International City Blogging Project The basic idea of the project is to transfer the historical principle of a writer-in-residence into the presence. During the FIFA Women’s World Cup, the city of Augsburg will be one of the host cities and venue for the preliminary matches of England, Equatorial Guinea, Japan, Korea DPR, Norway and Sweden. Artists will be invited from each of these countries to live in Augsburg for up to two weeks and in turn share their gathered inspiration and input with the locals. Each artist may express his daily experience, yet not with his usual artistic technique, but by creating a personal »White Paper«. The term not only stands for a sort of guide or definition, but also reminds one the blank, white page every author faces, when starting to write. The intention is to let inventive people with different backgrounds become creative by producing a digital or an analogue »White Paper« as a »writer« or »blogger«. Thus, Augsburg will be increasingly defined by___ the artists, day by day. Every »White Paper« will be reproduced and displayed publicly on a »White Wall« within the city. On the project’s website – the »White Page« – the visitors will be able to view the analogue and digital »White Papers« and follow the work of the artists evolving. At the end of the project, all the »White Papers« will be presented and handed over to the city officials. A so called »White Room« in the inner city at the LEW building represents the heart of the project. It serves as a lounge, a studio and a workstation for the artists. Different analogue and digital options offer various ways to reflect the impressions of Augsburg and the FIFA Women’s World Cup. The »White Room« is also the project’s local display window to the public, where people can get in touch with the international creative minds and watch them work on their »White Paper«. Go there and see, how Augsburg is defined by___ them! Thank you for the wonderful music to our video by Manuel Branz.+ More details
Car Décalé (Légèrement) / Because Shifted (Slightly) (CDL) is a long-term research through series of sound-performances/installations method to redefine space utilizing audio-feedback. CDL was purposely constructed in the simplest format without specifics. Aesthetic aspects such as the material used for walls, ceiling, floors, columns, furniture, people, etc. serve as influential components. At Eyebeam on August 15, 2012, utilizing Eyebeam's vast concrete floor, Uenishi materialized her long-time wish to create a room-sized graphic score for CDL (abbreviation for "Car Décalé (Légèrement)/Because Shifted (Slightly)".) With the score, she traced the "aural space" of Eyebeam that physically measured as 96.9 x 52 x 16 ft (80620.8 cu.ft = 12943.16 gal.) The performance of "CDL traces Eyebeam" was a part of CT-SWaM (Contemporary Temporary Sound Works And Music) series curated by Daniel Neumann. This video contains approx. 10 minutes of excerpts from the 30 minutes performance of "CDL traces Eyebeam". Video documentation by Melissa Lockwood Timelapse photos by Lukasz Antkiewicz Video edited by Uenishi More information on CDL and other works of Keiko Uenishi is found at: http://soundleak.org+ More details
At "Defined by ______" residency, all of us - the gang of three: Lauren, Kaja Marie and myself were furiously working... as the deadline was every morning at 6 a.m.! Especially, Lauren and me were found inside the glass-cased LEW office facing with the street corner in wee hours (3, 4, 5, 6 am or even later!!) Yes. The great building/office where I'm hosted to work & share w/ the fellow artists at "Defined by _____" residency was called LEW. We spent so many hours in there during the nights (for me, after watching the women's soccer games in public view area in nearby market yard!) Then, one day, I was struck with the fact that they have so many doors! I got so impressed. Is it 'the thing' in Augsburg? or just very special at LEW?! Sebastian Giussani is an old friend of mine who I met approx 7-8 yrs ago(?!) in this very city, Augsburg! One night, he invited me for a reunion + casual music jamming w/ another friend, Martin from Munich. Upon leaving his wonderful studio, I asked him to play with the very sweet door he has there. NOTE: The parts of video at LEW bldg was shot by Jürgen Branz with my concept. His personal video link is at: http://vimeo.com/juergenbranz+ More details
I was invited to make a version of interpretations of Christian Marclay's objects score "Sixty-Four Bells and a Bow" for his exhibition "Festival" at Whitney in summer 2010. There is no instruction for this score. It was left for the artist who was given the score. I spent 4 days to build my interpretation utilizing my CDL performance method. It is using Max/MSP and ppooll acts to create simple audio feedback concept. It reflects my positions & angles in _very_ unstable manner with Nintendo Wii controller. Bells and the exhibition room had become my instruments. Bow was used _not_ for scrubbing but lifting the edges of some bells to create series of smaller chambers in comparison with the room and the open bells. (The bow part wasn't included in this video.) This one is the 5 min excerpt from the second day/attempt. In the exhibition "Christian Marclay: Festival", Marclay curated all artists/musicians to interpret his visual scores. The score "Sixty-Four Bells and a Bow" http://whitney.org/Exhibitions/ChristianMarclay/Scores#31540 was assigned to Nicolas Collins, Ikue Mori, Raz Mesinai, Kato Hideki & Zeena Parkins, Cyro Baptista, Raz Mesinai & Marina Rosenfeld, Yasunao Tone, Kenny Wollesen, Andrea Parkins, and Keiko Uenishi (o.blaat)+ More details
LandFilles (This video is showing a small part of the 'First phase - construction' with walk-in participants + segments from the final performance @Cyberfest, St. Petersburg, Russia, 2010) 2009~current, install-action audio/visual work, on-going premiered at Experimental Intermedia, NYC (2009), funded by Conseil des arts et des lettres du Québec at Cyberfest, St. Petersburg, Russia (2010) at Emily Harvey Foundation, NYC (upcoming in January 2013) An installation with live processes // A collaborative concept by o.blaat and Katherine Liberovskaya // live sound: o.blaat/Keiko Uenishi // video environment and live video: Katherine Liberovskaya // sculptural structures: o.blaat & Liberovskaya // LandFilles is a public participatory "install-action" project by Katherine Liberovskaya (Canada/U.S.) and Keiko Uenishi (U.S./Japan). It is a durational installation-performance that is conceived to take place over a period of several days. The first phase: Collection & Construction • Collection of empty clear plastic bottles (by donations from visitors and collection tours through sidewalks and curbs.) • Construction of a structure/environment from recycled materials (transparent plastic bottles.) The second phase: Live processes / Performance Assembled with help from visitors, the resulting structure becomes, in the third phase, an "instrument" serving as basis for multi-channel/projection audiovisual performances with live processes. Uenishi interacts with the environment of accumulated waste through audio-feedback, deriving sounds from the hollows and shapes as if reading through the temporal geography, whilst Liberovskaya uses surveillance cameras, analog monitors and projectors to interact through video-feedback. The third phase: Demolition + Give-away After the third phase is completed, the structures made out of the re(up)cycled bottles will be torn down and given away to all of you! Overall info >> http://soundleak.org/works/landfilles For other documentation of this piece on-line please visit: http://vimeo.com/6196527 http://www.flickr.com/photos/oblaat/sets/72157620880388830+ More details
Car Décalé (Légèrement) / Because Shifted (Slightly) (CDL) is a long-term research through series of sound-performances/installations to redefine space utilizing audio-feedback. CDL was purposely constructed in the simplest format without specifics. Aesthetic aspects such as the material used for walls, ceiling, floors, columns, furniture, people, etc. serve as influential components. Car Décalé (Légèrement)/Because Shifted (Slightly) - CDL @ Eastern Bloc, Montréal, Quebec, Canada easternbloc.ca This version of CDL used numerous objects (mainly construction materials) found at Eastern Bloc. I was attempting to create series of temporary structures within the bigger structure (the room) so I could build up & alter the large instruments as the time spent in there. CDL / found objects was a part of OBJET INUSITÉ : RENCONTRE INTERNATIONALE SUR L’ART AUDIO curated by Eliane Ellbogen and Lisa Gamble This video contains excerpts from 40 minutes live performance on Dec 19, 2012. The photos are still images extracted from a video documentation of the performance by Lisa Gamble. More info about CDL & other works at http://soundleak.org+ More details
BroadwayDreams A collective ‘blink’ archive development via mashups of various documentation methods with media-mapping using mobile technologies on web 2.0.x. 2008-present ---------- BroadwayDreams was started as a study of small businesses (99c shops, etc.) scattering through Broadway, Brooklyn. Being aware that Broadway continues through Manhattan and Yonkers, further branches into Queens, the plan is to continue its investigation through the “spine” of the islands, and expand its focus on general businesses (shops and eateries) and their consumers. Participants are encouraged to document and upload small video clips, photos, and/or audio files, with using various small media capturing devices (digital camera’s photo/movie modes, mobile phones, and/or digital audio recorders, etc.) With either built-in GPS, external GPS data logger, &/or manual ‘address’ documentation, geocoded media files will populate on maps which can be grabbed, mashed, and reused by people who would encounter them in later days, to form various lives, experiences, and landscapes. The project is also aiming to compile as many ‘blinks’ as possible. As we all know, eyes can blink but ears don’t. Photos are considered to be blinks of visual memory. Then, why don’t we pretend as if ears do blink too? (although it is not a requirement. You can determine the length of your blinks freely as long as it would load fairly fast online.) Broadway will be filled up with collective ‘blinks’ including aural moments. “Why ‘blinks’?” (explanatory) I call it ‘blinks documentation’ which is… I assume a good strategy to work on ‘BroadwayDreams’ project. ‘Blinks’ are brief moments - flash of memories. One of each ‘blink’ may not impose any meaning when you see/hear it (e.g. when you’d encounter one of the ‘blinks documentations’ on YouTube or Flickr video, you’d probably react like… “FTFK?!?” - because you have no idea why it’s so brief.) However, when you’d pull bunch of blinks with the term ‘broadwaydreams’ and make them as playlist, for instance, some amazing number of ‘blinks’ will emerge. (Of course, a few normal-length uploads may mix in there - those which happened to use the same tag. But the majority are ‘blinks’. It’s good to use a common unique tag for this case, and add more tags depending on what you captured: such as… 99c, baloonguy, cheapdeal, etc.) Any preferred destination (by you) is fine for uploads, however, if you’d like them to be mashed into a map, it’s easiest to do it with YouTube &/or Flickr (Flickr video permits up to 90 sec., but somehow ‘too short’ movies less than 1 sec. won’t load. Very strange;) Tagging each one of them might become so troublesome… but if you’d do it a few or so per week, and if there are hundreds of people contribute their tiny blinks, it would eventually surface as if ‘memory milkyway’. It is, indeed, a very sneaky long-term mob project. In its early development, www.broadwaydreams.info is in preparation as a common web-tool development wiki/forum space. It will be a space where people can upload their mash-up programs (e.g. Yahoo Pipes, as an easiest online tool to provide for free), exchange ideas, and media uploads announcements. Notes for Williams Burroughs – Dead Fingers Talk exhibition 2010: For this particular exhibit, I selected 428 small movie clips I shot with digital cameras documenting blinks of Broadway in Brooklyn, NY. Most of them are a second or less in duration except 3 or 4 files much longer than the rest. Ideally, they are played back on iTunes-like software in playlist with the shuffle-mode, however, no computers available in the present would be able to playback without the slight pauses in between for loading. Accordingly, I made 16 versions of simulation (in randomized orders) resembling the shuffle mode without pauses. I made different versions available for the curator to decide how they would present the work. It can be played back: 1) individually on separate computer monitors; 2) individually on iPhone-like small devices that can play m4v format; 3) as a 16-in-1 movie file on one computer fast enough to handle the file. As said above, the edits of the 16 files are mere examples of simulations. All the files are available on YouTube and Vimeo although they are in low resolutions. You are more than welcome to document and add more ‘blinks.’ If you’re going to create and share any files (associated with any Broadway in the world) in the future, please include a tag ‘broadwaydreams’ for your uploads. o.blaat (Keiko Uenishi), May 2010 Quotes from Burroughs in 1965 interview by Conrad Knickerbocker for The Art of Fiction No. 36 (Parisreview.com) - Cut-ups establish new connections between images, and one’s range of vision consequently expands. - Either/or thinking just is not accurate thinking. That’s not the way things occur, and I feel the Aristotelian construct is one of the great shackles of Western civilization. Cut-ups are a movement toward breaking this down.+ More details
“Car Décalé (Légèrement)”– (CDL) is a sound-performance to redefine a space utilizing audio-feedback. CDL activates the space to speak aurally. No pre-recorded material will be used but the whole room (including 'small rooms' with hollow objects/rooms inside the entire room) will become the sole instrument. On April 25, 2011, I was invited to perform as a part of the night at CLOSED event curated by Daniel Neumann. I shared the night with Yan Jun and Lary 7. The video documentation was made by Miah Artola who volunteered using my a-little-screwed Canon Vixia HF10. (Thank you!) I edited the snippets of the documentations into one short video. The sounds were not treated (recorded with a microphone attached to the camcorder.) Better quality audio is available at CLOSED's sound archive: http://closed.ws/11-04-25%20%7C%20Feedback:%20Yan%207%20Uenishi/KeikoUenishi_Closed_Apr25th2011_44k16b.wav The recording was done by Daniel Neumann.+ More details
o.blaat (Keiko Uenishi) performed an outdoor version of "Car Décalé (Légèrement)" (space auralization project) w/ many found objects constructed into sculptures/instruments in three days prior to the performance. None of the objects/structures were bound or fixed in this version specially made for Electric-Eclectics festival, Meaford, Ontario, Canada. (Sorry. The sound quality of this CDL video is not good w/ the camcorder microphone.) --- Note1: Thumbnail photo by Laura Kikauka Note2: The file might not roll smoothly if run with slow-ish wifi &/or w/ older computer. (sorry!)+ More details
SoundDam is a game-like aural investigations through the 28 km scope of the region along Rio Paiva in Portugal utilizing FM transmissions. Through creating “Sound Dams”, I was researching conflicting positive/negative aspects regarding economical/environmental/social issues. Field recordings were in collaboration with numerous local children in ages 7-9. We roamed near/around the river and villages closeby. The "SoundDam" was created through Paivascape residency 2010 and its festival in 2011 in Nodar and municipality of Arouca, curated by Binauralmedia.org. http://binauralmedia.org The FM transmission in SoundDam utilized and experimented with ExiTrip (by Ed Bear and Lea Bertucci) - http://exitrip.org My participation in Paivascape residency 2010 and its festival 2011, was partially made possible by funding from Meet The Composer and its Global Connections Program. Funding for Global Connections is provided by The Ford Foundation.+ More details
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