1. Vortrag "Gestalt im Klangraum" von Max Kullmann

    26:11

    from maku / Added

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    Audiomitschnitt und Folien zum Vortrag "Gestalt im Klangraum" von Max Kullmann auf der Tagung "Faszinosum Klang - interdisziplinäre Perspektiven" vom 14.10 bis 17.10.2010 in Wien.

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    • UNICOD-ASCii

      15:55

      from RootCat / Added

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      UNICOD-ASCii by RootCat All unicode letters and signs in 15mn an experimental video hand made with a furious ascii unicode generator! video: RootCat music: Lou Reed 'Metal Machine Music' part. IV (*) "My week beats your year" (Lou Reed's line notes for 'Metal Machine Music' first release) Passion--REALISM--realism was the key. The records were letters. Real letters from me to certain other people. Who had and still have basically, no music, be it verbal or instrumental to listen to. One of the peripheral effects typically distorted was what was to be known as heavy metal rock. In Reality it was of course diffuse, obtuse, weak, boring and ultimately an embarrassment. This record is not for parties/dancing/background romance. This is what I ment by "real" rock, about "real" things. No one I know has listened to it all the way through including myself. It is not meant to be. Start any place you like. Symmetry, mathematical precision, obsessive and detailed accuracy and the vast advantage one has over "modern electronic composers." They, with neither sense of time, melody or emotion, manipulated or no. It's for a certain time and place of mind. It is the only recorded work I know of seriously done as well as possible as a gift, if one could call it that, from a part of certain head to a few others. Most of you won't like this and I don't blame you at all. It's not meant for you. At the very least I made it so I had something to listen to. Certainly Misunderstood: Power to Consume (how Bathetic): an idea done respectfully, intelligently, sympathetically and graciously, always with concentration on the first and formost goal. For that matter, off the record, I love and adore it. I'm sorry, but not especially, if it turns you off. One record for us and it. I'd harbored hope that the intelligence that once inhabited novels or films would ingest rock, I was, perhaps, wrong. This is the reason Sally Can't Dance--your Rock n Roll Animal. More than a decent try, but hard for us to do badly. Wrong media, unquestionably. This is not meant fo the market. The agreement one makes with "speed". A specific acknowlegment. A to say the least, very limited market. Rock n Roll Animal makes this possible, funnily enough. The misrepresentation succeeds to the point of making possible the appearance of the progenitor. For those for whom the needle is no more than a toothbrush. Professionals, no sniffers please, don't confuse superiority (no competition) with violence, power or the iustifications. The Tacit speed agreement with Self. We did not start World War I, II or III. Or the Bay of Pigs, for that Matter. Whenever. As way of disclaimer. I am forced to say that, due to stimulation of various centers (remember OOOOHHHMMM, etc.), the possible negative contraindications must be pointed out. A record has to, of all things Anyway, hypertense people, etc. possibility of epilepsy (petite mal), psychic motor disorders, etc... etc... etc. My week beats your year. Lou Reed http://en.wikipedia.org/wiki/Metal_Machine_Music according to wikimachine: Metal Machine Music, subtitled *The Amine β Ring, is the fifth solo album by Lou Reed, originally released as a double album by RCA Records in 1975. As a radical departure from the rest of Reed's catalog, Metal Machine Music is generally considered to be either a joke, a grudging fulfillment of a contractual obligation, or an early example of noise music. The album features no songs or even recognizably structured compositions, eschewing melody and rhythm for an hour of over-modulated feedback and guitar effects, intricately mixed at varying speeds by Reed himself. In the album's liner notes he claimed to have invented heavy metal music and asserted that Metal Machine Music was the ultimate conclusion of that genre. The album made Reed a laughingstock in the rock industry while simultaneously opening the door for his later, more experimental material. Historically, Metal Machine Music is now considered a seminal forerunner of industrial music, noise rock, and contemporary sound art. (*) by courtesy

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      • Raga Darbari, The Just Alap Raga Ensemble

        10:15

        from Jung Hee Choi / Added

        261 Plays / / 0 Comments

        This excerpt is from one of the three evening concerts of Raga Darbari in the contemporary Kirana gharana (style) of North Indian Classical Music that was performed by The Just Alap Raga Ensemble, La Monte Young, Marian Zazeela, Jung Hee Choi, voices; with Naren Budhkar, tabla; accompanied by The Tamburas of Pandit Pran Nath from the Just Dreams CD. The Just Alap Raga Ensemble performed Pandit Pran Nath's special arrangement of "Hazrat Turkaman," a traditional vilampit khayal composition set in Raga Darbari in honor of Pandit Pran Nath's 96th birthday on November 1, 8 and 15, 2014 in the MELA Foundation Dream House light environment, 275 Church Street, 3rd Floor. Young, Zazeela and Choi founded The Just Alap Raga Ensemble in 2002 and have presented more than 40 performances in the US and Europe. In Raga Darbari, the performers demonstrate their highly evolved ability to articulate characteristic melodic phrases and intervallic relationships. The performers have rehearsed this raga and its elements hundreds of times and have gradually developed a fluency with the materials that allows performances to grow organically and become a new experience for the listeners.

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        • Tonecycle Base 30 Hz, 2:3:7 Vocal Version with 4:3 and 7:6

          09:54

          from Jung Hee Choi / Added

          74 Plays / / 0 Comments

          *The lowest frequency in this work is 30 Hz and a good subwoofer is required to reproduce the full range of the work. Jung Hee Choi Tonecycle Base 30 Hz, 2:3:7 Vocal Version with 3:4 and 6:7 Saturdays, 13 2014, 9 pm La Monte Young, voice Marian Zazeela, voice Jung Hee Choi, voice 77 Sine wave frequencies MELA Foundation Dream House 275 Church Street, 3rd Floor, between Franklin & White Streets in Tribeca In the transcendent setting of Jung Hee Choi's exhibition Ahata Anahata, Manifest Unmanifest VIII, MELA Foundation presented two live concert performances of her composition, Tonecycle Base 30 Hz, 2:3:7 Vocal Version with 3:4 and 6:7. La Monte Young, Marian Zazeela and Jung Hee Choi, voices, performed with 77 sine wave frequencies on September 13 at 9 pm in the MELA Dream House. The three vocalists improvise over the implied tonic that changes imperceptibly throughout the performance of the composition. The relationship of their improvisations to the drone continuously elaborates the musical meaning of the pitch, creating a compelling, harmonious construct that draws the listener into a profoundly contemplative world.

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          • Tonecycle Base 30 Hz, 2:3:7 Vocal Version with 4:3 and 7:6

            09:54

            from Jung Hee Choi / Added

            136 Plays / / 0 Comments

            An except from the exposition section of a 64-minute performance.* Live performance of Jung Hee Choi’s new composition, “Tonecycle Base 30 Hz, 2:3:7 Vocal Version with 4:3 and 7:6” with La Monte Young, Marian Zazeela and Choi premiered on September 13, 2014 in the MELA Foundation Dream House, NYC. Choi was joined by two legendary New York avant-garde artists, La Monte Young and Marian Zazeela. Together they performed this powerful vocal improvisational work to overflow crowds in the transcendent setting of Choi’s multimedia exhibition, Ahata Anahata, Manifest Unmanifest VIII. The vocal techniques used in this composition were based on blues, Indian classical raga singing and the experience of the three performers improvising together over the past 12 years. The collective improvisation of the performers was highly acclaimed by the LA Times critic Mark Swed, as “pure vibratory magic.” *The lowest frequency in this work is 30 Hz and a good subwoofer is required to reproduce the full range of the work.

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            • 17 Leonard St., Nova'billy rehearsal space, 2 of 2

              09:36

              from Henry Flynt in New York / Added

              386 Plays / / 0 Comments

              "Henry Flynt in New York." Composer/philosopher/activist Henry Flynt reflects on his years in the downtown avant-garde and the sectarian Left. In this scene, Flynt recalls meeting the other members of what would become Nova'billy in 1975, as well as his compositions and recordings for that band. Nova'billy's performance history is also discussed. "Henry Flynt in New York" was taped between 2005 and 2007 by Ben Piekut, and published on the web in 2008.

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              • 275 Church St., Young/Zazeela loft

                09:13

                from Henry Flynt in New York / Added

                115 Plays / / 0 Comments

                "Henry Flynt in New York." Composer/philosopher/activist Henry Flynt reflects on his years in the downtown avant-garde and the sectarian Left. In this scene, Flynt discusses his friendship with La Monte Young and Marian Zazeela, and their projects over the years. "Henry Flynt in New York" was taped between 2005 and 2007 by Ben Piekut, and published on the web in 2008.

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                • Tonecycle Base 30 Hz, 2:3:7 Vocal Version 09 14 2013 NYC

                  08:52

                  from Jung Hee Choi / Added

                  43 Plays / / 0 Comments

                  *The lowest frequency in this work is 30 Hz and a good subwoofer is required to reproduce the full range of the work. MELA Foundation presented two live concert performances of Choi’s composition, Tonecycle Base 30 Hz, 2:3:7 Vocal Version, with La Monte Young, Marian Zazeela and Jung Hee Choi, voices, and sine wave frequencies, on September 7 and 14, 2013 in the MELA Dream House. The three vocalists improvise over the implied tonic as it changes imperceptibly throughout the performance of the composition. This work sample is comparatively simpler in the sense that it only includes three pitches, tonic (1:1), 3:2 and 7:4 in the scale while the ratio 4:3 was used as an ornamental passing tone. In this performance, performers sustain long tones for a considerable amount of time, although eventually they also present fast combination- permutations of the intervals.

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                  • 105 Mulberry St., Loft of Joan Snyder, 2 of 2

                    08:38

                    from Henry Flynt in New York / Added

                    81 Plays / / 0 Comments

                    "Henry Flynt in New York." Composer/philosopher/activist Henry Flynt reflects on his years in the downtown avant-garde and the sectarian Left. In this scene, Flynt recalls his 1969 visit to a meeting of Women Artists in Revolution. "Henry Flynt in New York" was taped between 2005 and 2007 by Ben Piekut, and published on the web in 2008.

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                    • 119 Bank St., La Monte Young Apt., 3 of 3

                      08:22

                      from Henry Flynt in New York / Added

                      456 Plays / / 0 Comments

                      "Henry Flynt in New York." Composer/philosopher/activist Henry Flynt reflects on his years in the downtown avant-garde and the sectarian Left. In this scene, Flynt recalls his first meeting with composer La Monte Young, and his subsequent critique of the downtown experimental community. "Henry Flynt in New York" was taped between 2005 and 2007 by Ben Piekut, and published on the web in 2008.

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