Friday, February 27, 2009

Dematerialization/materialization of music: can you see? and touch? and smell? Wowwww!!

"Berlin-based design studio, Hort’s work on record sleeves invariably floats our boat and we love the batch of sleeves they’ve recently produced for Jazzanova’s album Of All The Things (which actually came out late last year) and singles Let Me Show Ya and I Can See. Here they all are, with the back covers shown too so you can see how they look too. Also shown is a poster and the album art booklet that has a rather nice embossed cover…"
Creative magazine








Play +++++++

video

As a result of a one day workshop on Painting on Film.

Do something, play games, play more

Thursday, February 26, 2009

Sent at 3:07 PM on Thursday

me: queria ter falado contigo... gostava de ter a tua opinião sobre o futuro da industria musical...
afonso: é fácil...não tem! he he...
me: não tem futuro?
as capas dos discos vão passar a ser arte, cert?
afonso: enquanto indústria acho que não tem...assim pequenas micro-empresas, terá sempre, agora indústria industria como a conhecemos até há pouco não...daí a importãncia e aplicabilidade das mais variadas e distintas propostas, as tuas são uma parte delas...
me: pois... o conceito editora de música está a ir ao ar
afonso: há é cada vez mais..é isso que digo, não uma indústria oligarca, mas pequenas républicas de prazer...vende-se menos de mais coisas...
me: ou mais de menos...
afonso: agora a editora pode ser é só virtual, isto é, online (downloads gratuitos ou não, e oferecer o complemento do objecto e esse pode ser muita coisa...
me: pois pode!
afonso: menos quantidade de maios diversidade, menos quantidade do que antes se vendia ao milhão...
me: uma das questões é a forma como as pessoas ouvem música
nem toda a gente para para ouvir música sentado no sofá
afonso: pois..é mais nas orelhas e com péssimo som...
e no carro e tal...
mas haverá sempre espaço...
me: trabalhamos para isso
afonso: verdade...vinyl never died, never ressurected...
me: posso publicar a nossa conversa no meu blog da escola?
afonso: se achas que merece...é um orgulho.
me: ihih
me: http://www.everythingthathappens.com/order.html

Back to Norman McLaren



thanks Ian!

Wednesday, February 18, 2009

Tony Wilson Int Hacienda 1984

TIC TAC TIC TAC

“Time is finally turning a kind eye on me but it barely matters for I am dashing into the future.”
YAYOI KUSAMA


Magnetic Fields again (found foutage Stephin Merritt):

Decades, from Joy Division, looks like this:

This is Robin's idea. You take a music file and you open it in a text application.
So this is how Joy Division looks like:
(I've always wanted to do visuals for them!)

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����∑stbl���gstsd����������Wmp4a���������������������¨D�����3esds����ÄÄÄ"���ÄÄÄ@���{»�Ù�ÄÄÄÄÄÄ���stts���������>B������(stsc������������������˜��������˘stsz����������>B��������������������������������ò����É��Î��Ï��ı��¸��Î��‚��‹��Ë��Â��Ô��‡��Ê��fi��Ï��„��Á��ÿ��”��Ÿ��…��…��œ��≈��«��∫��Õ��≥��ø��¿��ø��∏��ª��Ø��∏��Æ��¨��∏��≥��ã��£��õ��ö��†��ù��>õ��fi��¡��¬��∞��∞��æ��Œ��ø��≤��ª��…��∑��X��f��q��a��k��j��]��t��{��y��à��}��x��É��Ç��o��x��Ç��V��[��U��K��B��B��V��T��P��N��[��A��I��I��[��P��;��W��⁄��g��u��s��i��x��{��r��|��Ü��Ç��Ü��Ü��ç��ï��â��H��e��P��Ü��á��â��b��]��X��S��@��S��F��i��@��5��Z��T��O��>a��S��E��M��E��X��P��Q��E��]��æ��Â����q��o��`��t��x��r��y��v��ã��ä��é����°��j��p��a��n��g��v��l��|��}��u��É��|��Å��R��à��}��F��Q��R��Z��?��L��[��>d��\��=��]��S��H��G��?��F��P��¥��Œ����u��x��j��^��s��~��x��Ä��t��ç��|��x��Ñ����ç��ä��è��F��õ��a��Q��V��`��d��>I��T��9��]��;��K��N��L��V��`��I��K��X��_��P��J��b��H��^��ı��{��¥��Ç��s��É��ä��x��p��{��}��z��Ö��E����Ä��e��|��t��j��~��v��k��g��u��w��y��á��|��w��ë��R��W��Ñ��N��d��b��X��[��:��H��I��N��Z��M��F��O��\��S��:��’��K��¿��à��s��q��t��k��Å��y��x��Ä��â����u��z��|��L��Ö��Ü��à��å��/��4��X��>H��`��M��V��O��7��I��>R��]��=��[��H��K��O��Q��X��K��X��L��ï��Ô��Ú��Ñ��d��é��t��r��i��{��e����z��å��0��ø��u��Ä��l��p��p��^��k��s��í��Ü��Ä��r��í��N��ä��Ö��V��_��^��M��L��`��p��O��A��J��D��^��M��B��@��Z��1��Y��É��œ��Í��x��u��t��h��t��j��y��É��Ö����v��Ä��É��Å��N��É��h��P��E��O��5��Q��K��T��G��@��I��B��D��W��8��Q��G��O��@��a��_��_��_��L��K��a��@��L��Û��Õ��—��i��n��r��l��g��~��s��l��~��O������w��w��j��á��w��o��y��{��Y��Ñ��z��ã��Ö��|��ã��R��~��S��]��f��O��W��Q��L��L��R��]��C��E��D��F��S��R��.��=��Ê��Ñ��„��m��o��l��l��p����x��Å��ä����Ä��É��Ü��z��á��Ö��H��X��S��T��D��,��?��T��?��J��C��H��E��K��[��M��K��>b��f��J��N��W��_��d��O��G��=��Ë��=��b��n��k��]��v��r��u��|��x��j��ì����Ï��g��v��d��i��b��l��y��t��u��å��v��å��å��ê��N��{��_��U��X��é��I��R��P��R��O��=��V��]��V��A��=��S��=��:��A��Ã����q��w��p��d��o��t��j��Ö��n��r��Ç��Ç��~��|����â��é��Ö��è��G��M��1��G��3��5��4��y��Ü��ä��x��z��å��Ç��ó��Ä��ä����X��W��h��k��i��c��f��›��fl����ø��§��°��†��¢��±��û��ì��ü��ì��i����™��°��ª��§��ë��ô��ß��ï��⁄��õ��|��W��:��~��Ü��ñ��ç��Ö��ñ��ò��ù��ï��Å��å��t��á��Ö��Ü��s��w��Ö��Ç��}��|��s��@��—��»��¨��¥��¨��±��ÿ��©��°��≤��¢��≤��x��y��ä��è��ç��ç��ù��ç��à��ñ��É��k��Ñ��~��Ñ��ñ��p��x��Å��l��}��h��m��u��ö����I��T��o��k��i��^��{��q����Y��«��∂��¿��≤��ƒ��Ã��Å��Ñ��É��É��æ����ß��s��h��u��m��j��r��r��Ü��Ä��ö�� 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And it goes on forever...

Tuesday, February 17, 2009

Losing gravity: Moholy-Nagy


In his seminal book Vision in Motion, published posthumously in 1947, Moholy-Nagy appears levitating a chisel with compressed air. The photograph is striking: we see Moholy-Nagy's profile and before him the object suspended in the air with no apparent means of support.
source: pdf - kibla.org

Public goes Private / Private goes Public

If in the ghettos phonographs were scarce in the twenties, in the thirties they were scarce everywhere. The Depression effectively set the clock back: while the wireless took over the home, the phonograph retreated to the high ground of public spaces. Records echoed in cellar clubs; in the newly legitimate saloons, jukeboxes showed their Deco faces. In the subsequent steady boom of the record business, which has equipped most American homes with at least one phonograph, these have remained the dominant forms of public record listening. The cellar club became the discothèque, which became the disco, which seems to be seeking he cellar again. The jukebox was streamlined but remained the jukebox.
When records first began to be seen as home entertainment they were seen as family entertainment. Yet the picture os a happy clan clustered around the phonograph horn was surely more common in advertising then in life (...) Radio took over the role of family entertainer and then, as call numbers multiplied, passed on the part to television.
The social record, The Recording Angel, Evan Eisenberg



VIDEO KILLED THE RADIO STAR!
The name of the album is: The Age of Plastic.
And here's the lyrics:

I heard you on the wireless back in Fifty Two
Lying awake intent at tuning in on you.
If I was young it didn't stop you coming through.
Oh-a oh
They took the credit for your second symphony.
Rewritten by machine and new technology,
and now I understand the problems you can see.
Oh-a oh
I met your children
Oh-a oh
What did you tell them?
Video killed the radio star.
Video killed the radio star.
Pictures came and broke your heart.
Oh-a-a-a oh
And now we meet in an abandoned studio.
We hear the playback and it seems so long ago.
And you remember the jingles used to go.
Oh-a oh
You were the first one.
Oh-a oh
You were the last one.
Video killed the radio star.
Video killed the radio star.
In my mind and in my car, we can't rewind we've gone to far
Oh-a-aho oh,
Oh-a-aho oh
Video killed the radio star.
Video killed the radio star.
In my mind and in my car, we can't rewind we've gone to far.
Pictures came and broke your heart, put the blame on VTR.
You are a radio star.
You are a radio star.
Video killed the radio star.
Video killed the radio star.
Video killed the radio star.
Video killed the radio star.
Video killed the radio star. (You are a radio star.)
THE BUGGLES

The single's cover:



"we can't rewind we've gone to far"

well... not really...
now everyone can be a "star"

LAST FM
You can access your beloved bands from everywhere. But when you press the heart button, the 'love this track' button, isn't it just to show other people what is it that you like, to position yourself in a specific music "group". It's another social network, just like facebook... Your private preferences go public.

iTUNES
There is this new phenomenon of Djing in private parties using iTunes
It's a way of turning the private (your laptop) into public.

Back down to earth and album covers

And back to Evan Eisenberg:

Every mode of record listening leaves us with a need for something, if not someone, to see and touch. The adoration of the disc itself is one response (though this, as we have seen, answers other needs as well). But as records tend to look alike and one doesn't want to get fingerprints on them, in practice one adores the album cover, and this impulse (together with the science of marketing) is behind the importance of cover design in the record business.
The books that have been devoted to album art reproduce mainly rock album art. While classical covers (like those of adult pop and jazz records) generally settle for a straight photograph of the performer, rock covers indulge in fantasy, dreamy or nightmarish or both. Mirrored here is a distinction between the typical classical listener, who expects the musician to mediate between the private and public realms of music, and the typical rock listener, who cohabits with the musician in a world of private fancy. For the classical listener, the adoration of the cover becomes a kind of pure idolatry; for the rock listener, a pilgrimage through the looking glass.
For the rock collector it is a point of honour to own both jackets issued for Blonde on Blonde; the nude United Nations import cover of Electric Ladyland as well as the tamer domestic one; the full range of colours for Some Girls (which may have been a device to quintuple sales among cultists). That one of the greatest rock album of all takes its nickname from its snowy absence of cover art only proves the rule. The original design for The Beatles, the album everyone calls the White Album, was banned and the Beatles would accept no other. Anyway, inside there are portrait photographs and a big scrapbook-style collage, representing two major schools of rock art: the performer as pin-up (without his instrument) and the performer as intimate (who sends you snapshots of his private life). A third and preponderant school is represented by the Sgt Pepper cover: the star as fantast, dessing up in costumes the teenager can't afford (in either sense) to wear.

in order of appearance:








While the classical collector finds heavy shellac discs more cherishable than any kind of cover, the pop fascination with album covers has given them a status of art objects independent of their contents. The conceptual artist Cosmo scatters albums, with their plastic shrink-wraps intact, around his apartment as sculpture. A colleague known as Collete makes montages of album covers and jewellery enshrined in plexiglass (a second virginity). And children chew discs of bubble gum that come with tiny album covers instead of baseball cards. Pauline kael has written of the movie Cat People, 'Each shot looks like an album cover for records you don't ever want to play'. That is an insult, as intended, but only because of the 'ever'. For the highest praise of album art is that it finally renders the record unnecessary, as a perfect idol displaces the god it represents. From the musical or Mosaic point of view, that is why both are dangerous. They can become fetishes that make us deaf to the voice. ('Ears have they but hear not... They that make them shall become like them.') It must be admitted, thought, that if records are more reliable than musicians, album covers are more reliable still, specially on a desert island. In Stranded, Tom Smucker writes:
If I'm going to be on an island without a working phonograph, or with one I can count on only until batteries run down, then I'd like to be marooned with my beloved Pet Sounds by Beach Boys, preferably in the original mono version with the pictures from their Japanese tour on the back. Gazing at it, I could recall every cut, I've listened to it so often. Just having it near, I would be reassured.


Fetishism, as the cherishing of something reminiscent or redolent of loved one, seems the highest fidelity. But it is finally a kind of betrayal. The young moped-messenger in the film Diva, after secretly taping a recital by his adored soprano (who refuses to record because 'music comes and goes – you shouldn't try to hold it'), snatches from her dressing room, as a prescient afterthought, her silvery gown. We see this Jules later in his garage loft, slumped in a corner; her voice lights the vast space, her dress is wrapped shawl-like around him. His eyes make tears of joy and possible of shame. Later he slings the dress around his neck like an aviator's scarf, hops on his moped and, cruising avenue Foch, finds a whore – black like his beautiful soprano – who will wear the dress to bed. When he comes home he finds his apartment wrecked, this signal-ling the start of his misadventures. It must seem like retribution. Because he loved her voice too well and not well enough, he was not satisfied with hearing her voice on occasion but had to possess it; not satisfied with her voice, he must have her garment; not satisfied with her garment he must have a proxy body in it. And so he betrayed her.
The great Regency wit Sydney Smith once claimed that music was 'the only cheap and unpunished rapture on earth'. Gorodish Diva's Zen superhero, knows better. When Jules protests that his musical piracy was innocent, meant only for his own pleasure, Gorodish admonishes him: Il n'y a pas de plaisirs innocents.

Ceremonies of a solitary, "The Recording Angel", EVAN EISENBERG