April 27, 2009

interesting electronic -sound art links

digicult posted info about Tech Stuff. Video manual of electronic music”, a book and DVD produced by Isbn Edizioni,

The Daniel Langlois Foundation hosts Ricardo Dal Farra's Latin American Electroacoustic Music Collection which includes biographies and audio samples.

April 20, 2009

Nina Katchadourian

Nina Katchadourian works across media. I recently re-visited her piece, Natural Car Alarms, and thought you might be interested in her work and general and the the NPR link with Rick Karr's sonic postcard in which Nina describes her project, how she accessed the sounds, etc.

April 3, 2009

DAN DEACON artist presentation!

So I did my presentation on Dan Deacon. After reading the first part of the book I came away with a weird sense of what sound art was it seemed like none of the artists could agree exactly on a definition. I did get the impression that these sound artists wanted to create a separation from music. Which, I think is fair as to attempt to create a solid definition for sound art as not simply "experimental music" but also naive because if we except music as a valid art form then we have to accept musicians as artists then can combine elements of various art forms or sometimes be more of a musician or sometime be more of a sound artist. Which finally brings me to Dan Deacon who I definitely think is a sound artist as well as a musician. His early conceptual albums dealing specifically with the functionality of sine waves through pedals and it combined effect in different environments is a more of a sound art project than a music. Through his growth his music has become more rhythm based and slowly transformed into slightly a more conventional electronic music. Even now however his approach to live performances is based on audience interaction and his space in relation to the audience. As well as his more dissonant stuff stays intact even in his new album "Bromst" note the combo of "Suprise Stefani" and "Wet Wings". The first is a song were the synth tones flow somewhat uncomfortably into chopped up vocal samples that never really gets comfortable with any rhythm and is a composition that is almost a question that Dan Deacon asks were to go from here placed strategically in the middle of the album. The latter is a solely an eerie vocal track played through a loop pedal that seems to come to terms with the realization of death. Even though it would be naive of me to not first recognize as a composer/musician he constantly thinks conceptually as a sound artist would about his work and how it is written and performed live. This goes along with his early more sound exploration based pieces. As a live performer Dan is a beast, he performs on the floor and demands fan interaction often through making the audience to interact with one another and/or with the environment of the venue. To conclude, his background in sound art/sine wave compositions and continued use of early techniques even in his newest album continue to demonstrate he should be recognized as an sound artist as well as a electronic composer/musician. This is without mention of his involvement in Wham City and its various exhibitions,theater productions, etc.

Here are some awesome links.

Reviews of Bromst:,25513/,0,2957340.story

Here's the complete video of the interview:

Here's part of his "In The Studio" with Pitchfork TV, this shows this crazy midi player piano that was used in "Bromst"

Here's a portion of a Dan Deacon show with some solid audience interaction:

Lastly here is a link to buy tickets for the early show on May 2 at the Triple Rock with his 13 piece ensemble.


New Musical Instrument Competition

A friend forwarded me this Wired coverage a while back and I forgot to post it.
Interesting videos to check out:

March 24, 2009


Special Guests :: March 24th :: Bring Sound Toys and other Battery Powered Audio Play things

will be introducing circuit bending with their unique style and verve.


March 12, 2009

John Oswald

Hey it's Jared...just want to give you a heads up that I'll be presenting on John Oswald on March 24.

February 9, 2009

Max Neuhaus

This week we will honor Max Neuhaus

The NYTimes describes him as a percussionist who made Aural Artwork - site specific works of “sound sculpture?.

If you are a fan of Max Neuhaus and his work, feel free to bring in sounds, stories, ideas, reflections, to share.

I relate very strongly to this notion that he proposes at the close of his NYTimes obituary:

“Traditionally, composers have located the elements of a composition in time,? he once wrote. “One idea which I am interested in is locating them, instead, in space and letting the listener place them in his own time.?

There are some interesting Twin Cities connections:

Out text, Sound Art (pg 89) includes a photo of Water Whistle III – site in the Midway, St Paul YMCA in 1972 – that was produced by the Walker Art Center. Audible only underwater, this piece is experienced when people submerge their ears.

His site drawing:

1980 was the year in which ambient music composer Max Neuhaus installed 64 little loudspeakers around the base of the glass domo of the Como Park Observatory in St. Paul, Minnesota, so that visitors could supplement their appreciation of exotic vegetable forms below with relaxing, sustained electronic
tones. (from an Arthur Russell interview)

His site drawing: