende jaren. )toon) zou, door de internationale uitstraling en het vernieuwende, eenentwintigste eeuwse imago, een belangrijke en stimulerende bijdrage kunnen leveren aan Haarlem als cultuurstad, naast het Frans Hals Museum, Museum Teyler en vooral het Internationaal Orgelfestival.

Om dit idee kracht bij te zetten, vindt eind maart drie dagen lang no-)toon) plaats. Geen vervangend festival, maar een pamflet in beeld en geluid waarmee wij argumenten willen leveren voor hetgeen )toon) voor Haarlem betekent. no-)toon) speelt zich af in de Nieuwe Vide, Patronaat, De Hallen en Grasland en zal werk omvatten van ondermeer de Britse kunstenaar en musicus Max Eastley, de Britse groep Sand en de Nederlanders Machinefabriek en Martijn Tellinga. Daarnaast zal Rob Young, publicist en voormalig hoofdredacteur van The Wire een lezing geven over de betekenis van de digitale ontwikkelingen voor de beeldende kunst en de muziek en vooral de onderlinge verbanden daartussen.

Doel van no-)toon) is om voorwaarden te scheppen waardoor de reeks )toon)-festivals in 2008 hervat kan worden en uitgroeit tot een ijkpunt voor de culturele ambities van de stad Haarlem.

Peter Bruyn Martijn Lucas Smit Okke Gerritsen Xander Karskens

...

Zaterdag 31 maart De Hallen »
Open 18:30 uur. Aanvang 19:00 uur. Entrée: Passepartout (10 EUR)
Coen Oscar Polack (NL) » Hydrus (NL) » André Avelãs (POR) » David Michael DiGregorio (USA)»

Een rondgang door De Hallen Haarlem, waarbij vier geluidskunstenaars voor een nieuwe ervaring van de ruimte of het geëxposeerde werk zorgen. Met de Haarlemmer Coen Oscar Polack. Vervolgens het elektronica-duo Hydrus waarvan dit voorjaar een nieuw album verschijnt. Dan de Portugees André Avelãs, ook wel bekend onder zijn alter ego ‘That Horrible Noise’. En tenslotte de Amerikaanse stemkunstenaar en singer-songwriter David Michael DiGregorio die veel gebruik maakt van elektronische stemvervorming. Het aantal plaatsen is beperkt. Het is raadzaam om tijdig te reserveren.

...

the set up at De Halen: I used the sound of the slide projectors from Pablo Pijnappel's piece Caiçara and sent the mixed sound into a MAM VF-11 vocoder, the output of the vocoder was connected to a splitter, and sent back to the vocoder input and to the main speakers. in between the splitter and the vocoder input was a 60´s Schaller tremolo stomp pedal.

 

....................................................................
----------------------.----------------------.----------------------
| slide projector #1 |.| slide projector #2 |.| slide projector #3 |
---------------+------.----------+-----------.---------+------------
.contact mics ->\................|..................../.............
.................\...............|.................../..............
..................\..............|................../...............
...................\.............|................./...-----------..
.................---*------------*----------------*-...| tremolo |..
.................| ............mixer...............|...---+-----*-..
.................---+-------------------------------.out->|.in->|...
....................|..--------<-----------<---------------.....|...
..........line in->.|..|<-synthesis..line out->|--->---*-----------.
.................---*--*-----------------------+--.....| splitter |.
.................|......MAM VF-11.vocoder........|.....--------++--
.................---------------------------------.............||...
...............................................................||...
......................................................---------**--.
......................................................| amplifier |.
......................................................-------------.
....................................................................

 

--> video on youtube 01
--> video from no-)toon) DVD on Vimeo 01
--> pictures (frame captures) 01 02 03 04 05 06 07
--> sound from videos in MP3 01 02

 

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-- SIRENS, 66 EAST, 03.2007 --

 

Sirens
An Evolution from Water, through Water, to Water

An exhibition at 66 East
Guest curator: James Beckett
Opening event: Saturday 17th March 2007 at 19:00
With concerts by: * Koen Nutters, arrangement for strings * der Wexel and Viljam Nybacka

Exhibition: 18 March – 22 April 2007

'Sirens' traces the development of the device as an instrument of analysis into the role of auditory alert. As well as a historical account, the exhibition looks at artistic appropriation of the machine in acts which reveal much about the cultural, political and functional aspects of a living device. In physics, the instrument was developed as a means to illustrate tones, later to develop into the more elaborate and much disputed combination tones, revealing a 'Klangfarbe' or timbre. Along with numerous other acoustic instruments, the Siren became a means by which to describe and measure the composite nature of sound, and to some extent demystify the complexity of acoustic phenomena. The exhibition delineates the development and transformation of the siren, as an idea, an instrument and as a technological device.

The artists Andre Avelas, Mark Bain, Ralph Borland, Alec Finlay and Chris Watson, Raviv Ganchrow and Max Neuhaus present their own interpretation to sirens and auditory alerts.

With contributions from SOS Workshop [a collaboration between Leiden University and the Veenfabriek director John Heymans, artistic director Paul Koek], The siren collection of Albert Baas, David Stall, Victory Siren Foundation Inc., and CPSM in cooperation with the Venetian Research Consortium and the University of Verona [represented by Avanzini, F.; Rocchesso, D.; Belussi, A.; Palu, A.D.; Dovier, A].

Thanks to Amsterdam Fonds voor de Kunst, Uqbar Foundation and the Universiteitsmuseum Utrecht.

--> poster and flyer 01 02 03
--> publication by 66 East 01 and just my pages 01 02
--> installation views 01 02 03 04 (photos by Eva-Fiore Kovacovsky)
--> official press photo 01 (photo by Anthea Bush)
--> picture in Amsterdam Weekly 01
--> video frame captures 01 02 and on Vimeo 01
--> sounds from seebert-savart-saw 01 02 03

 

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-- RR.SMCS END, 12.03.07--

 

the 100 days radio project in the SMCS and Mediamatic is finished.
an analysis of the project, as well as links to my contributions will be here shortly.

 

-- FEEDBACK FRIDAY, RR.SMCS--

-- OPEN NOISE, RR.SMCS --

-- AM, RR.SMCS --

 

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-- OPEN DI 2, DNK-AMSTERDAM + MEDIAMATIC + RR.SMCS, 09.03.07 --

 

DNK-Amsterdam Presents:

Open DI Night Part 2 (Garage Version)

One big collective set with 1 player at a time. (between 21:00 and 0:00)

Already confirmed: Juan Para Cancino, James Beckett, Barbara Luenenburg & Nick Fells, Matthijs Kouw, Seamus Cater, Viljam Nybacka, POLYPHAKE, ciao! bird, Andre Avelas, Dirk Bruinsma, Mike Ottink, Koen Nutters, Arie Altena... More to come...

...

For my set I played a feedbacked vocoder with a direct touch portable radio circuitry running through it.
later I joined Camila in her performance. I sent her voice and the sounds of contact microphone attached to a sewing machine also through the vocoder.

--> picture 01
--> flyers 01 02
--> recordings 01 02 (from 160kbps stream)

 

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-- OPEN DI, DNK AMSTERDAM --

 

Open D.I. Night - Episode 1.

Direct Input into the DNK Sound system for small electro-acoustic or electronic set up.

Many sets of up to 5 minutes with a short spoken introduction.
A meeting of the art and music worlds displaying and discussing different approaches to selecting and organizing sound.

This episode's participants:
Music world: Gert-jan Prins, Justin Bennett, Koen Nutters & Dirk Bruinsma
Art world: Andre Avelas, Mark Bain & David Michael DiGregorio

We will be discussing the intersection of art and music after the concert... Hope to see you there!

...

My contribution consisted of feedbacked baby megaphone, looped in a Audiomulch patch.

--> poster 01
--> performance video frame captures 01 02 03 04
--> live audio recording (from video camera) 01
--> audiomulch patch - 01

 

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-- 10 TURNTABLES AND NO DJS, RR.SMCS, 04.07 --

 

DATE: 03 & 04.02.2007
from 16:00-18:00H

Radio weekend dedicated to the specific qualities and limitations of vinyl and 10 turntables. Performing at the Stedelijk, 03.02.2007: Paul Glazier - "nana canons" & Ivo Bol - "Holtz's planets"; on the 04.02.2007: André Avelãs - "Vibrating turntables on empty vinyl" & Jakob Proyer - "Again the end again"

--> pictures 01 (by Jabob Proyer)
--> recordings 01 (from 128kbps stream)

 

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- DNK & RRSMCS PRESENT --

 

.................................................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............
###########@.........########.......#####...######.......#######. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ...........
##############.......########.......#####...######......#######... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............
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... - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---------------------------------------------------------------------------------------\ -
.. --- set 2: ----------------------------------------------------------------------------------------- - - - ---------------------------------------------------------------------------------------\\-
. /!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! - - - -- . RAUS AUS NEUSS! / OUT OF NOISE! . . . . . . . . . . . . . . . . . . . . . . . . --\\\
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|###:##:!!!!|###!!|###||||||||!!\###|||||.##.!!|###+!!!!!!!!:##.|||.##|!!-##:|||:##.!|||||||-##-!! - - - -- . SYLVI KRETZSCHMAR (GESANG, 505, EFFEKTE). . . . . . . . . . . . . . . . . . . . --\\\\
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|###|/##:!!!|###!!|###|!!!!!!!!!|###|!!!!:##.!!|###+!!!!!!!|###|!!!|###!!`##\!!!|##`!!!!!!!|###|!! - - - -- . ISABEL RAUSCHENBERGE