Thursday, December 31, 2009

Clavier à lumières

The clavier à lumières (keyboard with lights), or tastiéra per luce, as it appears in the score, was a musical instrument invented by Alexander Scriabin for use in his work Prometheus: Poem of Fire. However, only one version of this instrument was constructed, for the performance of Prometheus: Poem of Fire in New York in 1915.[1] The instrument was supposed to be a keyboard, with notes corresponding to colors as given by Scriabin's synesthetic system, specified in the score [2], though it's doubted that Scriabin was a synesthete [3] [4].
The "Luce" part is notated on a treble staff with two parts, one proceeding on the circle of fifths during the piece, the other following the tonal centre of the music.
Scriabin assigned the following colors to the following key areas:

When the notes are ordered by the circle of fifths, the colours are in order of a spectrum, which some scholars believe indicates[dubious – discuss] that he did not experience the physiological condition of synesthesia, and that it was a thought out system that was influenced by his theosophic readings and based on Sir Isaac Newton's Optics:

Scriabin was a friend of Nikolai Rimsky-Korsakov, who was also a synesthete. Scriabin's assignments of colours to keys was not the same as Rimsky-Korsakov's perceptions, which is not an indication that Scriabin was not a synesthete as all synesthetes perceive different associations. Scriabin was also heavily influenced by Theosophy, which had its own different system of associating colors and pitches (in essence going up the visible spectrum from C to B chromatically, rather than by fifths).

Visual Music

Visual music, sometimes called "colour music", refers to the use of musical structures in visual imagery, which can also include silent films or silent Lumia work. It also refers to methods or devices which can translate sounds or music into a related visual presentation. An expanded definition may include the translation of music to painting; this was the original definition of the term, as coined by Roger Fry in 1912 to describe the work of Kandinsky.[1]

Visual music also refers to systems which convert music or sound directly into visual forms, such as film, video or computer graphics, by means of a mechanical instrument, an artist's interpretation, or a computer. The reverse is applicable also, literally converting images to sound by drawn objects and figures on a film's soundtrack. Filmmakers working in this latter tradition include Oskar Fischinger (Ornament Sound Experiments), Norman McLaren, and many contemporary artists. Visual music overlaps to some degree with the history of abstract film, though not all Visual music is abstract. There are a variety of definitions of visual music, particularly as the field continues to expand. In some recent writing, usually in the fine art world, Visual Music is often confused with or defined as synaesthesia, though historically this has never been a definition of Visual Music. Visual music has also been defined as a form of intermedia.

Since ancient times artists have longed to create with moving lights a music for the eye comparable to the effects of sound for the ear. – Dr. William Moritz, the best-known historian of visual music writing in English, his speciality being the work of Oskar Fischinger.

Sometimes also called "color music," the history of this tradition includes many experiments with color organs. Artist or inventors "built instruments, usually called 'color organs,' that would display modulated colored light in some kind of fluid fashion comparable to music."[2] Several different definitions of color music exist; one is that color music is generally formless projections of colored light. Some scholars and writers have used the term color music interchangeably with visual music.

The construction of instruments to perform visual music live, as with sonic music, has been a continuous concern of this art. Color organs, while related, form an earlier tradition extending as early as the eighteenth century with the Jesuit Louis Bertrand Castel building an occular harpsichord in the 1730s (visited by Georg Philipp Telemann, who composed for it). Other prominent color organ artist-inventors include: A. Wallace Rimington, Bainbridge Bishop, Thomas Wilfred, Charles Dockum and Mary Hallock-Greenewalt.


Lumia is the term coined by 20th Century Artist Thomas Wilfred to refer to art created from light.

Lumia as conceived, was a self contained and silent art, not to be combined with music or dance. Wilfred, being a pragmatist, would occasionally experiment or collaborate with other artists and disciplines (most notably for a performance with Maestro Leopold Stokowski and the Philadelphia Symphony at Carnegie Hall)

Though Wilfred intended the term to refer to any art created using light, but its use was never widely adopted. Contemporary use of the term by artists is mostly artists creating works utilizing Wilfred's visual vocabulary.

Lumia is distinguished mostly by its amorphous spindly moving forms.


Wednesday, December 30, 2009

More Cymatics

Cymatics (from Greek: κῦμα "wave"), also known as modal phenomena, is the study of visible sound and vibration, typically on the surface of a plate, diaphragm, or membrane. Directly visualizing vibrations involves using sound to excite media often in the form of particles, pastes, and liquids.

Cymatics - Bringing Matter To Life With Sound

Tuesday, December 29, 2009

Oblique Strategies

After an hour of trying to find online a working version of the oblique strategies game ( ), my first card was the number 120, the second one was the number 35, and it said:

1."Take a break"
2."Do nothing for as long as possible"

I will obey!

(ups... Sam did gave us some working links... I didn't read the brief :P )
Working link:

3."Find a safe part and use it as an anchor"

I have the game now installed on my computer and the next ones will be:

4."When is it for?
5."Discover your formula and abandon them"

(ok. maybe I should stop being curious and start working)

Monday, December 21, 2009

Poster for: Eggshell Clangwave Oscillator System Looking Quiet

Final poster
(in collaboration with Zuleika)

my first proposal

Sunday, December 20, 2009

Simon Larbalestier

Sometimes we forget...

Saturday, December 19, 2009

Runa Islam and Mark Leckey

Runa Islam

Runa Islam makes film and video installations that use overlapping layers of narrative to explore notions of truth and fiction, subjectivity and authorship. Islam installs her films in architectural configurations, frequently presenting them across two or three screens as a framing device. Her work aims to blur the distinctions between film and sculpture, art and cinema, and encourages a range of interpretations from viewers.

Early works often emerged from her interest in well-known passages of avant-garde film. Tuin (1998), for example, recreates a moment from Rainer Werner Fassbinder’s film Martha (1973) and in Scale 1/16 inch = 1 foot (2003), the artist re-stages the film in the 1960s Brutalist car park featured in the cult film Get Carter (1971). In more recent work, Islam often takes a single visual motif as her point of departure, such as a woman distractedly spinning a ring in Dead Time (2000), a girl turning towards the camera and then vanishing in Turn (Gaze of Orpheus) (1998), a group of rickshaw drivers instructed by the artist to sit and do nothing in First Day of Spring (2005), or a cable car receding from its port in Time Lines (2005). From these initial images, she intertwines a range of visual and conceptual languages, combining analytical and experimental sequences to create beguilingly open-ended works. In her most recent work, Conditional Probability (2006), Islam has worked with an inner city school, recruiting the pupils to act in a series of interrelated mise-en-scènes.

Mark Leckey

He is a British artist, working with collage art, music and video. His found art and found footage pieces span several videos, most notably Fiorucci Made Me Hardcore (1999) and Industrial Lights and Magic (2008), for which he won the 2008 Turner Prize.

Mark Leckey's video work has as its subject the "tawdry but somehow romantic elegance of certain aspects of British culture,"[2] He likes the idea of letting “culture use you as an instrument.”[1] but adds that the pretentiousness that artists sometimes fall into is destructive to the artistic process: “What gets in the way is being too clever, or worrying about how something is going to function, or where it's going to be. When you start thinking of something as art, you're fucked: you're never going to advance."

"I don't want a gallery. I want a TV show."

turner prize

Some sentences WIP

Work in progress post.
I want to gather a few thoughts, turn it into some sentences/expressions, and print ot big! Some statements that I find important for my work.

To listen is to participate
I'm the audience and I'm the artist
I want to be a turner prize
Video karaoke
Calling the birds
recreate reinterpret
interpreter eeeinprrrtt reinterpret
What do you do when you are listening to music?
Are you listening?
What will happen to the telephone box?
design is not art
say that on youtube
your space is my tube
reworking traces others leave behind
bum! music bam! sound
bum bum bum bam bam
tshiky tshiky bum tshiky tshiky bam bam
your silence is too loud
a temple of music
My turntable is my instrument. I play it loud and I play it well.
click share share share like like like
google it
send a message instead share cancel
my task in not a grind, I have internet
I'm louder than music, louder than sound, louder than silence
noisy silence coming from me

To listen is to create

I've heard Enrico David today saying: to listen is to create.
No access to the videos so far... Can't contextualize it very well. Bad memory.
(Final room at Turner Prize exhibition, Tate Britain.)

Friday, December 18, 2009

Thursday, December 17, 2009

Mr Fogg's Pop-up shop

Oxford's solo electronica Artist Mr Fogg will open his own pop-up shop, named 'Fogg Shop', in Central London for 4 days just before Christmas. He will sell only CDs, T-shirts, badges and other Mr Fogg merchandise, while also performing throughout the day and night.

Mr Fogg says:

"It's about creating a little Mr Fogg world just off one of London's busiest streets - seeing my logo in amongst the McDonalds and Starbucks. But it's also about putting music back on the high street. Just about the only place you can buy physical records now is your local supermarket along with the pizzas and frozen peas - this is an attempt to create an opportunity for people to interact with music in a slightly more creative environment."

The shop is on 16 Manette Street (off Charing Cross Road) opposite the historic music locale Denmark Street and right next to the venue The Borderline. It will open for 4 days - December 9th, 10th, 11th and 12th from mid-day everyday and will close "when it's obvious that we should".

Youtube killed the TV star

Sunday, December 13, 2009

Old Rare New

There is nothing quite like the feeling of thumbing through LP after LP in a dusty old record shop, only to stumble upon some hidden treasure, new obsession or forgotten love. Old Rare New: The Independent Record Shop is a homage to the holy places of music collecting, complete with their particular anecdotes, peculiar characters, and unique environments.
There is nothing quite like walking into a strange little record store in a town far from home and finding a record you've been after for so long, you didnt even remember you wanted it until you flipped through the bin and saw it. There is no similar charge available online, and it can't be gotten from a CD. It is something unique to vinyl and little stores and the people who live to breathe their air.'
Byron Coley

Eggshell Clangwave Oscillator Graphic System Looking Quiet

Synesthesia is a neurological condition in which additional senses apply to other types of sensory perception. For example, in grapheme synesthesia, letters or numbers are perceived as inherently coloured. The word Synesthesia comes from the greek words for ’sensation’ and ‘together’. In this case the group that will be together is MA Graphics at Camberwell, and the sensation will be that provided by our second exhibition.

In order to name the show, a group of us got together in that hotbed of creativity, Funky Munky, and put a simple system into practice using a combination of chance and choice, to generate the title.

The first step was to think of a long list of words associated with each of the senses, sight, sound, touch, taste, and smell. Some words were more tenuous than others, but eventually all were satisfied we had a good amount of around 20 in each category.

All were put into a hat and given a good stir. Then we went around the table picking them out one by one, and placing them in sets of two, three, and four, to make possible combinations.

Several interesting and amusing titles were created that were considered for a while, many were so outright bad that they could be rejected immediately. The most successful not to make the cut was ‘morning mist feedback’. (Marcus really liked 'Instense limon fingers' as well)

In the end we were left with a group of two or three word combinations that seemed to good to lose. With a little arguing and rearranging, and the addition of the word ‘graphic’ we had our title.

(original post by Paul Hardman here )

Teengirl Fantasy

"We were driving all night on tour to New York at some point this past spring in a car that had an old box of cassettes that had been passed down from our friend Ted. The stereo + windshield wipers didn't work, so we were just listening to tapes on a portable radio driving through the rain.... we found this one unmarked black cassette that had an incredible mix on it. The listening experience was so euphoric that we later ended up sampling two of the songs on it to write 'Hollywood Hils' and 'Love Don't Live Here'. We didn't initially write these songs with the intention of one being an A-side or B-side, or of them sharing a unified theme, but after recording the demos we realized that this was going to be our heartbreak 12". Both tracks in their own ways are about tears on the dancefloor, about being happy and sad about the world at the same time while dancing in a group of people who most likely feel the same way as you.

The artwork for the single was made by our friends Camilla Padgit-Coles and Hilary Zarabi-Azam (Hilary's voice also appears on 'Hollywood Hils', hence the name of the track). Together they hand made 100 covers, each one different and unique."

While the record release party was a smashing success, the Dutch declined to purchase a single copy of the record. Since there is no accounting for taste, I am now offering them for sale to the public. Email if you are interested in such things. To celebrate the release please enjoy the Hollywood Hils EP, also featuring the original demos for the two songs.

Ladies and gentlemen, for your listening pleasure, Teengirl Fantasy.

Thursday, December 10, 2009

Recording Angel again

The city is no place for listening to records. Half the time one as to use them as shields against other people's sounds. Music becomes a substitute for silence. (In the country, music is the fulfillment of silence.) One does not freely choose when to listen, or even what to listen to, since the trespassing bass of a neighbor's rock, rap or disco records can be countered only by its like. (...)
Even in a quiet apartment, one is somehow aware of a hundred competing time structures the business day, the schedules of radio and television, the neighbors' lifestyles and their music. (...) Stravinsky called music 'the sole domain in which man realizes the present'. But living in the present is (contrary to vulgar opinion) nearly impossible in a modern city, which will always hungers for the future and eats the past. One reason for headphones among city dwellers is the sense they give that one escaped the city's voracity, because one is inside the music. The desire to be inside a record is made graphic by the desert island fantasy.

THE RECORDING ANGEL, Ceremonies of a Solitary, Evan Eisenberg

Karaoke on films: Lost in translation

Lost in Translation

A video of the karaoke scene when Bill Murray sings Bryan Ferry song "More than This"; but with the original song...

Karaoke online

Karaoke on computers and the Internet

Since 2003, much software has been released for hosting karaoke shows and playing karaoke songs on a personal computer. Instead of having to carry around hundreds of CD-Gs or laserdiscs, KJs can "rip" their entire libraries onto their hard drives and play the songs and lyrics from there.
Additionally, new software permits singers to sing and listen to one another over the Internet.

"Create Your Own Custom
Proburn Karaoke Disc Make
my Karaoke disc now Click Here!

Our brand new Ultimate
is the perfect karaoke player that puts you in the limelight. With the
ability to record both your singing and the backing music to MP3 files saved
on a USB flash drive you can show the world your talents by uploading the
files to YouTube, MySpace, Facebook, Bebo or even just email them to friends
and family. You can also pop a normal music CD in the player and have it
convert the tracks on the disc to MP3 files too. You can also playback files
stored on USB or SD cards which saves you time burning your own CDs."

Wednesday, December 9, 2009

Karen Eng

Karen talking to youtube

video responses:

text comments:

axestone9999 (3 days ago) S
I'm not sure I got that... you say your video was doubled?

commentater1 (5 days ago)
there is an x surrounding my "upload video" button and it wont let me click it :'(

BigJimW10 (1 week ago)
My entire channel was deleted from YouTube for no reason. Probably because of some of my videos were not up to the snuff of YouTube, And I had to made the new one I have now.
So your problem is not an isolated one. YouTube is really crap since Google took over and sold out to corporate bastards.
Trust me, YouTube sucks. :(

KarenEng (1 week ago)
@BigJimW10 You sure got that right Jim! Youtube is not nearly as wonderful as when I started almost 3 years ago!
I made my own video sharing site to answer to this.

Twitter song

Colcut and Hexstatic, Timber

thanks Paul

Tuesday, December 8, 2009

Sunday, December 6, 2009

The Alphabet by David Lynch

Karaoke in North Korea

North Korea's security agency has ordered the shutdown of karaoke bars and Internet cafes, saying they are a threat to society, a South Korean newspaper reported Wednesday.

Refugees from the reclusive state say such outlets are largely located in the northern region that borders China and are frequented by merchants involved in cross-border ... See Morebusiness rather than ordinary citizens.

The North's Ministry of People's Security said in a directive that all karaoke bars, video-screening rooms and Internet cafes operating without state authorization must shut immediately, the Dong-A Ilbo newspaper said.

Saturday, December 5, 2009

Wednesday, December 2, 2009

interpreter/reinterpret/compose/recompose/put together


from Latin interpretari (“‘to explain, expound, understand’”), from interpres (“‘agent, translator’”)

1. One who listens to a speaker in one language and relates that utterance to the audience in a different language. Contrasted with translator.

Wei Li had to interpret the whole speech, and they didn't even give her any study materials beforehand.

2. (figuratively) One who explains something, such as an art exhibit.
3. (computing) A program which executes another program written in a programming language other than machine code.


to reinterpret (third-person singular simple present reinterprets, present participle reinterpreting, simple past and past participle reinterpreted)

1. To interpret again.
If you look at it that way, you can reinterpret all the old evidence so that it supports the new theory.

Verb 1. reinterpret - interpret from a different viewpoint
rede, interpret - give an interpretation or explanation to
2. reinterpret - assign a new or different meaning to
construe, interpret, see - make sense of; assign a meaning to; "What message do you see in this letter?"; "How do you interpret his behavior?"



–verb (used with object)
1. to make or form by combining things, parts, or elements: He composed his speech from many research notes.
2. to be or constitute a part or element of: a rich sauce composed of many ingredients.
3. to make up or form the basis of: Style composes the essence of good writing.
4. to put or dispose in proper form or order: to compose laws into a coherent system.
5. Art. to organize the parts or elements of (a picture or the like).
6. to create (a musical, literary, or choreographic work).
7. to end or settle (a quarrel, dispute, etc.): The union and management composed their differences.
8. to bring (oneself, one's mind, etc.) to a condition of calmness, repose, etc.; calm; quiet.
9. Printing.
a. to set (type).
b. to set type for (an article, book, etc.).
–verb (used without object)
10. to engage in composition, esp. musical composition.
11. to enter into composition; fall into an arrangement: a scene that composes well.


1. To compose again; reorganize or rearrange.
2. To restore to composure; calm.

Put Together

To construct; create: put together a new bookcase; put together a tax package.
(from wikipedia, and other online dictionaries)



She's lost control

Love will tear us apart

Wednesday, November 25, 2009

Hello Goodbye

Initial moment
The end

Birth of love
End of love

Moment of dead

The end of Music

We seem to be on the edge of a paradigm shift. Orchestras are struggling to stay alive, rock has been relegated to the underground, jazz has stopped evolving and become a dead art, the music industry itself has been subsumed by corporate culture and composers are at their wit’s end trying to find something that’s hip but still appeals to an audience mired in a 19th-century

For more than half a century we’ve seen incredible advances in sound technology but very little if any advance in the quality of music. In this case the paradigm shift may not be a shift but a dead stop. Is it that people just don’t want to hear anything new? Or is it that composers and musicians have simply swallowed the pomo line that nothing else new can be done, which ironically is really just the “old, old story.”

Certainly music itself is not dead. We’ll continue to hear something approximating it blaring in shopping malls, fast food stops, clothing stores and wherever else it will mesmerize the consumer into excitedly pulling out their credit card or debit card or whatever might be coming.

There’s no question that in music, like politics, the bigger the audience gets the more the “message” has to be watered down. Muzak’s been around for a long time now but maybe people just can’t tell the difference anymore. Maybe even the composers and songwriters can’t tell the difference either. Especially when it’s paying for a beach house in Malibu and a condo in New York.

Of course, we could all just listen to all of our old albums, CD’s and mp3’s. In fact, nowadays that’s where the industry makes most of its money. We could also just watch old movies and old TV shows. There are a lot of them now. Why bother making any new ones? Why bother doing anything new at all? Why bother having any change or progress at all as long as we’ve got “growth”? I’m just wondering if this is in fact the new paradigm. I’m just wondering if in fact the new music is just the old music again. And, if that in fact it would actually just be the end of music.


some comments:

1 .
Scott Nygaard
San Francisco, CA
November 24th, 2009
9:05 pm
Snooze. Curmudgeons are eternal. This could have been written any time in the last 30 (100?) years. The delivery system for music is going through convulsions, but there is plenty of great music out there, even if critics haven't been able to organize the music scene into discernible trends. But don't expect music to show up on your doorstep. Stop whining and go find it.

2 .
d myers
new york, ny
November 24th, 2009
9:31 pm
The end of music? Is that silence? And he the composer Cage is already standing there.

5 .
Juan Martinez
Lorain, OH
November 24th, 2009
9:31 pm
Because music allows humans to share their emotions with others. And darn it! Men want to impress and lure women!!!!

Papacito loves mamacita!!!!

7 .
at home
November 24th, 2009
9:31 pm
Great music is definitely out there waiting for you to listen to it. If you're bored with the music industry, there are always non-traditional sources of composition (such as video games)
Music is Dead. Long live sound.

8 .
Portland, OR
November 24th, 2009
9:31 pm
Music is Dead. Long live sound.
Recommend Recommended by 19 Readers

23 .
November 24th, 2009
9:42 pm
Everyone should be able to express themselves through music.

25 .
Tim Brew
Alameda, CA
November 24th, 2009
9:42 pm
Love the fright wig!

Tuesday, November 24, 2009

Charlie Chaplin

Charles Spencer Chaplin was born on 16 April 1889, in East Street, Walworth, London, England. As a small child, Chaplin also lived with his mother in various addresses in and around Kennington Road in Lambeth, including 3 Pownall Terrace, Chester Street and 39 Methley Street.

Charlie Chaplin - Mildred Harris
On October 23, 1918, the 28 year old Chaplin married the 16-year-old Mildred Harris. They had one child, Norman Spencer Chaplin, who died in infancy; they divorced in 1920.

Charlie Chaplin - Lita Grey
At 35, he became involved with 16-year-old Lita Grey during preparations for The Gold Rush. They married on November 26, 1924 after she became pregnant. They had two sons, the actors Charles Chaplin Jr. (1925-1968) and Sydney Earle Chaplin.

Charlie Chaplin - Oona O'Neill
This marriage was a long and happy one, with eight children. They had three sons: Christopher Chaplin, Eugene Chaplin and Michael Chaplin and five daughters: Geraldine Chaplin, Josephine Chaplin, Jane Chaplin, Victoria Chaplin and Annette-Emilie Chaplin.

Some quotes:
A day without laughter is a day wasted.

My only enemy is time.

I do not have much patience with a thing of beauty that must be explained to be understood. If it does need additional interpretation by someone other than the creator, then I question whether it has fulfilled its purpose.

I suppose that's one of the ironies of life doing the wrong thing at the right moment.

Nothing is permanent in this wicked world - not even our troubles.

Remember, you can always stoop and pick up nothing.

We think too much and feel too little.

Words are cheap. The biggest thing you can say is 'elephant'.

What do you want a meaning for? Life is a desire, not a meaning.

Monday, November 23, 2009

Sunday, November 22, 2009

Not listening to music

"And then, at some point if I feel better, the news just sounds really sad, and I want music on all the time...

"The title comes from the correspondences between a close friend and myself.
Her father used to always quiz her aggressively about whether or not she was listening to music. It was his way of establishing if she was depressed or not. She later guessed that he had noticed that wanting to listen to music or not was a quantifiable symptom of how his moods were cascading. And now, it seems, for her too. For months she could only listen to news on the radio and when it switched to music, she'd switch it off. At the time I was emailing her a song everyday.
Getting over sadness through repetition, or until something jolts you out of it, and then you crave something taht will open you back up all of the time."
Michael Queenland
in Musical Paintings

Karaoke Generation

"Today there are two words that sum up the culture: 'authenticity' is one, and the other... 'karaoke'! many artists spend their entire life trying to authenticate, make true, a karaoke culture – but you have to be a magician to make that happen."
Malcolm Mclaren
in Musical Paintings

We Are Going Nowhere And It's Now
Artist(Band):Bright Eyes

If you hate the taste of wine
Why do you drink it till you're blind?
And if you swear that there's no truth and who cares
How come you say it like you're right?
Why are you scared to dream of God
When it's salvation that you want?
You see stars that clear have been dead for years
But the idea just lives on...

In our wheels that roll around
As we move over the ground
And all day it seems we've been in between
A past and future town

We are nowhere and it's now
We are nowhere and it's now

And like a ten minute dream in the passenger's seat
While the world was flying by
I haven't been gone very long
But it feels like a lifetime

I've been sleeping so strange at night
Side effects they don't advertise
I've been sleeping so strange
With a head full of pesticide

I've got no plans and too much time
I feel too restless to unwind
I'm always lost in thought as I walk a block
To my favorite neon sign

Where the waitress looks concerned
But she never says a word
Just turns the jukebox on and we hum along
And I smile back at her

And my friend comes after work
When the features start to blur
She says these bars are filled with things that kill
By now you probably should have learned

Did you forget that yellow bird?
But how could you forget your yellow bird?
She took a small silver wreath and pinned it onto me
She said this one will bring you love
And I don't know if it's true
But I keep it for good luck

Thursday, November 19, 2009

Gone, gone, gone, gone, gone. Reduce.

The participant audience; the audience as an artist; the audience in control; the way we communicate and share information now in the internet age; amateur video/music covers; sampling; appropriation; re-creation.

To listen, to look, it's also to participate. It helps us map our emotions. The choices we make, what we chose to listen to, to watch, are also our way of communicating and expressing our emotions.

The title is a "sample" of the first word of the original title: "Gone with the Wind". But it also relates to the way we experience time. There is no present. Only past and future. The present moment is either expected or it's always gone, gone, gone, gone, gone now, now is gone, gone, gone...

reference: Martin Arnold

João Vasco Paiva

My task is not a grind.

This video is an appropriation, re-creation of a random choice of information available on the internet. The fragments correspond to a "sing along" version of A Spoonful of Sugar Helps the Medicine Go Down scene from the movie Mary Poppins, 1964, directed by Robert Stevenson.

I'm exploring the process of taking very familiar and recognizable film sequences from the internet, and editing it to create a completely different visual and audio output. The focus will be more and more on the sound. The visuals will become whatever it's linked with that particular sound I've isolated from the sequence. The result is unexpected.

For me to listen, to look, is also to participate. The audience as an artist is a concept growing with internet. In this Information/Digital/Attention Age we share and use information as if it is ours. Teenagers love to show videos of them playing their favorite music with a guitar in their tiny rooms. "I can be as famous as the original." And sometimes they are. The audience is more in control.

"And hence (Mary's reflection echoes: And hence),
They find (Mary's reflection echoes: They find)
(together) Their task is not a grind."

Joana Monteiro
Camberwell College of Arts
Exhibition: Inner Outside. Human Experience in the Digital Age.
November 09

Thursday, November 12, 2009

Wednesday, November 4, 2009


You can't really perceive a sound or an image until you hear it, see it, at least twice.

Tuesday, November 3, 2009

What age are we?

Is it:
Information Age
Digital Age
Anxiety Age
Attention age

From Wikipedia, the free encyclopedia

Information Age
The Information Age, also commonly known as the Computer Age or Information Era, is an idea that the current age will be characterized by the ability of individuals to transfer information freely, and to have instant access to knowledge that would have been difficult or impossible to find previously. The idea is linked to the concept of a Digital Age or Digital Revolution, and carries the ramifications of a shift from traditional industry that the Industrial Revolution brought through industrialization, to an economy based around the manipulation of information.

Attention Age
The Attention Age is an idea that the current period of time, which overlaps and builds off of the Information Age, will be characterized by the increasing commoditization of attention as it relates to the increasing abundance of information available, particularly on the internet. The Attention Age is marked by the ability of individuals to create and consume information instantly and freely as well as share it on the internet using social media. The period is believed to have begun with the emergence of social media in the first years of the 21st century.

Sunday, November 1, 2009

Time Goes

Second of this series:
"Time Goes"

The participant audience; the audience as an artist; the audience in control; the way we communicate and share information now in the internet age; amateur video/music covers; sampling; appropriation; re-creation; from internet to internet.

To listen, to look, it's also to participate. It helps us map our emotions. The choices we make, what we chose to listen to, to watch, are also our way of communicating and expressing our emotions.

And again. Time goes.
The age of anxiety.

reference: Martin Arnold

Wednesday, October 28, 2009

Gone, gone, gone, gone, gone, gone, gone.

Gone, gone, gone, gone, gone , gone, gone. from Joana Monteiro on Vimeo.

The participant audience; the audience as an artist; the audience in control; the way we communicate and share information now in the internet age; amateur video/music covers; sampling; appropriation; re-creation.

To listen, to look, it's also to participate. It helps us map our emotions. The choices we make, what we chose to listen to, to watch, are also our way of communicating and expressing our emotions.

The title is a "sample" of the first word of the original title: "Gone with the Wind". But it also relates to the way we experience time. There is no present. Only past and future. The present moment is either expected or it's always gone, gone, gone, gone, gone now, now is gone, gone, gone...

reference: Martin Arnold

Thursday, October 22, 2009

Wednesday, October 21, 2009


Ludovico Einaudi presents his new project Nightbook which is a musical meditation on the transition between light and darkness, the known and the unknown.

(I'm glad the "video" doesn't show anything!!!)

At Barbican next saturday!

Friday, October 16, 2009

Thursday, October 15, 2009

Monday, October 12, 2009

Chorus, UVA

Robert Irwin


Thanks Paul and Rosa