Podcasts about altermodern

This music by artist Anthony Ptak. Liner notes: A sudden and rare brain tumor leads to an accomplished musician’s brush with death and a gap between his brain and his body – but Anthony Ptak will make music any way he can, Narrative.ly. Live piano performance at Caffe Vivaldi by artist composer Anthony Ptak. NYC. 2012. - A.J. Ptak

Rehearsal performance of graphic score Difference Frequencies, with Serge Zenisek, violin.

This sound of composer artist Anthony Ptak. Liner notes: Ekphoneticasulponticello (2005) [2:00] This solo electro-acousmatic performance work concentrates on sound as a carrier of information. We listen to the world as a system of associative indices. The acoustics of this invented instrument are analyzed, along with acoustically generated phenomena. Sound is a physical axis that occupies and transforms space. The heterophony of this invented instrument is navigation. All sonic materials crafted, performed, and assembled by the composer. This artwork is intended to evoke both the abstract and functional aspects of music. It is a visual representation, a sculpture of the physical space music occupies. It is also an instrument that can be played in any tuning configuration. Vibration is transferred from steel to wood. Many experiments were done using a device called a monochord inspired by the mathematician Pythagoras in the 6th century BC; it had one string used to measure ratios. Ekphonetic notation, to which the title refers, was one of the earliest attempts to systematize the way in which we hear (reception) and play music (transmission). This notation was based on speech and not exact pitch in Greece and Asia in the 5th to 7th centuries AD. Sulponticello means to play near or on the bridge of the instrument resulting in a sound with a voice-like rasp when bowed and more upper harmonic frequencies when plucked. With this instrument the artist seeks to create complex results from simple economical means. The work serves as a kinetic reference to the temporal (horizontal) and the timbrel (vertical) aspects of a musical axis. The receiver of this work is encouraged to examine systems critically and to experiment as listener, observer, and composer in the world. - AJ Ptak

Lewis Biggs, Director of the Liverpool Biennial and former Director of Tate Liverpool, assesses how successful the format is in conveying themes and theories such as Altermodern, and if Tate Britain is an appropriate home for an international art festival

Continuing the ongoing debate around the Altermodern theory, a group of invited guests, previous Prologue contributors and exhibiting artists will discuss the themes and ideas that surround the fourth Tate Triennial.

TJ Demos is a writer, critic and lecturer in the department of history of art at University College London. In the second critical debate around the themes of the Tate Triennial, he talked about exile and contemporary art in the context of 'Altermodern'.